Branford Marsalis and Sally Beamish - Muczynski's Saxophone Sonata

Branford Marsalis and Sally Beamish perform Robert Muczynski's 'Sonata for Saxophone & Piano, Op. 29' at the Royal Conservatoire of Scotland in September 2013.
Produced by Laurie Irvine
See also 'Albatross', Sally Beamish's saxophone sonata, from the same concert: • Branford Marsalis and ...

[@DanForshaw]

Thanks for sharing Sally. It was great to meet you back-stage with Branford at the London Jazz Festival in November and I love these recordings.

[@Choadeymcgriff]

I wonder what mouthpiece he's playing here. I love the colors and openness of the sound! Great collaboration, too, Sally! Your playing is wonderful here!

[@AlbertPerez-jw1ry]

Sean Hurlburt looks like Vandoren optimum

[@festermorris1015]

Rousseau

[@dcp8nts]

@@AlbertPerez-jw1ry I love my Vandoren Optimum Ligature

[@PrestonSaxophone]

Nate, why so harsh? This is not a traditional classical sound, but it is still and good sound and musically effective. His interpretation is among the best I have heard for this piece (which I know VERY WELL) because he actually makes some pretty bold musical calls here. NOT TO MENTION the b#@@$ to cross over into such difficult territory!! It would be like me playing Parker at a jazz conference, except I would suck.

[@scottsmith1272]

Listen to Marcel Mule, he plays even harsher. It is all about the musicians interpretation of what a classical saxophone should sound like.

[@aiko_1124]

This guys vibrato!!!! It's insane.

[@nandocordeiro5853]

It's really good

[@ericratliff217]

@@nandocordeiro5853 certainly an older style vibrato you don’t see these days

[@richardrickford3028]

It is worth checking out Sally Beamish's own compositions if people have not already done so. There is a marvellous CD I have with a viola concerto, a cello concerto called "river" and piece for oboe and orchestra. She has also written some great pieces for cello and piano.

[@cullendouglas473]

Say what you want about this performance... Personally this is the only recording of this piece that makes me happy while listening to it

[@bruhlmaoo]

yo this guys tone reminds me of the old school classical, like mule or sinta tbh. but he’s alive. pretty cool stuff, idc what people say this pleases my ears

[@trentkynaston3764]

Great performance Branford!!

[@kmack764]

Didn't you premiere this piece?

[@trentkynaston3764]

Yes - 2nd World Saxophone Congress, Chicago, 1970.

[@james3102]

oh I love his vibrato so French style

[@eriknewland3686]

He's kinda bright and his vibrato's a little choppy, but that's all intentional in my opinion. I think it adds a lot to his interpretation. Musically and technically this is as good as it gets. Branford's a beast!!

[@StoneysWorkshop]

Very diverse opinions here. I like the idea of crossover playing as I play some classical pieces in my jazz sets. I am classically trained but getting into jazz the last 4 years

[@gardinselmer1005]

Just an observation for all you aspiring classical sax players. As a pro who has played for over 40 years, including everything from Polkas to Jazz and Symphony gigs. Branford can do this with ease just like his brother but how many classical nerds can play Jazz, Funk or Fusion like him. Pretty much none I fear.

[@christopherperacciny532]

Branford OWNS the horn, inside out, top to bottom. He can play ANYTHING, and could sightread this thing better than 99% of the world's saxophonists could play it after a year of practice. He approaches all music the same way--with passion and conviction. He does it all, and puts fear aside. So, Nate or TheKid, let's see you guys stick your necks out and upload yourselves on a chorus of 12 bar blues...or rhythm changes...or how about a single ii-V? "Stick to Jazz." That's funny. You guys should stick to your tuners and felt donuts--just keep your bedroom doors and windows closed.

[@JERODREAMSOF]

bam!

[@kidding6712]

Wow lol get wrecked

[@adysaxman77]

You dawg gone blood hound you! Well commented. 🤣

[@AlbertPerez-jw1ry]

I love that vibrato though, so intense!

[@danielhawkins4783]

great potential recital piece for advanced young player/student

[@jzer21]

I'm not sure he will ever shake the reputation he got from his 1st classical album, but his playing has definitely come a long way and I think he deserves a relisten.

[@Soulman785]

This is so very Gorgeous! Thank you for sharing :)

[@johannus777]

How do these classical guys make saxophone sound like a string instrument?

