Symphony Tacoma presents Saxophone Fusion
5
Symphony Tacoma presents Saxophone Fusion Saturday, May 15, 2021 | 7:30 pm La création du monde, op 81a Milhaud I. Ouverture II. Le Chaos avant la creation III. La Naissance de la flore et de la faune IV. La Naissance de l’homme et de la femme V. Le printemps ou l’apaisement Multimedia by Brad McCombs & Sarah Ioannides Artwork from Cincinnati Museum of Art PERFORMANCE SPONSORS Caribbean Rhapsody Roberto Sierra Multimedia by Sarah Ioannides Artwork by Andy and Nico Bueso Oblivion Piazzolla Sarah Ioannides, conductor James Carter, saxophone Video produced by Sarah Ioannides Original performance date: April 20, 2019, Pantages Theater, Tacoma WA
Transcript of Symphony Tacoma presents Saxophone Fusion
Symphony Tacoma presents
Saxophone FusionSaturday, May 15, 2021 | 7:30 pm
La création du monde, op 81a Milhaud I. Ouverture II. Le Chaos avant la creation III. LaNaissancedelafloreetdelafaune IV. LaNaissancedel’hommeetdelafemme V. Le printemps ou l’apaisementMultimedia by Brad McCombs & Sarah IoannidesArtwork from Cincinnati Museum of Art
PERFORMANCE SPONSORS
Caribbean Rhapsody Roberto Sierra Multimedia by Sarah IoannidesArtwork by Andy and Nico Bueso
Oblivion Piazzolla
Sarah Ioannides, conductorJames Carter, saxophone
Video produced by Sarah IoannidesOriginal performance date: April 20, 2019, Pantages Theater, Tacoma WA
Darius Milhaud (1892-1974)La création du monde (1922-23)Darius Milhaud was a key modernist French composer, conductor and educator. He studied at the Paris Conservatory where he met Les Six members Arthur Honegger and Germaine Tailleferre.Milhaudwroteanimmensecatalogofmusicrangingfromsymphonies,sonatasandsuites,tofilmandchildren’smusic.Hisworksarediversein style and approach, and he was especially drawn tothesoundsandstylesoftheAmericas.Milhaud’sopennesstoforeigninfluencesoperatesoutsidethevaluesofLes Six and truly speaks to his unique style ofcomposing.
While on a concert tour in the U.S., Milhaud heard authenticjazzonthestreetsofHarlemforthefirsttime. Inspired, he composed La création du monde. Originally the piece was commissioned by the BalletsSuedoisforaworkthatportrayedthecreationoftheworldbasedonAfricanfolkmythology.Itspremierein1923wasmuchmoreofa succès de scandale rather than a true success. The ballet costumes worked well visually but were difficulttodancein,beingtooheavyandinflexibletomovefreely.Sincethen,La création du monde has takenitsplaceintheconcerthallasaninfluentialandinnovativemasterpieceofMilhaud’s.
Obviously, La création du monde is heavily influencedbyjazz.Eveninitschamberensemblestyleinstrumentation,theinfluenceshinesthrough.Theuseofsaxophonetoreplaceviolas,theinclusionofpiano,andthesoloistictreatmentoftheinstrumentsevokethesoundofjazzbands.Theincorporationofbluesnotesandmelodies,syncopations,riffsandensembletexturesareverystylized with neoclassical and other modernist traits. Thepieceblendsingenuitywithfreshnessandvariety,yetkeepsaclearandlogicalformofwriting.
