My Music
Caprice en Forme de Valse
Paul Bonneau (1918-95)
Born in Moret-sur-loing, France, Paul Bonneau’s lengthy career demonstrated his versatility as a composer and a conductor. As a student at the Conservatoire National Supérieur de Paris, he won awards in harmony, fugue, and composition. In 1945 he became the bandmaster of the French Republican Guard Band, a group with duties similar to those of “The President’s Own” United States Marine Band. Upon his resignation from the army, Bonneau became a conductor for the French national broadcasting organization Radiodiffusion- Télévision Française (RTF). With RTF he conducted hundreds of radio broadcasts, specializing in light classical music. During his time with both the Republican Guard and RTF, Bonneau composed prolifically, writing for fifty-one films, eleven ballets, and several operettas. In addition to these dramatic works, he composed substantial works such as Ouverture pour un Drame, a concerto for saxophone and orchestra, and the clever Un Français à New York dedicated to the memory of George Gershwin as an answer to his beloved An American in Paris.
Composed in 1950 for solo saxophone, Bonneau’s Caprice en Forme de Valse takes a brief, rollicking ride through several whimsical themes united by their waltz character. The composer states his thematic segments plainly before proceeding to develop them through variation, transposition, and truncation. Each section presents a snapshot of a waltz, some dancing with effervescence and others singing sweetly. The piece concludes with brief restatements of the opening themes followed by an exuberant coda. Virtuosic in both its compositional ingenuity and technical demands, the Caprice en Forme de Valse endures as one of Bonneau’s most popular compositions.
Excerpted from The President’s Own - Chamber Music Series concert program
The Sweet Notes Strolling Band
What's that you hear? It's the sweetest sounds of live music coming from none other than THE SWEET NOTES! This strolling brass band can be seen AND HEARD throughout the park as you make memories, and they make memorable music! Be sure to listen for... THE SWEET NOTES!
Luke Kranyak, alto saxophone
Coby Heath, trumpet
Matthew Mussmacher, trombone
Caiden Flowers, tuba
Thomas Morris, drums
Concertino da Camera (1935)
Jacques Ibert (1890 - 1962)
Concertino Da Camera, written in 1935 by Jacques Ibert (1890-1962) is a small concerto for alto saxophone and eleven instruments: flute, bassoon, oboe, horn, trumpet and strings. This concertino in two movements, Allegro con moto and Larghetto Animato Molto is dedicated to the saxophonist Sigurd Rascher and stands out for its large use of the alto saxophone. It can be technically challenging and has a strong lyrical part.
Excerpted from The Wind Repository Project
Variations Saxophoniques Quatuor de Saxophone (1939)
Fernande Decruck (1896 - 1928)
Born and taught in France, Fernande Decruck studied organ and composition at the Paris Conservatory. Her organ studies later brought her to New York, where she married her husband Maurice who was a saxophonist in the New York Philharmonic. As a pioneering female composer of the early 20th century, she left an indelible mark on the world of classical music with her innovative compositions. Among her notable works stands "Variations Saxophoniques," a captivating piece that showcases her mastery of both the saxophone and orchestral composition. Written in 1939, the piece traverses through a myriad of emotions and moods, displaying Decruck's intricate understanding of melodic development and harmonic progression. Through its virtuosic passages and harmonic movements, "Variations Saxophoniques" remains a testament to Decruck's enduring legacy as a trailblazer in the realm of both composition and performance.
Roles of Matter (2024)
Han Hitchen (b. 1997)
As living entities, we take up space. We often have opportunities to be the center of attention, taking up the entire space with nothing but ourselves. Other times, we play a role in a larger operation, and that larger picture is what captures everyone’s attention rather than the individuals within the
Roles of Matter is a work for soprano saxophone and effect pedals written for Luke Kranyak.
Nica’s Dream (1954)
Horace Silver (1928 - 2014)
Horace Silver was a pivotal figure in jazz, renowned as both a pianist and composer. Born in 1928 in Norwalk, Connecticut, Silver's musical journey began with his father's love for Cape Verdean and Portuguese folk music. He later delved into jazz, drawing inspiration from the likes of Art Tatum, Bud Powell, and Thelonious Monk. In the 1950s and 1960s, Silver emerged as a leading force in the hard bop movement, a style characterized by its soulful melodies, bluesy grooves, and a strong rhythmic drive. His compositions often featured catchy, memorable melodies and sophisticated harmonies. Notable performers who collaborated with Silver include trumpeter Blue Mitchell, saxophonist Hank Mobley, and drummer Art Blakey. Silver's musical concepts were deeply rooted in the blues and gospel traditions, infusing his compositions with a sense of joy and exuberance. His rhythmic sensibility, influenced by his Cape Verdean heritage, added a unique flavor to his music, marked by infectious grooves and syncopated rhythms.
Among Silver's compositions, "Nica's Dream" stands out both musically and historically. Inspired by Pannonica de Koenigswarter, a patroness of jazz and friend to many musicians, the piece captures a sense of mystery and allure. Its modal structure and evocative melody reflect the influence of modal jazz, a style pioneered by Miles Davis and others in the late 1950s. "Nica's Dream" serves as a testament to Silver's compositional prowess and his ability to capture the zeitgeist of his time.
