First, congratulations on a great performance (which, when you're the saxophonist in question, is never a surprise). Second, congrats on the high-profile gig. I hope it will lead to more. Third, a question: I've wondered, ever since I first heard the Rascher recording (probably 20 years ago or more), whether there is an _ossia_ written for the end of the 1st movement (in the way that there is for the altissimo passages in the Ibert, the Dahl, etc.), or whether that last note (written B-flat?) is _obligato._
I'm so sorry I never responded here! I believe different versions of the manuscript exist (and I'm not sure which was observed in the Carl Fischer pub, which I haven't actually seen!). I have a scan of Brant's original hand-written part and the double G at the end is in the ink.
@@ThomasAGiles No worries; I appreciate the reply, and I've had people take far longer to respond to other questions I've posted (believe it or not)! Am I misremembering, or isn't there a concert D-flat at the end of the 1st mvt? I've seen written G called for in several other places (Martin _Ballade,_ Xenakis _XAS_ ), and even a G-sharp or A a few times, but Rascher's recording of the Brant is the only instance I can think of with a written double B-flat, outside of a cadenza situation, like J-E Kelly's extending the Ibert cadenza up to (I think) a B. And Rascher ascends to that climactic note like it's nothing... :-0
@@rloomis3 There is indeed, and the first/only time that note was written until 1989. Rascher spoke often of the "Four Octave Range," but you're correct; this is the only piece written for him that uses that pitch. I remember finding the Brant LP in undergrad and listening over and over... long before it was available online. It's stunning. The works written for Kelly ask that top minor third above the G somewhat frequently, and there are a few pieces which call for that double Bb: Keuris Three Sonnets, Meyer Concerto, Aho Chamber Symphony, and Sampo Haapamaki's Avenue has a double B.
@@ThomasAGiles Great info; thanks. (I had forgotten about the Aho, which I discovered here on YT.) _I remember finding the Brant LP in undergrad and listening over and over_ Yep - I found it in a used record store, probably in the late '90s. Had never heard it before, but I knew anything with Rascher was worth picking up. My jaw just hit the floor at the end of the 1st mvt. Now that it can be found online, I've had fun introducing many a young saxophonist to it, skipping right to the last moments of that movement, and watching _their_ jaws drop.
Glorious and awesome! Fantastic performance!
Two thumbs up!!! Awesome job!
Terrific piece, terrific performance!!
Henry Brandt should be better known,and is certainly amoung the greatest of all the Post lves American composers.
Henry Brant (no D). Thanks!
Beautiful playing!
That double altissimo bflat though
First, congratulations on a great performance (which, when you're the saxophonist in question, is never a surprise).
Second, congrats on the high-profile gig. I hope it will lead to more.
Third, a question: I've wondered, ever since I first heard the Rascher recording (probably 20 years ago or more), whether there is an _ossia_ written for the end of the 1st movement (in the way that there is for the altissimo passages in the Ibert, the Dahl, etc.), or whether that last note (written B-flat?) is _obligato._
I'm so sorry I never responded here! I believe different versions of the manuscript exist (and I'm not sure which was observed in the Carl Fischer pub, which I haven't actually seen!). I have a scan of Brant's original hand-written part and the double G at the end is in the ink.
@@ThomasAGiles No worries; I appreciate the reply, and I've had people take far longer to respond to other questions I've posted (believe it or not)!
Am I misremembering, or isn't there a concert D-flat at the end of the 1st mvt? I've seen written G called for in several other places (Martin _Ballade,_ Xenakis _XAS_ ), and even a G-sharp or A a few times, but Rascher's recording of the Brant is the only instance I can think of with a written double B-flat, outside of a cadenza situation, like J-E Kelly's extending the Ibert cadenza up to (I think) a B. And Rascher ascends to that climactic note like it's nothing... :-0
@@rloomis3 There is indeed, and the first/only time that note was written until 1989. Rascher spoke often of the "Four Octave Range," but you're correct; this is the only piece written for him that uses that pitch. I remember finding the Brant LP in undergrad and listening over and over... long before it was available online. It's stunning.
The works written for Kelly ask that top minor third above the G somewhat frequently, and there are a few pieces which call for that double Bb: Keuris Three Sonnets, Meyer Concerto, Aho Chamber Symphony, and Sampo Haapamaki's Avenue has a double B.
@@ThomasAGiles Great info; thanks. (I had forgotten about the Aho, which I discovered here on YT.)
_I remember finding the Brant LP in undergrad and listening over and over_
Yep - I found it in a used record store, probably in the late '90s. Had never heard it before, but I knew anything with Rascher was worth picking up. My jaw just hit the floor at the end of the 1st mvt. Now that it can be found online, I've had fun introducing many a young saxophonist to it, skipping right to the last moments of that movement, and watching _their_ jaws drop.
😱