Concerto for soprano saxophone and chamber orchestra - Study score (PDF)
Aho, Kalevi
Product information
| Title: | Concerto for soprano saxophone and chamber orchestra - Study score (PDF) | ||
| Authors: | Aho, Kalevi (Composer) | ||
| Product number: | 9790550168329 | ||
| Product form: | Digital download, PDF | ||
| Availability: | After purchase immediately available for download | ||
| Publication date: | 20.4.2026 | ||
| Price per piece: | 24,00 € (21,15 € vat 0 %) | ||
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| Publisher: | Fennica Gehrman |
| Edition: | 2026 |
| Publication year: | 2026 |
| Language: | English |
| Format: | |
| Protection type: | Vesileima |
| Pages: | 110 |
| Product family: | PDF download Other instruments (download edition) Orchestral & stage works (download edition) |
| Finnish library classification: | 78.5582 Konsertot klarinetille. Konsertot saksofonille |
| Key words: | saksofonikonsertot |
Downloadable and printable PDF edition.
Kalevi Aho (b. 1949) composed his Concerto for Soprano Saxophone and Chamber Orchestra (2014-2015) at the request of the saxophonist Anders Paulsson. The concerto is cast in three movements.
The first movement begins with a fairly long introduction, unfolding as an expanding, alluring melody for the soprano saxophone. Gradually, this melody spreads to encompass the instrument's entire register. In the background, the orchestral strings sustain only long, quiet pedal points.
The slow second movement is reminiscent of the introduction to the first, in that here too the orchestra—especially the strings—plays exclusively long pedal notes, above which the soloist weaves his “never‑ending” melody.
The finale opens surreptitiously with a “knocking” rhythm in the violins, before the music gradually gains power and becomes more sharply defined rhythmically. This formally unconventional work ends by fading away into silence.
Kalevi Aho (b. 1949) composed his Concerto for Soprano Saxophone and Chamber Orchestra (2014-2015) at the request of the saxophonist Anders Paulsson. The concerto is cast in three movements.
The first movement begins with a fairly long introduction, unfolding as an expanding, alluring melody for the soprano saxophone. Gradually, this melody spreads to encompass the instrument's entire register. In the background, the orchestral strings sustain only long, quiet pedal points.
The slow second movement is reminiscent of the introduction to the first, in that here too the orchestra—especially the strings—plays exclusively long pedal notes, above which the soloist weaves his “never‑ending” melody.
The finale opens surreptitiously with a “knocking” rhythm in the violins, before the music gradually gains power and becomes more sharply defined rhythmically. This formally unconventional work ends by fading away into silence.
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