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Tom Myer
Saxophone
Joseph Lukasik · Concertino
Chris Theofanidis · Netherland
John Harbison · San Antonio
Richard Tisinai · Trio
David Gillingham · Alto Saxophone Sonata
Joseph Lukasik
Concertino (1992) for alto saxophone and electronic sounds
Concertino (1992) was written specifically for Tom Myer who premiered the work at the World Saxophone Congress in Pesaro, Italy in 1992. The Concertino requires a supreme command of the altissimo register (one passage in the first movement includes a written double F# above the staff), and knowledge of the jazz idiom since sections of the piece are based on improvisation of John Coltrane.
Movement I, "A Few Opening Remarks" is meant to grab the listener's attention from the start with its aggressive syncopated rhythms, extreme dynamic contrasts, and virtuosic pyrotechnics for the soloist. A respite follows with the opening of the second movement, Nocturne, where a simple vocalise-like melody entices the listener into the composer's interpretation of the night world. The final movement, Moto Perpetuo, in a lighter mood, finishes the work in a lively fashion reminiscent of the opening.
Mr. Lukasik is on the music theory and jazz faculties at the University of Colorado at Boulder. In 1993, he received first prize in the Barlow International Composition Competition.
Joseph Lukasik
Chris Theofanidis
Netherland (1992) for alto saxophone and piano
Netherland (1992) was commissioned by Worldwide Concurrent Premieres and Commissioning Fund, Inc. as a consortium commission. At the time, I wrote two versions one for saxophone and piano and one for saxophone and orchestra. I eventually added a third movement to the orchestral version and renamed it, Concerto (1994) for alto saxophone and orchestra. Tom Myer is one of the amazing performers who originally premiered the work, and he is performing the original two-movement version with piano.
Both movements are very intense and demand a great deal of focus and energy from the soloist. The first movement, "a stream of pulses; labored, intense," places the lyrical, freely flowing writing of the saxophone against a very rigorous piano part. The tension comes primarily from the piano, which although is basically rooted in a quarter-note pulse, often interrupts itself with momentary pulses at other speeds.
The second movement, "brutal; swirling, out of focus" is quite fast and dizzingly chromatic, placing the saxophonist in a sea of running notes with a very tenuous center of tonal and rhythmic gravity. The general feeling is frenetic and out of control, and this intensity pushes to the very last note of the piece which is almost like a scream of desperation. The combative nature of the dialogue between the saxophonist and the pianist further exacerbates the chaos of this movement.
Chris Theofanidis
John Harbison
San Antonio, Sonata for alto saxophone and piano
I. The traveler has a free afternoon in San Antonio. It is August, 105 degrees. Expecting to start with the cool promenade along the river, he is instead lured by a sound. He follows it up a long stairway and finds himself in a little fiesta: a hot square, many people, no shade, a few people dancing to a fast beat, the band playing and singing in Spanish.
II. The first dancers finish, exhausted. Then, as if on cue, the whole crowd gets into a line of people of all ages, nine to ninety. They all know the steps, which change with the phrases.
III. The music changes again becoming slower. The people continue on in couples. No one seems to feel the heat and the band hardly stops. Everyone, the traveler included, sinks into it. Towards the end, a young girl asks the traveler to dance. He declines.
But a year later, when the tourist puts down the memory of the sounds, something about a saxophone, and a few rhythms in his distorted memory, he accepts.
San Antonio is published by Associated Music Publishers Inc. (BMI), New York, © 1995.
John Harbison
Richard Tisinai
Trio for alto saxophone, harp, and contrabass
The Trio for alto saxophone, harp, and contrabass has three movements that highlight each player as a soloist as well as exploring the ensemble as a unique mixture of timbres and capabilities. Tunes reign supreme in this piece! The first movement, the delightful Pastorale echoes the past with lyric sentimentality in the harp theme and an "impressionistic" accompaniment. The thoughtful melody of the middle movement, Meditation, features the lonely saxophone followed by a contrabass solo. The third movement, Allegro pushes the trio into rapid interplay led by the agile saxophone. Many thanks to the excellent performance and valued input from the players on this recording!
