Concertino - Alto Saxophone and Piano

The present day trend toward small combinations, as well as the emergence of the lately prefected wind instruments, with their soloistic and ensemble possibilities, all needing new and effective music for their realization, offers a field where the peformer-composer may make a significant contribution. In writing the Concertino it has been my aim to acheive, through means available and acceptable in our time, the fundamental principles employed by the classical masters; melodic and harmonic interest, logical construction, and movement, or drive; principles which permeate and animate their works. The "Dialogue" is in the sense of a literary (or in this case a musical) composition in which certain persons are represented as reasoning on, or discussing, a subject. The "Song" is just what the title suggests, and the "Recitation" consists of a subtle continuing variation on a theme which is never quite revealed. "In a Fairly Fast Four" might be described as being the result of digested jazz; the result of longtime exposure as well as early participation. No conscious effort was made in the beginning to exploit this idiom; it just turned out that way.

Danelia Janssen, music critic of the Peoria Star, wrote concerning a performance of the Concertino--"This (work) is in a discreet modern style, with an instrumental arrangement that blends with the solo instrument in ideal fashion. The floating, undulating harmonies give unique pleasure."

The metronome and other markings to be found in the Concertino are intended for the player's guidance rather than his enslavement, and should not be interpreted too rigidly.

Originally for Alto Saxophone and Wind Symphonette or Chamber Orchestra.

To Nellie Gwynne Dehnbostel.

Includes piano reduction and solo Alto Saxophone part.