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Eric Biddington  

Cavatine

Duration: 04' 00" Year: 1997
for alto saxophone and piano

Kit Powell  

Chance Piece for Saxophone and Tape

 Year: 2008, r. 2010
for saxophone (preferably Baritone or Bass) and tape (ie CD)

Eve de Castro-Robinson  

Countercurrents

Duration: 12' 00" Year: 1989
for tenor saxophone

Briar Prastiti  

Crunch Time

Duration: 03' 50" Year: 2011
for solo saxophone and fixed media

Matthew Davidson  

Deux Plaisenteries

Duration: 05' 00" Year: 1988, r. 1993
for E flat alto saxophone and piano

  • Programme Note

    ‘Roll Jordan Roll’ (movement one) is a series of genre variations on the African-American spiritual of the same name. The melody was transcribed from a 78rpm recording of the Fisk Jubilee Singers, and in turn, this appeared on the 1962 Folkways LP entitled An Introduction to Gospel Song. In my version, the listener will hear my own harmonization followed sequentially by pastiches of Karlheinz Stockhausen, Lennie Tristano, Anton Webern, and Thelonious Monk, in turn.

    ‘Dangdut’ (movement two) is a direct transcription of an Indonesian street musician called Mas Sujud. He and the tune appeared on a 1982 Kiwi-Pacific Records Ltd./Hibiscus Records LP called Music for Sale (Indonesian street music recorded by Jack Body). In the original, the singer accompanies himself on a small drum, and in my version, the piano part was generated solely by the notes in the melody and rhythms played by the drum. The sax part plays the melody.

    This piece was recorded in 1991 by Taimur Sullivan (sax) and Allissa Eells (piano) with funding from the American (then Minnesota) Composers Forum.

  • Availability

Eric Biddington  

Four Latin American Dances

Duration: 05' 00" Year: 1997
for alto saxophone and piano

Yvette Audain  

Grooves Unspoken

Duration: 04' 00" Year: 2009
for saxophone and piano

Yvette Audain  

Hazine (Treasure)

Duration: 09' 00" (can vary) Year: 2008, r. 2009
for solo saxophone

  • Programme Note

    Egyptian Ella and The Sheik of Araby have always been two of my favourite tunes to play as a jazz clarinetist. I have also dabbled in gypsy-influenced musics with a couple of friends in the folk instrumental band Doris. These influences have certainly come through in this piece, but mainly it was my work in music education that inspired me to write a piece with a Middle Eastern flavour, as among the many students with whom I am blessed is a tenor saxophonist from Turkey. Hence my choice of title, Hazine – pronounced ‘ha-ZEE-nay’ – being a Turkish word.

    I have also been working to expand my own modal knowledge, in this piece choosing to explore several darker modes (locrian, for example) with which I am not as familiar as I am with the more common ones (such as dorian). Another scale I have chosen to feature is a Turkish makam.

    Yvette Audain

  • Availability

Dugal McKinnon  

Homage to the Night Sky's Debris

Duration: 07' 00" Year: 1995
for solo baritone saxophone

  • Programme Note

    Homage was written for saxophonist Rachel McLarin, who premiered the work. The night sky’s debris to which the work claims to pay homage has been forgotten by the composer, perhaps signalling the piece was always more significant than the occasion which nominally gave rise to it. Given one cannot literally write down the night sky (or its debris), any more than one can pull it down, it is unsurprising that a juxtapositional collection of motifs captured on manuscript paper should outlive any given evening. The piece, with its calls, upward arcs and gentle falls, may loosely suggest some kind of homage to an unreachable sky, but this relationship is a rebus better left to sing for itself.

  • Availability

Eric Biddington  

Introduction and Allegro

Duration: 04' 00" Year: 1994
for alto saxophone and piano