Richard Tisinai
David Gillingham
Alto Saxophone Sonata
The Alto Saxophone Sonata was premiered at the World Saxophone Congress in Japan in 1988 by John Nichol, Professor of Saxophone at Central Michigan University, with David Gillingham at the piano.
The first movement is structured in a sonata design preceded by a slow and plaintive introduction. The allegro portion of the movement features an athletic primary theme which requires rapid tonguing and fingering and a more lyrical, but angular, secondary theme. A mystical chaconne with nine variations comprises the second movement. The third movement is cast in sonata-rondo form with a driving primary theme accompanied by triplet figures in the piano and a very tuneful secondary theme. A frantic tempo governs this movement from its intense beginning to its wild and flourishing ending.
The Alto Saxophone Sonata is published by MMB Music. David Gillingham is Professor Music Composition at Central Michigan University in Mt. Pleasant, Michigan.
David Gillingham
Notes provided by the composers.
Tom Myer
Tom Myer is the Professor of Saxophone for the College of Music at the University of Colorado at Boulder and has served as the Director of Jazz Studies from 1988-95. He received his M.M. degree in woodwind performance and jazz studies from North Texas State University. He earned his undergraduate degree in music education from the University of Wisconsin-LaCrosse. Professor Myer has also served as Instructor of Woodwinds and Director of Jazz Studies at East Texas State University. He worked professionally for Woody Herman, Nelson Riddle, Norwegian Cruise Lines, Ice Capades, Disney World, and backed such names as Dave Grusin, Doc Severinson, Bob Hope, Lou Rawls, Natalie Cole, Ray Charles, Nancy Wilson, Dionne Warwick, Dianne Carroll, Barbara Mandrel, Mel Torme, Rosemary Clooney and numerous others. He has premiered concerti and performed jazz at the 10th World Saxophone Congress in Pesaro, Italy and the 11th World Saxophone Congress in Valencia, Spain. Mr. Myer has also premiered works by Thomas Ades, George Crumb, John Harbison, Chris Theofanidis, Richard Toensing, and Michael Torke. Tom Myer can be heard on Capri Records with the Fred Hess Sextet featuring Art Lande and Ron Miles and has also recorded with Joel Kay's Neophonic Jazz Orchestra on the Vartan Jazz label.
Robert Spillman
Robert Spillman, Chair of the Keyboard Department at the University of Colorado at Boulder, received degrees in piano and theory from the Eastman School of Music and then studied privately in New York City with Sergius Kagan and Arthur Balsam. From 1964 to 1973 he lived in Germany, first as a Fulbright Scholar and later as an accompanist to such artists as Rita Streich, Barry McDaniel, James King, James Galway, and Wolfgang Boettcher. From 1973 to 1987 Professor Spillman was on the faculty of the Eastman School of Music, coaching opera and teaching piano, accompanying, and vocal literature. He was Co-Director of the Opera Theatre Center of the Aspen Music Festival for many years, and he travels extensively in the United States and Europe as soloist, accompanist, adjudicator, and guest teacher. His book The Art of Accompanying was published by Schirmer Books in 1985, Sightreading at the Keyboard was released by the same publisher in 1990, and Poetry Into Song was published by Oxford University Press in 1995. Mr. Spillman has recorded for Mercury, Pro Arte, Arabesque, Vox, and Musical Heritage. He has remained active throughout the U.S. as an accompanist for such artists as Jan De Gaetani, Sylvia Rosenberg, Yehuda Hanani, Paul Sperry, and Lucy Shelton. Professor Spillman is Music Director and Conductor of the University of Colorado Lyric Theatre Program.
