The Cambridge Companion to the Saxophone; first published in 1999; tells the story of the saxophone; its history and technical development from Adolphe Sax (who invented it c. 1840) to the end of the twentieth century. It includes extensive accounts of the instruments history in jazz; rock and classical music as well as providing practical performance guides. Discussion of the repertoire and soloists from 1850 to the present day includes accessible descriptions of contemporary techniques and trends; and moves into the electronic age with midi wind instruments. There is a discussion of the function of the saxophone in the orchestra; in light music and in rock and pop studios; as well as of the saxophone quartet as an important chamber music medium. The contributors to this volume are some of the finest performers and experts on the saxophone.
#1077126 in eBooks 1994-06-01 1994-06-01File Name: B00FF9VNRU
Review
3 of 3 people found the following review helpful. Recovery of a Forgotten Pre-War DramaBy Kevin KillianJust when you think there are no more surprises; those wily Brits have uncovered a forgotten play by one of their own; the late Sir Terence Rattigan. Rattigan knew the highs and lows of show business; with giant successes and terrible flops; and his style of "well-made play" took a beating in the late 50s and 60s at the hands of the so-called Angry Young Men. Part of it was his own fault; his insistence that his plays were fit for his Aunt Edna was just asking for a punk riposte; but part of the attack on Rattigan (and simultaneously on Noel Coward his contemporary) was clearly rooted in an evangelistic rightwing desire to sweep homosexuality out of the theaters. Yeah like that was going to happen! Even while he was alive; there were signs of a Rattigan comeback; with important remountings of his earlier Separate Tables; The Browning Version; The Deep Blue Sea and others; and perhaps a critical reassessment that now could see his theater of cruelty; abandonment; and hysteria as predictive of postmodern tendencies.In any case it was only a matter of time till someone dared put on a new production of "After the Dance;" a play so badly received in 1939 that Rattigan himself omitted it from his multi-volume Collected Plays. As the front matter notes here; several recent revivals have drawn admiring reviews; it is sort of like the "Heartbreak House" of another era; a play in which international tensions and misalliances play themselves out on the crackling domestic front. There are two generations in the play; one an older bohemian circle of "bright young things" no longer young or bright in the dirty 30s. A second generation; more earnest; less fun; chides their elders for not being serious enough. Both groups frequent the penthouse apartment of David and Joan Scott-Fowler; dashing figures of madcap hilarity for whom the cocktail party has never ended. When David has an awakening; provoked by the young Helen Banner; he asks Joan for a divorce; an action that develops into tragic complications. I liked the play very much; but no wonder it did so badly. Its unrelieved bad cheer and continual unmaskings of everyone concerned and their most venal and most banal desires; leaves a bad taste in your mouth; rather like absinthe. It unfolds in surprises; and a great great part for; oh I dont know; Stockard Channing--even Carol Channing----even Channing Tatum--and I recommend it heartily.