Stolen Moments (1961)
Oliver Nelson (1932 - 1975)
Oliver Nelson, a multifaceted force in jazz, was born in 1932 in St. Louis, Missouri. His musical journey began with the saxophone and clarinet, eventually leading him to become one of the most revered arrangers and composers in the genre. His early influences ranged from the bebop of Charlie Parker to the classical compositions of Igor Stravinsky. Nelson's career spanned several decades, during which he collaborated with some of the most esteemed performers in jazz, including Eric Dolphy, Freddie Hubbard, and Cannonball Adderley. His work as an arranger and composer set him apart, showcasing his mastery of orchestration and his ability to infuse traditional jazz forms with elements of blues, soul, and even avant-garde experimentation.
Notable for his ability to seamlessly blend different musical styles, Nelson's compositions often featured lush harmonies, intricate melodies, and dynamic arrangements. His landmark album "The Blues and the Abstract Truth" exemplifies this approach, with its fusion of traditional blues structures and modern jazz sensibilities. Tracks like "Stolen Moments" and "Hoe-Down" have become jazz standards, admired for their rich textures and emotional depth. Nelson's musical concepts were marked by a desire to push the boundaries of jazz while still honoring its roots. He experimented with different forms and structures, incorporating elements of modal jazz, free jazz, and even orchestral music into his compositions. His arrangements were meticulously crafted, highlighting the strengths of each individual performer while creating a cohesive ensemble sound.
"Stolen Moments" is a masterpiece that transcends traditional jazz boundaries, drawing inspiration from both blues and modern jazz sensibilities. The composition's title itself suggests a sense of mystery and intrigue, evoking the idea of fleeting, stolen encounters. Musically, the piece unfolds with a hauntingly beautiful melody, carried by a rich ensemble sound. Nelson's masterful orchestration weaves together individual voices, creating a tapestry of sound that is both captivating and emotive. The inspiration behind "Stolen Moments" lies in Nelson's desire to explore the intersection of traditional blues structures and contemporary jazz expressions. The piece reflects Nelson's commitment to pushing the boundaries of jazz while still honoring its roots, resulting in a timeless composition that resonates with audiences to this day.
Strasbourg St. Denis (2008)
Roy Hargrove (1969 - 2018)
Trumpeter Roy Hargrove, who was born on October 16 in Waco, Texas, in 1969, was an early participant in the growing conversation between jazz, hip-hop, contemporary R&B and neo-soul. A standout trumpet player in his youth, Hargrove was discovered while still in high school by trumpet kingmaker Wynton Marsalis, who asked the young horn player to join him on tour. Hargrove went on to build a wildly successful career in jazz, recording numerous albums that showed off his muscular technique, full-bodied tone and melodic accessibility. But his biggest claim to fame was as a bridge-builder between jazz and hip-hop, genres that he saw as virtually inseparable.
Strasbourg - St Denis is a station on Line 4, 8, and 9 of the Paris Métro. Opened in 1908 under the name Boulevard Saint-Denis, it took its current name in 1931, which refers to Rue Saint-Denis and the Boulevard de Strasbourg. Originally released on Hargrove’s 2008 album “Earfood”, Strasbourg St. Denis features Hargrove’s working band, Justin Robinson on alto/tenor sax and flute, Gerald Clayton on piano, Danton Boller on bass, and Montez Coleman on drums. A simple song built off of just a few repeating chords, it’s power lies in the super-tight groove set up by the rhythm section and the strong melody, which alternates between a dancing unison horn line and a displaced descending line. It is speculated that with these two contrasting lines Roy was trying to give us a flavor of the Paris metro stop for which the song was named.
Excerpted from Brian Zimmerman’s Article and Jason Parker’s Article
Paganini Lost
Jun Nagao (b. 1964)
Paganini Lost by Jun Nagao is a discovery for this listener, adding to the ever-growing body of work based on Paganini’s twenty-fourth Caprice (along with Brahms, Rachmaninoff, Witold Lutosławski, Robert Muczynski, and numerous others). A welcome addition in a jazzy idiom, it affords exciting solo moments not only for each saxophonist but also for the pianist, who manages fistfuls of notes and difficult rhythms.
Excerpted from The New York Concert Review
Concerto for Alto Saxophone & Wind Ensemble
David Maslanka (1918-95)
This concerto turned out to be a good deal larger than I would reasonably want. As I got into the composing, the ideas became insistent: none of them would be left out! The format of Songs and Interludes arises from my other recent works for saxophones (“Mountain Roads” for saxophone quartet and “Song Book” for alto saxophone and marimba) and suggests a music that is more intimate than symphonic. There is a strong spiritual overtone with quotes from Bach Chorales, and from my own works “Hell’s Gate” and “Mass.” A story is hinted at which has the Crucifixion right smack in the middle – the climax of the third movement quotes the “Crucifixus” from the “Mass.” I don’t know what the story is, only that it wants to be music, and not words.
Excerpted from David Maslanka’s Program Notes