Luke Kranyak - B.M. 4th-Year Degree Recital
A Kind of Trane (2017)
Guillaume Connesson (b. 1970)
Guillaume Connesson, born in 1970, is currently one of the most widely performed French composers worldwide. Commissions are at the origin of most of his works (Royal Concertgebouw Orchestra, Philadelphia Orchestra, Orchestre National de France...) including Pour sortir au jour, commissioned by the Chicago Symphony Orchestra (2013) and Les Trois Cités de Lovecraft (co-commission of the Netherlands Philharmonic Orchestra and the Orchestre National de Lyon). Moreover, his music is regularly played by numerous orchestras (Brussels Philharmonic, Orchestre National de France, National Symphony Orchestra of Washington, Cincinnati Symphony Orchestra, BBC Symphony Orchestra et al.) Guillaume Connesson draws from every possible artistic world to create his music. He is spurred by books, by art, by contemplation of the universe itself. He is the sum of many musical parts: from French composers like Ravel and Honegger, to American composers like John Adams, to the sounds of disco and hip-hop.
From the Composer (translated from French): “This concerto is conceived as a tribute to the great jazz saxophonist John Coltrane (1926-1967). Coltrane's phrasing, his total freedom of invention, and his mystical virtuosity have nourished my writing. Whether through a melodic album like Ballads (1962) or in the Free Jazz inspired by the famous Love Supreme (1964), his music inspired me to write this "Kind of Trane." The first movement, "There is none other" (a title taken from Coltrane's poem for Love Supreme), opens with the drum beat that began his album. After a slow introduction in which the soloist deploys capricious diatonic phrases, a 5-beat bass in a 4-minute measure begins, leading to the exposition of the main theme, which will be developed in imitation. The movement ends with the calm music of the introduction. The second movement, Ballade, is a long, continuous melody from the soloist that culminates in a grand lyrical outburst from the orchestra. A second theme then appears, accompanied by a steady bass that lends a slow processional quality to the music. When the first theme returns at the end, it gradually deconstructs, ending in a final sigh of sadness. The finale, "Coltrane on the Dance Floor," is an unlikely encounter between two polar opposite musical worlds: Coltrane's unpredictable rhythmic freedom and the robotic character of techno music. This friction between the free and the constrained is the basis of this movement, which culminates in a wild cadenza. The soloist's trance is then supported by a percussion pattern and leads to the unbridled coda. The score concludes with a scream from the soloist, cut short by the orchestra. Writing his first saxophone concerto, he recalled the late, great jazz saxophonist and composer John Coltrane. Coltrane’s playing pushed the limits of instrumental virtuosity, producing what have been called “sheets of sound.” He took music to unknown realms with albums that aimed for a sort of spiritual transcendence. A Kind of Trane is an homage to Coltrane’s albums and to his musicianship.”
Excerpted from Guillaume Connesson’s website
Feast of Memory (2023)
JoAnne Harris (b. 1984)
JoAnne Harris has conducted and recorded film scores at Abbey Road, East West, The Village, and Avatar with artists such as grammy winning Kurt Elling and members of the Hungarian Radio Symphony Orchestra. Her television work includes score for: Mal de Ojo (HBO), 20/20, Primetime, and Dateline. She has orchestrated and conducted scores for blockbusters City of Lies and The Infiltrator. Most recently, she conducted and orchestrated the score for season 2 of Life and Beth (Hulu).
From the Composer: “Shortly after Chance and I started work on this piece, he was offered a job with the United States Army Band “Pershing’s Own”. Saying yes meant ten weeks of basic training, but to play in a wind ensemble of world renown — few say no! After several weeks at basic he was allowed certain reading material and letters from family and friends. From his correspondence, I gathered that the mental game needed to meet the challenges of army initiation had to be much, much sharper. I found that surprising, considering Chance has spent most of his young adult life honing musical skills that are among the best in our country; a feat that requires more than your average dose of bullheaded determination. The extreme physical and mental effort of basic training was compounded by the fact that he had to go without music of his choosing — or without practicing — for SEVENTY days. Chance explained that he was coping by sourcing work that had been etched indelibly on his brain. Remembering music sparked memories, treasures enough to fill a banquet hall, providing nourishment to endure. He wrote that I should listen to Joni Mitchell’s “The Sire of Sorrow (Job’s Sad Song)”. As I listened to recordings when he could not, my own memories took hold. We found in Joni’s music profound reflections of our grandmothers. I wanted to write something to honor the many gifts we’ve received from these five incredible women. They have instilled in us a shared love of the outdoors, the value of a quick wit, an insatiable need to read, and an admiration of well made movies. Mostly, this a work of gratitude for their enduring lessons about resilience and love.”
