French and American Saxophone Music: Teachers, Disciples, and the Significance of Paris

Paris is where the saxophone became recognized as a serious music instrument, and the city had a rich lineage of composers and virtuosic musicians. Most laypeople have heard of the Viennese composers Schubert, Beethoven, and even Schoenberg, but the composers discussed in this paper may be obscure even to many knowledgeable scholars. Beginning with Rameau, famous names from Paris include Debussy, Berlioz, Bizet, Ravel, and Messiaen. Berlioz helped promote the saxophone's recognition as a versatile concert band instrument, and after him, many composers did as well, despite the fact that they were not saxophonists themselves. This also applies to the four composers who will comprise this thesis paper: Pierre-Max Dubois, Jean Rivier, Leslie Bassett and William Albright. They clearly understood the range and the capabilities of the saxophone. Though lesser known, they share the same legacy as the earlier French composers listed above. Although Pierre-Max Dubois studied under Milhaud and Rivier, it is noted from many sources that he was not well known. Those who knew him, however, respected him and his musical talent. His obscurity may be due to his small catalog of works. Despite this, he won many prizes, one of which was the 1953 Prix de Rome composition prize. Jean Rivier held a position at the Paris Conservatory as head professor of composition with Darius Milhaud. Leslie Bassett studied under Messiaen (prior to Albright) and before that, Honegger was his professor. Later, Bassett taught Albright composition. Like Bassett, Albright earned many awards, prizes and even received a Fulbright Fellowship to Paris to work and compose. William Albright studied under Olivier Messiaen at the Conservatory and his Sonata for Alto Saxophone and Piano is a standard piece in graduate saxophone repertoire. All four of these composers' works are played quite frequently in the world of saxophone repertoire today.