The Soprano Sax Concerto is a concerto for soprano saxophone and orchestra by the American composer Jennifer Higdon. The work was originally commissioned by the Minnesota Commissioning Club as Higdon's Oboe Concerto and was premiered by oboist Kathy Greenbank and the Saint Paul Chamber Orchestra in 2005. Higdon later reworked the composition, however, and the piece was premiered in its form as a saxophone concerto on August 3, 2007 at the Cabrillo Festival of Contemporary Music by the saxophonist Timothy McAllister and the Cabrillo Festival Orchestra under the conductor Marin Alsop. [1] [2] [3] [4]
A concerto is a musical composition generally composed of three movements, in which, usually, one solo instrument is accompanied by an orchestra or concert band. It is accepted that its characteristics and definition have changed over time. In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by J. S. Bach's usage of the title "concerto" for many of the works that we know as cantatas.
The soprano saxophone is a higher-register variety of the saxophone, a woodwind instrument, invented in the 1840s. The soprano is the third smallest member of the saxophone family, which consists of the soprillo, sopranino, soprano, alto, tenor, baritone, bass, contrabass saxophone and tubax. Soprano saxophones are the smallest saxophone in common use.
An orchestra is a large instrumental ensemble typical of classical music, which mixes instruments from different families, including bowed string instruments such as violin, viola, cello, and double bass, as well as brass, woodwinds, and percussion instruments, each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments.
The Soprano Sax Concerto has a duration of roughly 17 minutes and is composed in a single movement. Higdon described her inspiration for the work in the score program notes, writing:
A movement is a self-contained part of a musical composition or musical form. While individual or selected movements from a composition are sometimes performed separately, a performance of the complete work requires all the movements to be performed in succession. A movement is a section, "a major structural unit perceived as the result of the coincidence of relatively large numbers of structural phenomena".
A unit of a larger work that may stand by itself as a complete composition. Such divisions are usually self-contained. Most often the sequence of movements is arranged fast-slow-fast or in some other order that provides contrast.
I have always been struck by the range of power and beauty that comes from saxophones. I have seen a sax quartet bring a large school room filled with hundreds of children come to a complete halt with one tutti note. Many people don't realize just how much power exists in this group of instruments, and often they may not realize the potential for beauty.The soprano sax in particular produces a tone of warmth and a real agility that allows it to sing like none of the other instruments in this group. So it seemed fitting when I found myself being approached by several saxophonists, to arrange my "Oboe Concerto" for this instrument. There are not a lot of works for the soprano sax in a concerto format; and the ranges of both oboe and soprano are similar. Because the saxophone has more power to it than an oboe, I thought that this instrument would balance the accompanying ensemble quite well, but give listeners a chance to hear its exquisite beauty. [1]
In a later interview with the San Francisco Chronicle , Higdon described the composition an "airplane-hotel project," remarking, "I had the piece on my laptop, and I could work on it while I was sitting in a lobby or an airport terminal. The orchestral part stayed the same; it was just a matter of changing some of the solo notes." [2]
The San Francisco Chronicle is a newspaper serving primarily the San Francisco Bay Area of the U.S. state of California. It was founded in 1865 as The Daily Dramatic Chronicle by teenage brothers Charles de Young and Michael H. de Young. The paper is currently owned by the Hearst Corporation, which bought it from the de Young family in 2000. It is the only major daily paper covering the city and county of San Francisco.
The work is scored for a solo soprano saxophone and an orchestra comprising two flutes (2nd doubling piccolo), oboe (doubling English horn), two clarinets, two bassoons, two French horns, two trumpets, one percussionist, and strings.
The Western concert flute is a transverse (side-blown) woodwind instrument made of metal or wood. It is the most common variant of the flute. A musician who plays the flute is called a flautist, flutist, flute player, or (rarely) fluter.
The piccolo is a half-size flute, and a member of the woodwind family of musical instruments. The modern piccolo has most of the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written. This gave rise to the name ottavino, which the instrument is called in the scores of Italian composers. It is also called flauto piccolo or flautino.