Paul Erhard
Paul Erhard is Assistant Professor of Double Bass and a founding member of the Faculty Jazz Quintet. He and College of Music composition professor Luis Gonzalez perform regularly as the Erhard/Gonzalez Double Bass and Piano Duo. Before coming to the University of Colorado in 1986, Dr. Erhard lived in New York and was principal bass of the Soviet Emigre Orchestra, the Queens Philharmonic, and the Albany Symphony. In 1984, he won the Juilliard Double Bass Concerto Competition and performed the Morati Double Bass Concerto at Lincoln Center with conductor Isaah Jackson. Dr. Erhard performs and teaches extensively in the United States and Europe. He currently has a grant to compose works for the double bass with varied instrumental accompaniment, combining aspects of jazz and classical styles. His B.M.A. degree is from the Eastman School of Music, and his M.M. and D.M.A. degrees are from the Juilliard School.
Tanya Gille
Tanya Gille is Associate Professor of Piano at the University of Colorado at Boulder. Her degrees include a Doctor of Musical Arts from the Eastman School of Music and Bachelor's and Master's Degrees from Indiana University where she studied with Jorge Bolet. A frequent performer of contemporary music, she is a member of the ARTEMIS Ensemble with percussionists Marta Ptaszy´nska and Amy Barber and pianist Vergie Amendola. In recent years, she has played most of the chamber music of George Crumb, teaching seminars with the composer in the United States and abroad and performing his works in tours of Eastern Europe. This has included recitals for the Prague Spring International Music Festival and Festival Ljubljana. Dr. Gille has received numerous grants including recent awards from the Fund for U.S. Artists at International Festivals and Exhibitions. She has also been an active clinician, adjudicator, and panelist in many programs for the Music Teachers National Association and the National Piano Pedagogy Conference. Before moving to Colorado, she was Chair of the Music Department at Texas Wesleyan University.
Pamela Eldridge
After completing her Master's Degree in Music Performance at the New England Conservatory of Music, Pamela moved to Colorado. She quickly established a reputation for excellence and became principal harpist for both the Fort Collins and Cheyenne Symphony Orchestras. She currently also performs with the Colorado Symphony and the Colorado Music Festival. Pamela maintains an active teaching studio where she teaches Suzuki harp to students aged 4 to 70.
Recording Engineers: Fred Johnson and Joe Lukasik (Concertino only)
The Harbison San Antonio and the Theofanidis Netherland were both commissioned by the Worldwide Concurrent Premieres Commissioning
Fund, Inc.
This recording is made possible through a grant from the Council on Research and Creative Work at the University of Colorado at Boulder.
A very special thanks to my teachers Ruben Haugen, Greg Balfany, Jim Riggs, and to my parents for their never ending love and support. Also, thank you Ina and Gregory for your love and tolerance!
Tom Myer
Cover Photo: © Craig Hartley, Riverwalk At Night, San Antonio, FPG International
Tom Myer, saxophone
Joseph Lukasik
Concertino (1992) for alto saxophone and electronic sounds
I. "A Few Opening Remarks" (3:06)
II. Nocturne (5:17)
III. Moto Perpetuo (3:33)
Chris Theofanidis
Netherland for alto saxophone and piano
I. "a stream of pulses; labored, intense" (6:38)
II. "brutal; swirling, out of focus: (4:55)
Tanya Gille, piano
John Harbison
San Antonio - Sonata for alto saxophone and piano
I. The Summons (3:39)
II. Line Dance (3:48)
III. Couples Dance (4:22)
Robert Spillman, piano
Richard Tisinai
Trio for alto saxophone, harp, and contrabass
I. Pastorale (3:42)
II. Meditation (5:45)
III. Allegro (4:22)
Pamela Eldridge, harp
Paul Erhard, contrabass
David Gillingham
Alto Saxophone Sonata
I. Slowly, with expression, fast (7:01)
II. Chaconne (5:33)
III. Presto (6:12)
Tanya Gille, piano
Total Time = 69:17
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