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Le Api soprano saxophone & piano

Antonino Pascullitranscription by Kenneth Tse

reedmusi c .com

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Preface

Antonio Pasculli was born on October 13th, 1842 in Palermo. He began his career as avirtuosic oboist at the age of 14 and by the time he was 18, was professor of oboe andEnglish horn at the Regio Conservatorio di Palermo, a position he held until he becameblind in 1913.

He was appointed director of the Corpo Municipale di Musica di Palermo in 1879, butdue to his advancing blindness he withdrew from active concert life in 1884 and lived until1924. Pasculli composed numerous fantasies for oboe and orchestra on themes from theoperas of Bellini, Donizetti, Meyerbeer, Rossini and Verdi. His compositions were oftenconsidered to be too difficult to be performed and therefore were forgotten by oboists untilmodern times.

Le Api for oboe and piano was first published in 1905 and was dedicated to theConservatorio di Musica di Palermo. Although similar to Rimsky-Korsakov’s Flight of theBumble Bee, Le Api was written first, and is part of the three virtuosic studies Pasculli wrotefor the oboe. From a postscript to the third study we learn that these were first performed inthe big hall of the Conservatorio di musica in Milan on July 14, 1874.

Kenneth Tse has transcribed the work for the soprano saxophone in its original key. Thelong legato ties are performed with circular breathing and there is only one place wherethe player can take a breath (break between phrases) in the entire piece.

In practising and performing Le Api

IMPORTANT CAUTION

1) One must stretch and warm up the muscles thoroughly, especially the arms (allflexors and extensors of the digits and Brachioradialis) and the upper back(Trapezius and Rhomboids), before practising Le Api. This is vital! One can hurt themuscles unknowingly until it is too late. Strengthen your muscles through exerciseand make sure your shoulders are pulled back.

2) One must practise it first in increments and then in sections, and not the entire piecerepeatedly. Rest the muscles as often as possible. Due to the much heavier keys onthe soprano saxophone, the action and the strength required are much more thanthe oboe.

3) Practise circular breathing separately. One must be proficient in the technique ofcircular breathing before performing Le Api. Plan the places where you wouldexecute circular breathing carefully and be consistent. It is very difficult to do sounplanned.

4) Obviously, it is possible to use this piece as a finger exercise without performing itin its entirety.

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Allegro vivacissimo q = 72

Le Api soprano saxophone & piano

for Conservatorio di Musica di Palermo

Antonio Pascullitrans. by Kenneth Tse

4

Le Api © 2007 Reed Music Pty LtdRM216 ISMN M-720059-84-6

www.reedmusic.com All Rights Reserved

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characteristic studies

pianissimo simile al ronzio delle Api

e senza mai rallentare

sempre legato al fine

senza rallentare

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29

32

35

38

41

44

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cresc. poco a poco

f

cresc.

ff

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57

59

61

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66

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71

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senza rallentare

cresc.

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80

82

85

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f senza rallentare

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101

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127

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142

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subito senza rall.

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151

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ff

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più mosso172

174

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178

181

184

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ff

dim.

sempre più piano

cresc. fRM216

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Allegro vivacissimo q = 72

Le Api soprano saxophone & piano

for Conservatorio di Musica di Palermo

Antonio Pascullitrans. by Kenneth Tse

4

Le Api © 2007 Reed Music Pty LtdRM216 ISMN M-720059-84-6

www.reedmusic.com All Rights Reserved

7

characteristic studies

pianissimo simile al ronzio delle Api

don’t steal music

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11

14

17

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e senza mai rallentare

sempre legato al fine

una corda

RM216 www.reedmusic.com

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23

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29

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senza rallentare

leggerissimo e senza rall.

RM216 www.reedmusic.com

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35

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41

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cresc. poco a poco

cresc. a poco a poco

RM216 www.reedmusic.com

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47

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f

fcresc.

cresc.

cresc.

ff

ff

ff

RM216 www.reedmusic.com

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dim.

dim.

senza rallentare

leggerissimo

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cresc.

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legatissimo

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95

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f senza rallentare

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107

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cresc.

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119

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f

subito senza rall.

subito senza rall.

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leggero

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157

161

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ff

f

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170più mosso

173

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180

ff

ff

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184

188

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dim.

sempre più piano

sempre

cresc. f

ff

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