Oboes are a family of double reed woodwind instruments. The most common oboe plays in the treble or soprano range. Oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with metal keys, a conical bore and a flared bell. Sound is produced by blowing into the reed at a sufficient air pressure, causing it to vibrate with the air column. The distinctive tone is versatile and has been described as "bright". When oboe is used alone, it is generally taken to mean the treble instrument rather than other instruments of the family, such as the bass oboe, the cor anglais, or oboe d'amore
Reviewing the world premiere, Jeff Dunn of the San Francisco Classical Voice praised the concerto, writing, "This was a rewrite of her 2005 Oboe Concerto (which I have not heard), and it was superbly realized by soloist Timothy McAllister. Higdon is now the most-performed living composer in the U.S. and Canada — deservedly so. Her melodic and orchestration skills are formidable, and she can reach audiences without having to pander to them." He added, "The single-movement concerto consisted of long stretches of ever-evolving melisma, with phrases cleverly imitated by other solo instruments in a way that seemed to weave a tapestry to the glory of melody. This work, and perhaps the oboe concerto as well, is a significant testament to beauty." [5] The conductor Marin Alsop, who gave the Soprano Sax Concerto its world premiere, described the piece as "a lyrical and poignant essay for sax and orchestra". [6]
Marin Alsop ['mɛər.ɪn 'æːl.sɑːp] is an American conductor and violinist. She is currently music director of both the Baltimore Symphony Orchestra and the São Paulo State Symphony Orchestra, and chief conductor designate of the Vienna Radio Symphony Orchestra.
Jennifer Elaine Higdon is an American composer of classical music and composition teacher. She has received many awards including the 2010 Pulitzer Prize for Music for her Violin Concerto and two Grammy Awards for Best Contemporary Classical Composition - the first in 2009 for her Percussion Concerto, the second in 2018 for her Viola Concerto. The latter was on an album of her music, Higdon: All Things Majestic, Viola Concerto, and Oboe Concerto, that won the 2018 Grammy for Best Classical Compendium.
David Frederick Stock was an American composer and conductor.
Jennifer Higdon's Concerto for Violin and Orchestra was written in 2008. The work was jointly commissioned by the Indianapolis Symphony Orchestra, the Toronto Symphony Orchestra, the Baltimore Symphony Orchestra, and the Curtis Institute of Music. It was composed for the violinist Hilary Hahn and was given its world premiere by Hahn and the Indianapolis Symphony Orchestra under the conductor Mario Venzano on February 6, 2009. The piece was later awarded the 2010 Pulitzer Prize for Music.
Timothy McAllister is an American classical saxophonist and educator. Born in 1972, he gave his solo debut at age 16 with the Houston Civic Symphony. As a teenager he attended the Interlochen Center for the Arts, where he was a pupil of Dr. John Sampen. He studied saxophone with Donald Sinta and conducting with H. Robert Reynolds at the University of Michigan. He holds a Bachelor of Music (1995), the Albert A. Stanley Medal (1995), Masters of Music (1997), and a Doctor of Musical Arts (2002). As of 2014 he has been appointed to the position of Associate Professor of Saxophone at the University of Michigan School of Music, Theatre and Dance a title held previously by Donald Sinta and Larry Teal. Each summer he teaches saxophone at Interlochen with his PRISM Quartet. Prior to his post at Michigan, he succeeded Dr. Frederick Hemke at Northwestern University following his retirement after 50 years of teaching.
The Concerto for Orchestra is an orchestral composition by the American composer Christopher Rouse. The work was commissioned by the Cabrillo Festival of Contemporary Music and is dedicated to conductor and frequent Rouse collaborator Marin Alsop. The piece was completed February 24, 2008 and premiered at the festival August 1, 2008, with Marin Alsop leading the Cabrillo Festival Orchestra.
The Percussion Concerto is a one-movement concerto for solo percussion and orchestra by the American composer Jennifer Higdon. The work was jointly commissioned by the Philadelphia Orchestra, the Indianapolis Symphony Orchestra, and the Dallas Symphony Orchestra, with contributions from the Philadelphia Music Project and the Lacy Foundation of LDI, Ltd. The piece was completed in 2005 and is dedicated to the percussionist Colin Currie, for whom the concerto was written. The piece won the 2010 Grammy Award for Best Classical Contemporary Composition. That same year, Higdon won the Pulitzer Prize for Music for her Violin Concerto (2008).
