Rapsodie for Saxophone and Orchestra, L. 98 Cover Image

Rapsodie for Saxophone and Orchestra, L. 98: Full Orchestra, Solo Woodwind(s) with Ensemble, Score and Parts

$130.00 USD
$130.00 USD
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Rapsodie for Saxophone and Orchestra, L. 98 Cover Image
Rapsodie for Saxophone and Orchestra, L. 98: Full Orchestra, Solo Woodwind(s) with Ensemble, Score and Parts

Rapsodie for Saxophone and Orchestra, L. 98: Full Orchestra, Solo Woodwind(s) with Ensemble, Score and Parts

By Claude Debussy, arr. Jean Roger-Ducasse; ed. Clinton Nieweg

Item: 36-A804002
$130.00
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Description
In 1901, American saxophonist Elise Hall commissioned works from numerous composers for her instrument, and among those composers was Claude Debussy (1862-1918). While Debussy took the money at the time, he was so focused on his opera PELLÉAS ET MÉLISANDE that he gave little thought to writing Hall's work. When suddenly Hall (whom Debussy referred to as "the saxophone lady") and her teacher, French oboist Georges Longy, appeared in Paris unannounced and asked after the commission, the reluctant composer was prompted to finish most of the work in a rough score, at least. He followed this with a contract with his publisher to purchase the work, which resulted in his being paid twice for a work he had not yet fully completed yet. At this point, Debussy turned his attention to LA MER and never fully returned to this solo work which was eventually titled RAPSODIE POUR ORCHESTRE ET SAXOPHONE, L. 98, although other titles were considered prior to this: Rapsodie Arabe; Rapsodie Mauresque pour Orchestre et Saxophone Obligé; Rapsodie Orientale; Esquisse d'une'Rhapsodie Mauresque' pour Orchestre et Saxophone Principal. Debussy died in 1918 before he could put the finishing touches on the work or orchestrate it, so composer Jean Roger-Ducasse was given the RAPSODIE by Debussy's second wife, Emma, to complete, along with all of her late husband's other remaining incomplete works. Roger-Ducasse completed the orchestration and the final piano reduction in 1918, and it is these versions with which everyone is now familiar. At this point, Elise Hall had gone completely deaf, so the premiere of the work fell to saxophonist Pierre Mayeur with the Société nationale de musique at Salle Gaveau in Paris on May 14, 1919, André Caplet conducting. Instrumentation: 3 (3rd d. Picc).2+EH.2.2: 4.2.3.1: Timp.Perc(3): Hp: Str (9-8-7-6-5 in set): Solo Alto Sax in set. Part of the Nieweg Performance Editions series.

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Additional Details
Series: Nieweg Performance Editions - Kalmus
Publisher: Keiser Productions, Inc.
UPC: 659359754487
SKU: 36-A804002
Instrumentation: 3 (3rd d. Picc).2+EH.2.2: 4.2.3.1: Timp.Perc(3): Hp: Str (9-8-7-6-5 in set): Solo Alto Sax in set

More about this title

About the Creator: Claude Debussy; orchestration completed by Jean Roger-Ducasse

Claude Debussy (1862, 1918) revolutionized orchestral color and harmonic language in early twentieth-century music, yet the Rapsodie represents one of his most unusual commissions. Saxophonist Elise Hall's determination to secure a work from the reluctant composer resulted in this piece, which Debussy left incomplete before his death. Jean Roger-Ducasse, a respected composer and pedagogue, inherited the task of orchestrating and finishing Debussy's fragmentary score in 1918, bringing the work into the form we know today.

Why we love this

The Rapsodie bridges Debussy's impressionistic language with the singular challenge of writing for an instrument he knew little about, creating a genuinely unusual concerto work for your orchestra. The solo saxophone part demands a musician with lyrical security and tonal authority while the orchestration offers rich colors and the opportunity to balance a solo woodwind against a full ensemble. This is the kind of repertoire that programs distinctly and gives your best saxophonist a centerpiece for their musicianship.

What to expect

The Rapsodie inhabits a world of shimmering harmonic movement and lyrical eloquence characteristic of Debussy's mature style. Orientalist suggestions haunt the thematic material without ever declaring themselves fully, creating an impressionistic atmosphere where the saxophone's voice floats through gently shifting orchestral textures.

Who it's for

Orchestras with a strong solo saxophonist and conductors seeking early twentieth-century repertoire that challenges standard concert programming. Directors looking to showcase an advanced wind player in a major concerto setting will find the technical and musical demands well-balanced.

How to get the most out of it

  • Shape the solo line with the same vocal quality Debussy demanded of his singers; the saxophone should sing rather than announce, which means resisting vibrato that's too fast or wide.
  • Balance the solo against the orchestra by having the winds support rather than compete; clarify who owns the main melodic idea in each section, then layer the orchestration accordingly.
  • Engage your harpist early in rehearsals since the harmonic foundation often relies on arpeggiated figures; rhythmic clarity from the harp steadies the whole ensemble.

How to use it

Schedule this for a concert where you can pair it with other French orchestral works or place it alongside contemporary compositions that explore timbre and solo-ensemble relationships. The piece makes a strong first-half closer or an opening statement that distinguishes your season from standard repertoire.

Skills your students will build

  • Balancing a solo woodwind voice against full orchestration without amplification
  • Maintaining lyrical phrasing across extended melodic lines with minimal harmonic anchors
  • Reading and interpreting Debussy's impressionistic notation and harmonic language
  • Responding to a conductor's shaping of impressionistic rubato and color changes

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