Excerpted from JoAnne Harris’s Website
Eolienne (1969)
Ida Gotkovsky (b. 1933)
Ida Gotkovsky (born August 26, 1933, in Calais, France) is a distinguished French composer and pianist renowned for her extensive contributions to contemporary classical music. Born into a family of musicians—her father, Jacques Gotkovsky, was a violinist—she was immersed in music from an early age. She pursued her studies at the Conservatoire National Supérieur de Musique in Paris, where she garnered numerous first prizes and studied under prominent figures such as Olivier Messiaen and Nadia Boulanger. Gotkovsky's oeuvre encompasses a wide array of compositions, including chamber music, symphonic works, and pieces for various instruments and voices. Her music is characterized by a unique blend of traditional and modern elements, reflecting the influences of her esteemed mentors. Throughout her career, Gotkovsky has been recognized with several prestigious awards, such as the Grand Prix musical de la Ville de Paris and the Prix Lili Boulanger.
Composed in 1969, "Éolienne" is a notable work by Ida Gotkovsky, originally scored for flute and harp, with an alternative version for saxophone and harp. The title "Éolienne" translates to "Aeolian," relating to the wind, which is reflected in the piece's ethereal and flowing character. The composition showcases Gotkovsky's adeptness at creating rich textures and intricate interplay between the instruments. Harmonically, the piece employs quintal harmonies—chords built on intervals of fifths—focusing predominantly around the notes D, A, E, and B, with occasional mutations to notes related by half steps, such as A-flat or B-flat. This harmonic language contributes to the work's tonal coherence and atmospheric quality. "Éolienne" exemplifies Gotkovsky's ability to blend technical virtuosity with expressive depth, making it a significant addition to the repertoire for flute (or saxophone) and harp.
Excerpted from The Wind Repertory Project and Patricia Jovanna Surman’s DMA Dissertation
Trio #1 for Flute, Alto Saxophone, and Piano (2009)
Russel Peterson (b. 1969)
An accomplished classical/jazz saxophonist, bassoonist, and composer, Russell Peterson holds degrees from Youngstown State University (Ohio), Le Conservatoire de Bordeaux (France), and Bowling Green State University (Ohio), where he studied with Dr. James Umble, Donald Byo, Jean-Marie Londeix, Dr. Jeffery Lyman and Dr. John Sampen. Peterson has served on the faculty at Youngstown State University (Ohio), The University of Toledo (Ohio), Minnesota State University Moorhead, The Interlochen Summer Arts Camp (Michigan), The International Music Camp, and is currently associate professor of saxophone, bassoon and Jazz Ensemble I at Concordia College in Moorhead, Minnesota.
The first movement is a simple, modal movement with brief interchanges between the flute and saxophone. There is a short piano break in the middle. The second movement is based on a Middle East mode. The saxophone and flute both imitate a Middle Eastern oboe called a Duduk.
The last movement was written to display dazzling technical abilities and to show-off a bit! The tempo is marked at quarter note equals 152 and is non-stop in its energy drive.