The Concerto for Orchestra is an orchestral composition in five movements by the American composer Jennifer Higdon. The work was commissioned by the Philadelphia Orchestra with contributions from the National Endowment for the Arts, the Philadelphia Music Project, and Peter Benoliel. It was premiered at the Kimmel Center for the Performing Arts in Philadelphia June 12, 2002, with conductor Wolfgang Sawallisch leading the Philadelphia Orchestra.
The Piano Concerto is a concerto for solo piano and orchestra by the American composer Jennifer Higdon. It was commissioned by the National Symphony Orchestra and was first performed December 3, 2009 at the John F. Kennedy Center for the Performing Arts in Washington, D.C.. The premiere featured pianist Yuja Wang and the National Symphony Orchestra under conductor Andrew Litton.
Concerto 4-3 is a concerto for two violins, double bass, and orchestra in three movements by the American composer Jennifer Higdon. The work was commissioned for the string trio Time for Three by the Philadelphia Orchestra, the Pittsburgh Symphony Orchestra, and the Wheeling Symphony Orchestra. It was first performed in Philadelphia on January 10, 2008, by Time for Three and the Philadelphia Orchestra conducted by Christoph Eschenbach.
Dooryard Bloom is a composition for solo baritone and orchestra by the American composer Jennifer Higdon. The work was commissioned by the Brooklyn Philharmonic in 2004 and was premiered on April 16, 2005 by the baritone Nmon Ford and the Brooklyn Philharmonic under the conductor Michael Christie. The piece is adapted from the poem "When Lilacs Last in the Dooryard Bloom'd" by the American author Walt Whitman.
Fanfare Ritmico is a single-movement orchestral composition by the American composer Jennifer Higdon. The work was commissioned by The Women's Philharmonic as part of The Fanfares Project. It was given its world premiere in March 2000 by conductor Apo Hsu and the Women's Philharmonic.
Loco is an orchestral composition in one movement by the American composer Jennifer Higdon. The work was commissioned by the Ravinia Festival of Highland Park, Illinois to commemorate the Ravinia train as part of the Train Commission Project. It was first performed on July 31, 2004 at the Ravinia Festival by the Chicago Symphony Orchestra.
The Singing Rooms is a concerto for solo violin, choir, and orchestra by the American composer Jennifer Higdon. The work was jointly commissioned by the Philadelphia Orchestra, the Atlanta Symphony Orchestra, and the Minnesota Orchestra. It was first performed on January 17, 2008 in Philadelphia by the violinist Jennifer Koh, The Philadelphia Singers, and the Philadelphia Orchestra under the conductor Christoph Eschenbach. The text of the piece is set to poems by Jeanne Minahan.
The Oboe Concerto is a concerto for a solo oboe and orchestra by the American composer Jennifer Higdon. The work was commissioned by the Minnesota Commissioning Club and was premiered on September 9, 2005 by the oboist Kathy Greenbank and the Saint Paul Chamber Orchestra. Higdon later reworked the piece into her Soprano Sax Concerto in 2007.
blue cathedral is an orchestral composition by the American composer Jennifer Higdon. The work was commissioned by the Curtis Institute of Music in 1999 to commemorate the conservatory's 75th anniversary. It was first performed in 2000 by the Curtis Institute of Music Symphony Orchestra. The piece is dedicated to the memory of Higdon's brother and is one of the composer's most performed works.
The Saxophone Concerto is a composition for alto saxophone and orchestra by the American composer John Adams. The work was jointly commissioned by the Sydney Symphony Orchestra, the St. Louis Symphony, the Baltimore Symphony Orchestra, and Orquestra Sinfônica do Estado de São Paulo Foundation. It was given its world premiere in Sydney, Australia on August 22, 2013 by the saxophonist Timothy McAllister and Sydney Symphony Orchestra under the direction of Adams.
The Low Brass Concerto is a concerto for four solo low brass instruments and orchestra by the American composer Jennifer Higdon. The work was commissioned by the Chicago Symphony Orchestra for their renowned low brass section and co-commissioned by the Baltimore Symphony Orchestra and the Philadelphia Orchestra. It was composed in 2017 and was first performed by the Chicago Symphony Orchestra under the direction of Riccardo Muti on February 1, 2018.