Adolf Busch, well-known as a violinist, contributed a major work to the saxophone's chamber repertoire in 1925 while living in Germany. This piece, Quintet, op. 34 for alto saxophone, two violins, viola, and cello, lay hidden until many decades later when it resurfaced for performance in the United States. Busch's use of the saxophone was advanced for the time, and his inclusion of the instrument in a quintet with strings was unique.

Scattered information regarding the genesis of the piece, its advanced use of the saxophone at the time, and the discrepancies between the published score and parts all called for exploration. This study investigates the sparse history of the piece, using numerous primary and secondary sources, and offers performance suggestions so that today's saxophonist can deliver a performance reflecting the musical life surrounding the instrument at time of its composition. Included is a brief biography of the composer, a discussion of the factors that likely influenced the quintet, an investigation of the work's structure, descriptions of the unpublished editions of the piece, and an examination of Busch's meticulous revision process for this piece.

This paper focuses on several issues related to performance practice in the Concerto for Saxophone and Orchestra by Paul Chihara (1980). Performance recommendations regarding dynamics, altissimo trill fingerings, and correct rhythmic interpretation of the second movement are provided for the solo saxophonist as well as suggestions regarding dynamics for the orchestra. The rhythmic and harmonic influences of Alban Berg's Wozzeck and Elliot Carter's string quartet compositions will also be examined as they relate to the Concerto for Saxophone and Orchestra. The Appendix sections include interviews with the composer Paul Chihara, an interview with the dedicatee Harvey Pittel, a list of edition variants, and notes on Chihara's own "penciled-in" revisions.

As it was originally written, the saxophone part required performance on three different saxophones; the soprano saxophone for the first movement, the alto saxophone for the second movement, and the sopranino saxophone for the third movement. Due to the difficulty of obtaining a sopranino saxophone without purchasing the instrument, and at the suggestion of Paul Chihara, the author arranged the third movement for soprano saxophone. Several changes were made to the melody in this revision, which have also been approved by the composer.

The saxophone was invented in the 1840s by Antoine (Adolphe) Joseph Sax (1814-1894) and immediately received attention from prominent composers like Hector Berlioz (1803-1869.) The work done by the ambitious inventor to promote his new instrument included presentations at exhibitions in Belgium and France, which led to military bands adopting the instrument. In addition, Sax opened a 400-seat theater on the premises of his factory in Paris to present concerts featuring his innovations. Coupled with this, Sax established a prolific publishing house, Chez Adolphe Sax, that published at least 35 works for saxophone with piano accompaniment.

When considering this early repertory, modern performers lack adequate resources that provide specific details regarding the sonic characteristics of the early saxophone. How might these performers form a sonic concept reminiscent of the early saxophone when there are so few early recordings? The contributing factors that shaped this sonic concept include the design of the instrument and how it influenced the acoustic properties of the same, the intention of the composer in creating it, the performers who adopted it and the performing practices that informed their performances, and the repertoire published by Sax that they performed. These factors are worthy of consideration for the modern saxophonist wishing to perform the repertoire that helped to build the popularity of the instrument.