[@YaoEspirito]

What a rich tone!

[@CapriceBozza80]

I've never really cared for Branford's earlier efforts at playing classical music, but this is a huge improvement.

[@bugatti103]

bravo!

[@julietaailindeaduriz]

hermoso-emocionante muchas gracias por compartir!

[@jvonortiz-cedeno1290]

I really like this recording

[@noahkunze7005]

Zweiter Satz 4:01

[@marianicalara2006]

Hello. What should I do to lighten my tonguing and be conscious with it?

[@yvesbajulaz]

monster player....

[@andersonlopes2974]

Somebody knows what is the setup he is playing?

[@carlrasmussen3267]

Played too nicely. Should be more aggressive with the forte at the start. More tongue. It will allow for sweeter sections, later.

[@caroh67]

Great I love that Peace. Thanks for charing !! Can someone tel me what setup he play ?? !! Thanks

[@Ted_DiSanti]

How hard is this piece compared to say, the Creston Sonata???

[@fktnwejkwkd7b3j70]

They both have their own unique challenges. However, I would say that this one is slightly harder due to the Altissimo notes in both movements.

[@joshuahuff607]

This one is harder

[@kidding6712]

Joshua Huff false.

[@icarusi100]

Can play this tempo for 2nd Mov?

[@Thijs-Kuiken]

Never ....EVER have I heard a classical saxophonist play something with an interesting way of phrasing. Sad really because some of the material is really wonderful. Classical saxophone players in general are really un musical people favouring to focus on "perfect" embouchure vibrato and accuracy of playing with a tunnel vision that makes the outcome each and everytime .....huuuuuuuuuuu (deep breath) B O R I N G I do like his first classical recording... the romantic saxophone? Great stuff.

[@whatdyathink]

+TICETOCAR It's interesting that you say that because I actually find this recording to be subpar for the Mucynski and found that the second movement really lacked energy. Who exactly have you been listening to as far as classical saxophonists anyway?

[@vpsaxman]

+Chinley Hinacay Any recommendations on KZbin for something better?

[@CapriceBozza80]

+TICETOCAR You obviously haven't been looking very hard. If names like Donald Sinta, Timothy McAllister, Otis Murphy, Gary Louie, Christopher Creviston, Taimur Sullivan, Jean-Yves Fourmeau, Claude Delangle, Arno Bornkamp, and Nobuya Sugawa aren't familiar to you, then you're missing out on a lot. Aside from that, I would say that the testimonies of legendary conductors like Serge Koussevitzky, Sir John Barbirolli, Leonard Bernstein, Herbert von Karajan, and Pierre Boulez hold more weight than someone who doesn't even perform classical music professionally.

[@Thijs-Kuiken]

CapriceBozza80 Playing what is written as accurately as possible shouldn't be mistaken for making music. I'm generally not impressed by the inflexibility of phrasing classical saxophone players show when playing compositions. It results in the type of playing that I don't find to be stimulating, colorful, or belonging to a sound world I want to immerse myself in. I think it comes with the territory for someone in the music business - say an important conductor - to be supportive of instruments and instrumentalists but who knows.. maybe the weight of such a person can create some awareness to those who are not "in the know" ? Suffices me to say that I can afford to be negative about performers and since I don't care about names or reputations, your appeal to authority is missing target. Though I'm open for suggestion, I ultimately only care for what my ears are hearing and only something really good gets a chance for repeat in my ears. I'm the judge of what I consider to be good is what I'm saying :-D Having said all that. Even though I meant what I said, I was overstating in respect to classical saxophonists... i like, for instance, what John Edward Kelly (who died waaaaay too young!) did to the Martin Ballade (very transparent) and the Larsson concerto (very intense). I remember hearing Mule for the first time and was blown away (eh..yes) by his control of pitch and vibrato (even in short notes!) I like the sound of John Harle in his concerto recording.. Otis Murphy's virtuosity is having ridiculous proportions! Still..... well, I'm not going to repeat myself. Let's enjoy some music, whatever your liking/disliking might be. fair enough?