Excerpted from Concordia College’s Faculty Page and Syrinx Music
Sextour Mystique (1917)
Heitor Villa-Lobos (1887-1959)
This one-movement composition for a unique mixed ensemble is one of the most characteristic early chamber pieces by Brazil's great composer Heitor Villa-Lobos. It has an impressionistic harmonic style, a smooth and Brazilian-inspired melodic line, and a tendency to use active contrapuntal lines. These are all traits of the composer's mature music and give it a sound unlike most any other work. Always a prolific composer, Villa-Lobos had begun to gain recognition in the early years of the decade while still in his twenties. His initial successes included a large proportion of salon music, popular music, and serious works using the strong European Brazilian popular music forms of the day. In 1912, he set off on a journey to explore folk music in the northeastern parts of Brazil. This started him on a series of trips all over the country, seeking to experience and understand the great diversity of music on that nearly continent-sized nation: Music of various groups of Indians, of various tribes of Africans imported during 300 years of slavery in the country, and of various European immigrant groups and their very prolific mixtures were all shaped by the great variety of landscape. By 1917, Villa-Lobos was turning out music of great individuality using these elements. This short chamber piece, lasting at most around eight minutes, evokes the mystery of the remote and barely explored reaches of the country. The orchestration is for two opposed groups of instruments: three woodwinds (flute, oboe, and saxophone) and three coloristic instruments (harp, guitar, and celesta). The three winds primarily intertwine their parts, yet their voices are all distinctive: The flute is bright, smooth, and high. The oboe, with its nasal reed quality, suggests something primitive. The saxophone's mellow color and lower range suggests the depths of the forest. The guitar spends a lot of its effort filling out harmonies. The harp, with its low-plucked notes, appears to extend the bass register of the guitar and often provides a harmonic foundation for the music. The role of the celesta is to add color and the harp and celesta together provide much of the "mystic" quality of the music. The music is in a three-part form and the middle section, which is primarily woodwind solos with chords from the other five instruments, contrasts with the busty, vibrant life-force of the outer sections. The harmonies and the tendency to use parallel chords (including parallel fifths) are clearly influenced by the music of Claude Debussy, but the result is pure Villa-Lobos.
Excerpted from Joseph Stevenson’s description of the piece
Quatuor pour Saxophone (1964)
Alfred Desenclos (1912-1971)
Alfred Desenclos was a French composer whose musical journey was marked by resilience and dedication. Born on February 7, 1912, in Le Portel, Pas-de-Calais, France, Desenclos faced early hardships that interrupted his formal education. To support his large family, he worked in the textile industry during his teenage years. Despite these challenges, his passion for music remained steadfast. In his early twenties, Desenclos pursued studies in piano at the Conservatory in Roubaix. His commitment culminated in winning the prestigious Prix de Rome in 1942, a testament to his exceptional talent and perseverance. Desenclos described himself as a "romantic," and his compositions are celebrated for their expressive depth and atmospheric qualities, rooted in rigorous compositional techniques. His body of work includes sacred music, instrumental pieces, and notable contributions to the saxophone repertoire.
Composed in 1964 for the esteemed Marcel Mule Quartet, Desenclos's "Quatuor pour Saxophones" stands as a significant contribution to the saxophone quartet repertoire. This work exemplifies the French quartet tradition, characterized by its smooth and suave textures. The composition unfolds over three movements, each showcasing Desenclos's adeptness at blending classical form with rich harmonic language and melodic interplay. The first movement opens with a lyrical tenor saxophone solo, setting a contemplative tone that is soon enriched by the entrance of the other saxophones, creating a gentle and cohesive ensemble sound. This introduction leads into a lively and engaging section marked by rhythmic vitality and intricate counterpoint. Desenclos employs a blend of homophonic and polyphonic textures, allowing each instrument to contribute both melodically and harmonically. The movement's structure adheres to a modified sonata form, with a clear exposition, development, and recapitulation, showcasing the composer's mastery of classical forms infused with modern harmonic sensibilities. The second movement begins with the baritone saxophone presenting a slow, expressive eighth-note line, which is then passed to the tenor saxophone, creating a seamless melodic dialogue. This movement is characterized by its introspective and somber mood, achieved through lush harmonies and a slower tempo. Desenclos's use of dynamic contrasts and subtle tempo fluctuations adds to the emotive depth of the movement. The interplay between the saxophones evokes a sense of longing and introspection, highlighting the ensemble's capacity for expressive nuance.
