Composer Sy Brandon has posted his work on the second of six movements of Divertissement, the new work for multiple woodwinds soloist. The movement, “Nocturne,” is for alto saxophone and piano. You can check out a synthesized recording and preview the score (using the Sibelius Scorch browser plugin). Go check it out and leave your comments.
I’m pleased to share videos from my recent Delta State University faculty recital. I performed for a very small in-person audience due to COVID-19 precautions.
All the repertoire is unaccompanied. The program begins with multiple-woodwinds repertoire by Samuel Adler, Kyle Tieman-Strauss, and Nicole Chamberlain (a world premiere of a commissioned piece), followed by some odds and ends on recorders, clarinet, and tinwhistles.
I am pleased to announce a newly-commissioned piece in progress, for multiple woodwinds soloist and piano, being composed by Sy Brandon. Dr. Brandon is Professor Emeritus of Music at Millersville University in Pennsylvania and an active, prolific composer. He also blogs about his composition process at Composing Insights. The commission is made possible by a Co-op Press Commission Assistance Grant.
I was delighted a few years ago to have a fascinating new piece, seventy times seven, written by Dan Bradshaw, which was a blast to perform but required some instruments I don’t own (baritone saxophone and B-flat contrabass clarinet) and some fairly sophisticated electronics operated in live performance by the composer. I fear that, because of the complications involved (did I mention the composer now lives in Hawaii?) I may never get to perform it again.
In my application for the Co-op Press grant, I made the case that even though there are a small handful of pieces for woodwind doublers, few of them are very portable—most require a large ensemble, hard-to-find instruments, or electronics, or otherwise have logistical barriers to performance. I think there is demand among the doubling community for pieces that showcase multiple-woodwind skill and that can be programmed on a recital with reasonable ease.
I’ll be posting updates here, and Dr. Brandon has already started documenting his work on the piece over at Composing Insights. He has posted the first movement, for flute and piano, and is asking for comments, so surf on over and take a look.
In March I blogged about this promotion from Rico reeds. I’m pleased to report that, after sending this motley crew of rejects off to Rico…
…I got these in the mail, at absolutely no charge.
I’m pleased to share videos from my recent faculty recital at Mississippi State University. The program was all unaccompanied solo works for clarinets and saxophones.
Here’s the program and video playlist:
Back in 2011 I did a “census” of woodwind players. It’s been 10 years, so I guess we’re due to be counted again. If you’re a doubler of any stripe/ability, you’re invited to take the survey. I’ll share the results as I did last time.
It’s a long survey, so set aside a little time if you’re willing, but all questions are optional and I’m happy to take whatever data you care to share. And of course feel free to share this survey far and wide with people who might be interested in participating.
At this point I’m thinking I’ll keep the survey active through the end of May, but if responses are still coming in strong I’ll be flexible.
Take the survey Update: the survey is now closed. Thanks!
At this year’s NFA conference, I had the very cool opportunity to be part of a discussion panel about woodwind doubling. The panel was organized by Florida flutist and doubler Tereasa Payne, and moderated by my Delta State colleague Shelley Collins. The panel consisted of me, Tereasa, Hollywood studio great Jim Walker, and David Weiss, who is the ethnic flutes soloist for Broadway’s The Lion King. It was an honor to be included in a group of such stature!
We spoke to a surprisingly large and enthusiastic crowd. At one point Shelley asked for a show of hands by the doublers in the audience, and we were blown away by all the hands that shot up. The audience asked great questions, and many stayed afterward to talk some more. I was delighted to meet several of you personally who read this blog or who have communicated with me by email or on Twitter.
In advance of the panel, Tereasa had prepared some questions for the panelists to think over. I took some notes to organize my thoughts, and I’m providing them here in an edited version. This isn’t a transcript of the live panel, but it should give you an idea of what was talked about, and of my thoughts about some of those topics. Read More “NFA 2011: Woodwind doublers roundtable discussion”
