The Columbia Sessions
POULENC | DELVINCOURT | CHANG | BOLCOM The Columbia Sessions TROY1341 - Price: $16.99
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The second recording from acclaimed saxophonist Christopher Creviston.

Acclaimed saxophonist Christopher Creviston offers arrangements, piano reductions and a world premiere recording for his second recording on Albany Records. The arranger of the popular Poulenc Sonata for flute, Creviston has done a magnificent job of adapting this work for the saxophone. Composer Dorothy Chang wrote Two Preludes for Christopher Creviston in 1993 and they are receiving their world premiere recordings on this disc. As a soloist and with the Capitol Quartet, Christopher Creviston has been featured with bands and orchestras across the U.S., including the Baltimore, Indianapolis and National Symphony Orchestras and is in demand as a recitalist and clinician. Now on the faculty at the Crane School of Music, Dr. Creviston has held positions at the Greenwich House of Arts, the University of Windsor and the University of Michigan.
Contents:
Francis Poulenc, composer
Sonata for Flute and Piano, Op. 164
Christopher Creviston, saxophone, Hannah Gruber, piano

Claude Delvincourt, composer
Croquembouches for Alto Saxophone and Piano
Christopher Creviston, saxophone, Hannah Gruber, piano

Heitor Villa-Lobos, composer
Fantasia, Op. 630
Christopher Creviston, saxophone, Hannah Gruber, piano

Dorothy Chang, composer
Two Preludes
Christopher Creviston, saxophone, Hannah Gruber, piano

William Bolcom, composer
Concert Suite in E-Flat
Christopher Creviston, saxophone, Hannah Gruber, piano

Review:
"...one of the most impressive solo saxophone recital recordings I have ever heard. ...The program here is not just exceptionally well-played, it is very interesting and great fun to listen to." (Audiophile Audition)

“Christopher Creviston has been billed as one of the world’s top saxophone artists, a title well deserved. He is one terrific player, as is clearly evidenced by this recording. None of this music is easy, and some of it sounds fiendishly difficult. Yet Creviston sails through it, hitting high notes you wouldn’t even imagine come from a saxophone, with evenness, great beauty of tone, barely an audible breath, and remarkable technical assur-ance.” (Fanfare)
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