The saxophone’s status as an iconic symbol for jazz is certainly appropriate, but, like many other instruments, it is capable of an immense range of sounds, morphing itself into many genres with absolute ease.

While the likes of John Coltrane and Charlie Parker have established their names in the jazz world, many other saxophonists have grown equally at home in the classical world, (as it was originally invented as a facile, bass instrument for the orchestra). On Sept. 14, saxophonist David Jacobsen, joined by pianist Caryl Conger, will illustrate such a case with an afternoon of classical music for the saxophone.

With the piano, for example, coming about in the early 1700s and the saxophone appearing in the mid-1800s, classical saxophonists occasionally borrow from major composers of the past who did not write for the instrument. One example lies in Robert Schumann’s (1810-1856) “Adagio and Allegro,” written in 1849.

The saxophone essentially being a new instrument at the time, Schumann used this particularly productive year to write many works for other winds, including pieces for oboe, clarinet, and horn, the latter being “Adagio and Allegro.” With respect for the composer’s original intent, saxophonists transcribe pieces like this, bringing new light to the work.

With Jacobson’s recital, many other pieces are in store to display the instrument’s repertoire of exponential growth, including a major piece such as Paul Creston’s (1906-1985) “Sonata.” Written in 1939, young, aspiring saxophonists to professionals now perform the work on a regular basis. Much of Creston’s work finds itself in a neoclassic framework, with great rhythmic and harmonic interest. His “Sonata” allows both performers to exhibit solid technique and lyrical expression.

While Creston’s “Sonata” remains a staple work for the saxophone, many other Sonatas exist, like “Sonate en Ut Dièse” by Fernande Decruck (1896-1954). She wrote the piece for the legendary Marcel Mule (the person appointed to be saxophone professor at the Paris Conservatory following Adolphe Sax, the instrument’s inventor). Decruck’s husband was also a saxophonist of considerable worth, thus the piece is well-informed of the instrument’s capabilities for the time period (1942). After years of undeserved neglect, the piece has grown to be yet another chamber work of significance in the saxophone’s literature.

Like Creston’s staple work, others have grown to be regularly performed, original works for the saxophone. “Aeolian Song,” by Warren Benson (1924-2005), is one such piece, demanding excellent control in the altissimo register of the saxophonist. (Text books say the saxophone is capable of going up to a certain note. The altissimo register includes notes higher than that; something expected of the modern day saxophonist). Benson’s work exhibits a mournful and passionate melody that sucks the listener in. With each phrase, the saxophonist climbs higher and higher, exemplifying the lyrical side of the instrument’s high range.

Today, classical composers write for the saxophone in much higher frequency, not only in the saxophone/piano setting, but also other chamber instrumentations and with full orchestra. One work that has quickly grown to the status of being a standard in the repertoire is “Klonos,” by 48-year-old Belgian composer Piet Swerts. The composer writes that he has observed a “cramp-like contraction of the muscles,” which he personally “associates with the heavy movements that some saxophonists make during the fire of playing … .” “Klonos” attempts to clone this “jerk” in virtuosic manner. Whether one agrees with this sentiment or not, the piece is hard, driving, and catchy, packaged in an easily followed form. An audio sample of the work is found here. (Note: The piece also dares the saxophonist to hit one of the more difficult altissimo notes an astonishing 51 times).

All of this excellent repertoire is in the capable hands of Jacobsen and Conger for the upcoming concert. Conger, a former Blacksburg resident and Radford University pianist, is a highly experienced collaborator in both the low brass world as well as with the saxophone. Most recently, she commissioned Daniel Crozier’s “Fantasy” for tuba and piano. The accomplished pianist studied at the University of Kentucky and the Cincinnati College-Conservatory of Music.

David Jacobsen, now in his 21st year as Virginia Tech’s professor of saxophone and flute, holds degrees from the University of Wisconsin-Oshkosh, Northwestern University, and the University off Illinois. He has collaborated with Conger since 1988, appearing in many conventions including NASA (North American Saxophone Alliance) and the World Saxophone Congress. The inspirational musician has been impaired by nerve damage from Bell’s palsy since 2003. With elastic as “…one of the greatest inventions of the modern world,” Jacobson performs by his own words: “Do it with passion, live on the edge!” To hear this duo perform standards of the classical saxophone repertoire, join them Sunday, Sept. 14, at 3 p.m. in Squires Recital Salon (Blacksburg).

C.R. Kasprzyk is also a classical saxophonist and has written extensively for the instrument. He may be bias, but he strongly recommends this concert!