Revisions (2023)

Program Notes:

“Revisions” draws its inspiration from the historical relationship – or lack thereof – between the saxophone and the orchestra. In Europe, the instrument’s creator Adolph Sax was known as an arrogant and difficult man whose new and advanced instruments threatened to disrupt the scene as it was. His reputation alongside performers’ general fear and distrust of change kept his instruments from being widely used at the time. In early 20th century America, the saxophone had become an instrument associated with Jazz and black expressions of music, and therefore associated with a race of people who were viewed as inferior by a majority in the classical scene. Classical music institutions, the orchestra being a prime example, were not known for welcoming these expressions, or things associated with them, into their traditions. In both cases, the saxophone was viewed as a potential threat – unworthy infiltrators of something sacred. Thus, the saxophone, with few exceptions, became a family of instruments othered by the orchestra.

I have experienced the residue of this attitude toward the saxophone in my lifetime with composers and performers frequently perpetuating the erroneous idea that saxophones do not blend well with orchestral instruments and therefore do not belong. The saxophone’s specifically engineered ability to blend well with orchestral instruments, in addition to the tremendous strides made by saxophone players in the last 50 years, has proven the instrument to be extremely versatile and valuable in many contexts including the symphony orchestra. Even still, we rarely see them included.

Lately, I have thought about how an instrument or a group of instruments’ “meaning” or connotation can be used to inform dramatic musical scenarios. In a broad sense, these scenarios create abstract analogies for social-political happenings. In the case of “Revisions”, the saxophone’s history comes charged with immense dramatic and symbolic potential. The presence of the saxophone quartet, seated alongside the string section principals, creates a dramatic tension within the orchestra as part of a scenario that explores power dynamics, unity, division, companionship, and finding a sense of place.

The piece is cast in four sections that blend seamlessly into each other. I. is a chorale initiated by the saxophones – the orchestra listens and joins in, echoing the music of the Saxophones. II. explores what happens when the Saxophone quartet separates and takes members of the orchestra with them into new territories. III. Deals with the aftermath of the previous scenario, recovering from chaotic tuttis by favoring more intimate settings. A brass chorale signals the orchestra’s ultimate rejection of the Saxophones’ play and a new, dire direction. IV. Sets up an unlikely pairing between the Saxophone Quartet and solo String Quartet as the orchestra attempts to annihilate them.

I offer “Revisions” to you with many thanks to Teddy Abrams and the Louisville Orchestra for their trust in and commitment to my work, and to my fellow Creators Lisa and TJ for their unending support and friendship.

Lead Funding for the Louisville Orchestra Creators Corps provided by the Andrew Mellon Foundation, with significant additional support from:

• Owsley Brown II Family Foundation
• Owsley Brown III Philanthropic Foundation
• William M Wood Foundation
• Edie Nixon
• Anonymous