Saxophone Concerto and Bass Drum Concerto

In his new Saxophone Concerto, Gabriel Prokofiev explores a side of classical music usually seen as forbidden by modern contemporary composers: melody. This aspect was incorporated at the request of the soloist, Branford Marsalis, allowing Prokofiev to revisit characteristics of the classical tradition not usually heard in contemporary music, giving the saxophone an open canvas. Prokofiev's Bass Drum Concerto shows the versatility of the instrument, despite only being used in a very basic fashion in classical music as a whole. Prokofiev experiments with how the bass drum is struck, where it is struck, and what it is struck with throughout the piece, producing a variety of sounds, colours and textures.

In his new Saxophone Concerto, Gabriel Prokofiev explores a side of classical music usually seen as forbidden by modern contemporary composers: melody. This aspect was incorporated at the request of the soloist, Branford Marsalis, allowing Prokofiev to revisit characteristics of the classical tradition not usually heard in contemporary music, giving the saxophone an open canvas. Prokofiev's Bass Drum Concerto shows the versatility of the instrument, despite only being used in a very basic fashion in classical music as a whole. Prokofiev experiments with how the bass drum is struck, where it is struck, and what it is struck with throughout the piece, producing a variety of sounds, colours and textures. Dans son nouveau Saxophone Concerto, Gabriel Prokofiev explore un aspect de la musique classique généralement considéré comme interdit par les compositeurs contemporains modernes : la mélodie. Cet aspect a été incorporé à la demande du soliste, Branford Marsalis, permettant à Prokofiev de revisiter les caractéristiques de la tradition classique rarement entendues dans la musique contemporaine, donnant au saxophone une toile ouverte. Le Bass Drum Concerto de Prokofiev montre la polyvalence de l'instrument, malgré son utilisation très basique dans la musique classique en général. Prokofiev expérimente comment le grosse caisse est frappée, où elle est frappée et avec quoi elle est frappée tout au long de la pièce, produisant une variété de sons, de couleurs et de textures.