Don Freund's EDGE: Saxophone Quartet performance video
20:49

Don Freund's EDGE: Saxophone Quartet performance video

For a quick sample check out Blues at 13:40 and Swing Tune at 16:28. But please listen to all of this brilliant performance! For scrolling score and performance video: https://youtu.be/6VQGuNilA2I Don Freund's EDGE Saxophone Quartet from March 2, 2019 recital, IU Jacobs School of Music, Auer Hall. Empyrean Saxophone Quartet Derek Granger, soprano Catelyn Hawkins, alto Wesley Taylor, tenor Paul Cotton, baritone March 2, 2019/Auer Hall, IU Jacobs School of Music.  EDGE: Saxophone Quartet was commissioned by Allen Rippe for the Memphis Saxophone Quartet. Its ambitious scope is based on the assumption that the medium of the saxophone quartet has been around long enough to aspire to the artistic depth of string quartets by Ligeti, Lutoslawski and Zorn. The "edge" idea is to be felt in all kinds of ways: for examples, the rough edge of torn paper, the gleaming edge of a blade, the piercing edge of a laser, the edge which separates contrapuntal voices, the perceptual edge between conflicting musical styles, the twilight between light and darkness, the thin edge between existence and nothingness. The form of the work is sectional, exploiting various kinds of edges between sections. Here is a little sectional guided tour: Schizo-intro 00:12; riveting repeating notes 01:33; clockworks 03:00; gigue-motet 05:08; four-voice style-canon stew 07:11; filigree chorale 08:55; blocks of contrasts 11:21; sixteenths city  12:28; blues 13:40; swing-tune 16:28; minimal E-D-G-E 18:23; ghost melody 19:00.
Wood Song by Jenni Brandon (Derek Granger, saxophone)
08:28

Wood Song by Jenni Brandon (Derek Granger, saxophone)

"Wood Song for soprano saxophone (2021), originally for oboe (2019), was inspired by the Sara Teasdale (1884-1933) poem of the same name. I was particularly drawn to this poem for both the reference to the wood thrush bird as well as the poet’s honesty of kissing life “scars and all”. The colors of the oboe lend themselves to creating this bird’s ethereal and mysterious sounds, and of telling the journey of a soul through poem and music. Among the many unique sounds made by this bird includes the 'pit volley'. This sound is represented in the work by five quick repeated notes in a row punctuating the moment as the wood-thrush does in the forest. Variations on other unique sounds from the wood thrush’s repertoire are represented by both timbral and regular trills, fast rhythmic leaping lines, and, at times, the lyrical singing of a lone bird in the woods. In remaining true to both the bird’s call as well as the poet’s description of it, the very opening of the work begins with a transcription of one of these birds’ songs 'twirling three notes'. Throughout the work there is much freedom given to the oboist to explore creating the song of the wood thrush. Listen for variations and interpretations on their unique song." This work (oboe version) was commissioned by Dr. Lindabeth Binkley with a Faculty Research and Creative Endeavors Grant from Central Michigan University. This is the premiere of the soprano saxophone version, arranged by the composer, from the 2022 International Conference for Saxophone Pedagogy and Performance. https://www.jennibrandon.com Please like and subscribe! More music, free arrangements and more are available at https://www.derekgrangermusic.com. Thanks for listening!
Sequenza IXb by Luciano Berio (Derek Granger, saxophone)
14:31

Sequenza IXb by Luciano Berio (Derek Granger, saxophone)

Luciano Berio was born in Oneglia, Italy in 1925. His father and grandfather, both organists and composers, gave him his musical start as a pianist. Berio was conscripted into the army during WWII, where he injured his hand, leading to his eventual turn to composition after the war. Through his studies with Dallapiccola, Boulez, Stockhausen, Ligeti, among others, Berio became interested in serialism and electronic music. His award-winning compositional output includes music for orchestra, voices, stage works, electro acoustic works, transcriptions of his and others’ works, and the virtuosic Sequenze. Berio passed away in 2003. The Sequenze are a collection of 14 solo works, composed over 38 years. Each work tests and exploits the technical and acoustical limits of the instrument or voice it was written for. The Sequenze are virtuosic, though sheer virtuosity was not their aim. Berio stated that the ideal interpreter of this music bears “...above all, a virtuosity of knowledge,” implying that the technical difficulty exists to serve the musical structure of the works. The Sequenza IXb is Berio’s own transcription of Sequenza IX, written for clarinet in 1980. He says of the work: “Sequenza IX...is essentially a long melody implying - like almost every melody - redundancy, symmetries, transformations and returns. Sequenza IX is also a “sequence” of instrumental gestures developing a constant transformation between two different harmonic fields: a seven-note one (F sharp, C, C sharp, E, G, B flat and B natural) appearing always in the same register, and a five-note one appearing in ever-different registers. The latter penetrates, modifies and comments on the harmonic functions of the first seven-note field.” (notes by Derek Granger) Please like and subscribe! More music, free arrangements and more are available at https://www.derekgrangermusic.com. Thanks for listening!

Additional performance videos are available in Projects and Arrangements