Saxophone +, beyond a stage concert format

Authors

DOI:

https://doi.org/10.51191/issn.2637-1898.2025.8.14.9

Keywords:

stage concert, saxophone, interdisciplinarity, contemporary music, extended performer, extended techniques

Abstract

The boundaries of classical music have long been blurred, with numerous artists redefining the concert as a multidisciplinary experience that integrates various arts and technologies. The research detailed in this paper explores the transformation of the traditional concert format, positioning the performer as a multifaceted artist who assumes roles beyond interpretation, such as stage direction or musical acting, expanding the expressive possibilities of musical performance.
Through artistic research, this study conceives the concert as a dramaturgical space where different art forms converge. The project Saxophone + (stage concert) exemplifies this vision, featuring collaborations with composers such as Abel Paul, Óscar Escudero, Camilo Méndez, and Andreas E. Frank. The resulting works incorporate gestural elements, video, electronics, and sculptural instruments that transform not only the saxophone's sound but also its visual and performative presence. These elements challenge the traditional passive spectator model, transforming both space and audience interaction.
This paper presents one outcome of an ongoing artistic research project, which aims to rethink the role of the concert performer and to redefine the solo concert format through interdisciplinary experimentation, with a particular focus on developing new stage and concert formats. Drawing on performance studies, contemporary composition, and the integration of multimedia technologies, the project explores how expanded practices – such as gestural performance, video, and sound sculpture – can challenge traditional paradigms of musical presentation. By integrating technology and innovating the concert format, the study highlights the importance of engaging contemporary audiences in new and immersive ways. The findings point to the necessity of rethinking traditional concert formats in order to better respond to the expectations of contemporary audiences, emphasizing the value of interactivity and spatial reconfiguration. Saxophone + serves as an introduction to this evolving conception, redefining the performer, the concert, and the audience.

Author Biographies

  • Pedro Pablo Cámara Toldos, Centro Superior Katarina Gurska, Madrid, Spain

    Pedro Pablo Cámara Toldos (1986) is a musician and artistic researcher focused on sound experimentation. His areas of study are concert stage formats, as well as new sound and gestural possibilities with the saxophone. With the goal of making the saxophone his own voice, in his continuous search, he aims to equip the saxophone with a technique that adapts to each particular language, preventing the over-conditioning of the style by the instrument. His deep knowledge of the evolution of the repertoire and the possibilities of the saxophone are crucial for preserving the essence of every piece he plays.
    His training has been always as comprehensive and broad as possible. This perspective took him to work closely with great musicians in different fields and places: he did his saxophone training with Marcus Weiss and Vicente Toldos; he developed his chamber music skills with F. Rados, C. Martínez-Mehner, R. Schmidt, E. Feltz and S. Azzolini in the Hochschule für Musik of Basel (Switzerland); he obtained his PhD by the Universidad de Valladolid, his bachelor degree in Musicology by the Universidad de La Rioja (Spain), and he also holds a diploma in Music Pedagogy by the Universidad Complutense de Madrid (Spain).
    His continuous development of the musical language has produced an extensive corpus of new works; they have been born from a close collaboration with composers such as Eötvös, Paul, Sánchez-Verdú, Escudero, Méndez, Frank, Torá or Alonso.
    His commitment to scenic and interdisciplinary formats is noteworthy, participating in the premiere of productions of the Berlin Staatsoper, Madrid Teatro Real or Musiktheatertage Wien. Pedro is professor at the Centro Superior Katarina Gurska in Madrid. As guest he was invited for masterclasses in Musikhochschule Munich, UdK Berlin, KUG Graz, UNAM CDMX, Escuela Reina Sofía, Hochschule for Musik Basel, HKBU Hong Kong, among others.

  • Inés María Monreal Guerrero, Department of didactics of Musical Expression, Campus María Zambrano, University of Valladolid, Segovia, Spain

    Inés María Monreal Guerrero (pedagogist, researcher), University of Valladolid, Department of didactics of Musical Expression Campus María Zambrano. C/ plaza de la universidad 1, 40005, Segovia, Spain.
    (1974) Inés María is a musician, musicologist, and doctor in pedagogy. Professor at the University of Valladolid and director of the DART artistic research program in agreement with the Doctoral School of the University of Valladolid. She has published 38 high-impact scientific articles, 17 book chapters, and more than 100 music textbooks, participated in 10 R+D+i projects, was the speaker at 14 international congresses, and had more than 50 communications, she has directed more than 200 artistic research activities.

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Published

20.07.2025

How to Cite

Saxophone +, beyond a stage concert format. (2025). INSAM Journal of Contemporary Music, Art and Technology, 14, 9-27. https://doi.org/10.51191/issn.2637-1898.2025.8.14.9