Saxophony is a suite of four pieces scored for 2 alto saxophones. piano and a string ensemble (4 violins, 2 Violas, 2 Cellos and a Double Bass). For the most part the alto saxophones are to the fore (although none of the supporting instruments are exactly shrinking violets ...) and the pieces explore this instrument's expressive and rhythmic fortes, rather than its virtuosic capabilities.
Some words about each piece ... I has a somewhat pop-ish feel; II is reminiscent of an old-time crooner's ballad; III is a cheeky little 6/8 number with some impish harmonies; and IV is in a nutty 7/4 time, starts off with an un-square Charlston-ish lick and then roves all over the place ... as you would expect of a finale - right?
Variations on a theme, written for pipe organ, alto saxophone and english horn, and entered into competition for the American Guild of Organists' 2014 Marilyn Mason Award in Organ Composition.
Apparently the competition was so fierce that the judges have failed to agree on a single winner, and consequently no prize will be awarded! However, you get to listen to my effort - and follow along with the score - should you so choose.
It's probably more accurate to call this variations on a phrase, since even the theme is itself built from a single recurring chromatic fragment.
As for the title (Circus of the winds) ... I had almost completed the piece, just waiting for the Muse to assist with a Finale flourish, and listening to what I had penned so far ... when I started to hear high-wire feats (the introduction), then a parade (entry of the organ), then trapeze artists (the theme), and (later) clowns - and thus both the coda and the title were born.
(PS: I've since learned, through that modern miracle called Google, that the title is not as unique as I thought. There's at least a children's song and a pre-school group in Montreal of the same name.)
This is a setting of Psalm 137, sung in German, with text taken from the 1984 revision of the Luther Bibel. Scored for SATB Choir, Organ and Percussion, it was written originally as an entry to a composition competition sponsored by the Carl von Ossietzky University in Oldenburg, Germany.
I chose this text because as I re-read it after many years I was struck at how vividly it brings out a theme that is still relevant today - the clash of cultures, ideas and beliefs that seemingly results in an inability to communicate (or worse). I was also struck by the expressive nature of the language. The more I researched the text the more I was attracted to its musicality and the resulting opportunities for a composition.
Here's a synopsis of the piece written by a knowledgeable fan ... my wife:
The opening few bars of An den Wassern introduce the theme of human anguish that will be portrayed in this musical interpretation of Psalm 137. Based in A minor, the fortissimo and stark combination of organ and percussion are joined rapidly by the choir, who as the tormentors, issue the imperative yet taunting "Singet".
The vibraphone serves to transition the vocal to the captives, and the ensuing melody depicts the deep sorrow of their remembrances. As the music moves away from a smooth legato, the listener hears the details of their history unfold, only to have the captors return to boldly restate their demand "Singet". In response, the lyrics pose the question - how can they sing the songs of their faith in a foreign land? - and a dissonant variant on the theme attempts to convey their confusion.
At the mid-point of the work, the snare drum now joins in to signal a change of heart in their response. As its role gains greater prominence, the snare helps reveal the captives' growing defiance as they swear oaths to their commitment. An animated organ and more dominant tympani and cymbals work alongside the choir as their tale hastens towards a state of pure fury - then concludes with a quiet solemnity that speaks to the heartbreak of their homeland's destruction.
Returning to the haunting original theme, the piece enters its final phase with the captives' spirits unbroken, and they proclaim a horrifying vow to destroy future generations of their enemies. Finally, the choir is split into two to represent the opposing sides of the conflict, and their alternating and slowly diminishing chants re-affirm their unbending will. The solitary organ ostinato repeats simply, until joined by the vibraphone for one sad, final chord that closes this musical depiction of cultural disharmony.
- In Progress -
Right now I'm writing another competition piece, this time for orchestra and due by the end of the year.
Next up (hopefully in parallel with the competition piece) will most probably be some electronic pieces using the Kontakt library, the myriad of synths that comes with my Sonar software, and perhaps even space for some of the great sounds in my Roland hardware synths.