[@CapriceBozza80]

+TICETOCAR "Playing what is written as accurately as possible shouldn't be mistaken for making music." No one in this thread is making that mistake. "I'm generally not impressed by the inflexibility of phrasing classical saxophone players show when playing compositions. It results in the type of playing that I don't find to be stimulating, colorful, or belonging to a sound world I want to immerse myself in." I can say the exact same thing about a significant percentage of saxophonists in jazz, R&B, and popular music. "I think it comes with the territory for someone in the music business - say an important conductor - to be supportive of instruments and instrumentalists but who knows.. maybe the weight of such a person can create some awareness to those who are not "in the know" ?" Conductors are under no obligation to support the classical saxophone. The fact that many have gone out of their way to do so says to me that classical saxophonists are doing something right. "Suffices me to say that I can afford to be negative about performers and since I don't care about names or reputations, your appeal to authority is missing target. Though I'm open for suggestion, I ultimately only care for what my ears are hearing and only something really good gets a chance for repeat in my ears. I'm the judge of what I consider to be good is what I'm saying :-D" Not an appeal to authority, but rather an appeal to perspective. You threw an entire category of musicians under the bus as if you were making an objective statement. I countered by giving just a few examples of conductors who have expressed positive opinions about classical saxophonists. "Having said all that. Even though I meant what I said, I was overstating in respect to classical saxophonists... i like, for instance, what John Edward Kelly (who died waaaaay too young!) did to the Martin Ballade (very transparent) and the Larsson concerto (very intense). I remember hearing Mule for the first time and was blown away (eh..yes) by his control of pitch and vibrato (even in short notes!) I like the sound of John Harle in his concerto recording.. Otis Murphy's virtuosity is having ridiculous proportions!" JE Kelly's death was indeed a shame. He was a positive force in commissioning new repertoire for the saxophone. His playing, however, was not really to my taste, which I could say about many from the Rascher tradition. Mule was an icon of his day, but I could never stand that old French vibrato concept. Harle does a fine job playing more modern repertoire. His recording of Harrison Birtwistle's "Panic" stands out among all the recordings he's made. However, his take on older repertoire (Debussy, Glazunov, Ibert) is pretty bad in terms of style and phrasing. I enjoy Otis Murphy's playing, but I don't care for his choice of repertoire. As I said before, if you haven't heard any of the players I listed earlier, you're missing out. "Still..... well, I'm not going to repeat myself. Let's enjoy some music, whatever your liking/disliking might be. fair enough?" How about we not throw an entire category of musicians under the bus. Deal?

[@MrBiclak]

I just hope it was in a concert with free admission...

[@joaocarvalho403]

looooool

[@donmilland7606]

your comment is stupid

[@musicmanson]

You don’t even sound good to be making comments like this

[@MrBiclak]

@@musicmanson thank you. I will continue to study to improve.

[@NateColloidalSilver]

dude should stick to jazz

[@DreamzBurn]

you should stick to your day job.

[@kidding6712]

LMFAOOOOO

[@bill3837]

are there any players you like who do both? when you say jazz does encompass r&B latin polkasRock blues country etc

[@musicmanson]

I wonder what you sound like homie

[@jonnobloggs8642]

You should stick to pedantry 😃

[@Thekid713298]

Some of the runs sound hesitant and not confidant

[@martindalmasi5340]

In order to criticize, learn some spelling too

[@Thekid713298]

@@martindalmasi5340 The comment was 6 years ago, let it go

[@seamuschaos]

@@Thekid713298 out of curiosity do you still think the runs sound hesitant and not confident?

[@Thekid713298]

@@seamuschaos I think I'm going to stand with the me from 6 years ago out of spite. 0 confidance.

[@seamuschaos]

@@Thekid713298 Alright, I do think your judgement being based out of spite says a lot though. Would you mind giving an unbiased opinion based upon a relistening now? I am genuinely curios. There is 1 run that is iffy on the rhythm, but it's still confident imo, the tone, colour, and intensity are still consistent throughout said run which points to more of a slight slip of the fingers rather than lack of confidence. Is there a recording you particularly like for reference? Also I don't know if you're misspelling confident on purpose but it's with an E not an A. Confidant is a completely separate word and confidance is just not a word.

[@TomMeyer01]

He is playing everything with jazz inflections, which is the exact opposite of classical playing. Not good in this situation......

[@Jmatts-qp7pt]

TomMeyer01 let me here you play the sax

[@rogerdominguez5721]

Technically mucynzki's sonata was based with a sorta of a jazz feel sooooo

[@pearspeedruns]

Can you post a recording demonstrating the "correct" way to play it?

[@bill3837]

why would you say that . and what the hell is a jazz inflection

[@Jazacad]

Haters gonna hate