Allegro from the Cello Sonata Cover Image

Allegro from the Cello Sonata: Saxophone Quartet, Conductor Score & Parts

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$15.00 USD
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Allegro from the Cello Sonata Cover Image
Allegro from the Cello Sonata: Saxophone Quartet, Conductor Score & Parts

Allegro from the Cello Sonata: Saxophone Quartet, Conductor Score & Parts

By Benedetto Marcello / arr. David Marlatt

Item: 81-SQ224116
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Description
This arrangement by David Marlatt is a movement from the Cello Sonata in G by Bendetto Marcello. It has been set for an alto solo with the remainder of the quartet in a supporting role. Flashy sounding scales (in an easy key) make this solo sound harder than it is. Allegro from the Cello Sonata is a perfect feature for the soprano in the group while essentially giving the remainder of the ensemble a break with very light playing and lots of rest. (2:30)

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
ISBN10: 1-77893-091-3
ISBN13: 978-1-77893-091-1
SKU: 81-SQ224116

More about this title

About the Composer: Benedetto Marcello

Benedetto Marcello (1686-1739) was a Venetian composer whose instrumental works shaped the developing sonata form of the early eighteenth century. His cello sonatas remain among the most performed works of the Baroque era, prized for their sing-like melodic lines and balanced harmonic language that bridge the gap between vocal and instrumental idioms.

Marcello's music was admired throughout Europe during his lifetime, and his technical fluency with counterpoint combined with his gift for memorable melody made his works natural choices for transcription and arrangement. The Sonata in G demonstrates his skill at writing a principal melody that dominates the texture while maintaining harmonic coherence, qualities that have allowed this music to thrive in new instrumental contexts for nearly three centuries.

Why we love this

This arrangement gives your lead alto a real moment in the sun without asking the rest of the quartet to carry a heavy musical load. The original Marcello melody is instantly gratifying to perform, and Marlatt's orchestration lets it shine while keeping supporting parts genuinely light. It programs well on a mixed concert and works equally effectively as a contest feature.

What to expect

Elegant and buoyant. The Allegro moves with forward momentum and refined grace, offering the soloist moments of decorative passage work that sparkle without demanding virtuosic speed. The supporting voices create a warm harmonic bed that lets the solo line feel both intimate and assured.

Who it's for

Directors programming a quartet feature for a strong lead alto who benefits from a vehicle that sounds more elaborate than it plays. The arrangement also suits ensembles seeking accessible but elegant repertoire that fills a concert slot without overwhelming younger or less experienced supporting players.

How to get the most out of it

  • Treat the alto line as a singing voice, even when it moves through fast passage work. The scales should feel like natural extensions of the vocal melody, not mechanical finger work.
  • Keep the supporting saxophone parts transparent and rhythmically locked. The ensemble's job is to provide harmonic stability so the solo can breathe freely.
  • Let the conductor set a clear, singing tempo that allows the alto to shape phrases naturally. Avoid rushing through the rapid figurations.
  • Balance the quartet so the accompanying parts recede noticeably when the alto is playing. This clarity is essential to the arrangement's effect.

How to use it

Feature this on a mixed woodwind concert alongside heavier ensemble works, or use it as a showpiece in a shorter quartet recital. Its three-minute length and approachable difficulty make it ideal for a mid-program lighter moment, and it works equally well in contest or festival contexts.

Skills your students will build

  • Shaping a melodic line with phrasing and dynamic control within a fast tempo
  • Reading and executing scalar passages cleanly and musically
  • Balancing as an ensemble when one voice carries the primary material
  • Maintaining rhythmic precision in supporting parts with frequent rests
  • Performing early Baroque idioms and ornamentation in modern instrumental settings

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