Eric Nestler has been on the faculty of the University of North Texas College of Music since 1992. He is currently Professor of Music.
Mr Nestler presented his New York debut recital at Weill Recital Hall at Carnegie Hall in May 2003. Internationally, Nestler has performed solo recitals in Cape Town and Stellenbosch, South Africa and has traveled to Europe where he performed several solo recitals including performances at the Franz Liszt Academy in Budapest, Hungary, the Prague Conservatory, the Janacek Academy in Brno, the Czech Republic, and Castlefranco, Veneto, Italy. He has also performed extensively in Asia including Beijing, Nestlergdu, Guangzhou, Hong Kong, Shanghai, and Tianjin, China. In November 2004, Nestler was a featured artist at the Asian Saxophone Conference in Bangkok, Thailand.
Mr Nestler earned a Bachelor of Music degree in Music Education, Summa Cum Laude, from Susquehanna University where he was a student of Donald Beckie. Mr Nestler has since received both the Master of Music degree in Woodwind Instruments, with High Distinction, and the Doctor of Music Literature and Performance degree in Saxophone, Clarinet, and Bassoon, with High Distinction, from the Indiana University School of Music (Bloomington, IN). He studied with Eugene Rousseau (saxophone).
Henri Tomasi's Concerto for alto saxophone and orchestra - Taking a New Look at an Old Standard
Henri Tomasi wrote the first movement of the Concerto for alto saxophone and orchestra in 1949. He did so in a hurry in order that it could be used as a competition piece later that year for the students in Marcel Mule's saxophone class at the Paris Conservatory. In July of 1949, Tomasi completed the concerto with the composition of the second movement. Given that the piece was written very quickly, there are several mistakes in the score, the reduction, and the saxophone part. Some of the mistakes in the part and score were changed by the composer by 1953 when the entire piece was published. In 1998, Jean-Marie Londeix supplied the publisher, Alphonse Leduc, with a list of some other changes to the saxophone part. This resulted in a new publication in 2001. Yet, there are still many questions regarding potential note changes in the saxophone part, the piano reduction, and the full score. Further, some changes made in 1998 are clearly incorrect. The content of this lecture will seek to answer the questions regarding potential note changes based upon a theoretical study of the style found within Tomasi's Concerto combined with a comparison of the manuscript, the 1949 version, and the 2001 version. The lecture will consist of a brief discussion of his compositional style leading to the main part of the lecture, a detailed examination of the score and saxophone part focusing on specific spots in the music where there are potentially wrong notes. Finally, the content of the lecture will seek to offer alternate possibilities regarding these note changes and the reasons why they are significant.