Roberto Sierra (1953 - )Caribbean Rhapsody (2010)Roberto Sierra is a contemporary composer who studiedinEuropewithGyörgyLigetifrom1979-1982. Sierra rose to prominence in 1987 when the MilwaukeeSymphonyOrchestraperformedhisfirstmajor orchestral composition, Júbilo, at Carnegie Hall. His works, including Fandangos, have been a partofmanyleadingorchestras’repertoire.NowaprofessorofcompositionatCornellUniversity,
ABOUT THE MUSIC
manyofSierra’scompositionsdrawfromhisproudPuerto Rican heritage. He had this to say about his inspirationforCaribbean Rhapsody:
“Growing up in Puerto Rico I remember watching TV and hearing at noon bands that playedpopularmusic.Thesoundofthe saxophone was ubiquitous, thus becoming anintegralpartofmyearlymusicalmemories. Nevertheless,theinstrumentdidnotfindits way into my work until much later.
“WhenIfirstheardJamesCarterperform,a wholenewsetofpossibilitiesopenedupin my creative mind; I realized that his extraordinarygiftsasmusicianandimproviser wouldbefertilegroundforthecollaboration thatculminatedinthewritingofCaribbean Rhapsody. I think that what I write is expression thatcomesfrommysoul,andareflectionofmy ownlifeexperiences.Caribbean Rhapsody is my Caribbean chronicle. First a sensual bolero, reminiscentofmanytropicaldanceslateat night,followedbythesoundsofLatinjazz and salsa.
“Thisrhapsodynotonlyrecallsmemoriesof tropical colors and sounds, but also exposes thepulseoflife—thelifethatIknewgrowingup in Puerto Rico.”
Astor Piazzolla (1921–1992)Oblivion (1982)Similar to the way that the Viennese classicists elevatedtheminuetfromacourtlydancetoanartisticform,PiazzollalikewiseelevatedthetangofromtheArgentinedancehallstotheinternationalconcerthall.Usingtheunlikelyvirtuosicvehicleofthebandoneon(akindofconcertinapopularinArgentina and Uruguay), Piazzolla also included instrumentsnottypicaltothefolklorictangotradition. This novel instrumentation, coupled with jazz-likeimprovisations,gavehistangocompositionsafreshsound.Dubbednuevo tango, this would be-comethedefiningsoundandstyleofhiscareer.
Piazzolla created Oblivion in 1982. Featured in the 1984Italianfilm‘EnricoIV’(‘HenryIV’),ithasbeendescribed as “haunting” and “atmospheric” and is consideredtobeoneofhismoretraditionalandless‘jazzy’compositions.
4
James Carter, saxophoneAn artist long intrigued by contrasts and hybrids, JamesCarterresistscomfortablecategorization.“You have to be totally comfortablewherever,”hesays.“Ifeelthatmusicequalslife;that’sthewaymy teacher always taught me. You just can’t go
throughlifeandexperienceitfullywithasetofblinders on. I think there’s tremendous beauty in cross-pollinationsofmusicandinfluences.”
In many ways, weaving together divergent impulses isattheheartofMr.Carter’smusic.LikethelatetenorsaxtitanBenWebster,he’sgiventofurious,high velocity solos, but is just as likely to wax sentimental, using his big, bruising tone to tenderly caress a comely melody.
Born in Detroit, Mr. Carter learned to play saxophone at age 11 and was considered a
ABOUT THE ARTIST
prodigy.In1986attheageof17,hebegantouringwith Wynton Marsalias. He has been prominent as aperformerandrecordingartistonthejazzscenesincethelate1980s,playingsaxophones,fluteand clarinets.
Caribbean Rhapsodyistheresultofadecade-longcollaboration between Mr. Carter and classical composerRobertoSierra.The2011recordingofthepiecefeaturedMr.CarteralongwithhiscousinRegina Carter on violin and a string quintet. Sierra was“curioustoseethecombinationofJamesandRegina improvising together and also on two differentinstruments—thesax,basicallyfromthejazz tradition, and the violin, the quintessential orchestral instrument.
“What immediately struck me was that he played withtotalcommandandmasteryoftheinstrument.JamesisthePaganiniofthesaxophone.Heandtheinstrument are one.”
Community
Tacoma: 253-620-6500 • Seattle: 206-676-7500gth-law.com
We make the community an area of practice.
GTH is a proud supporter of Symphony Tacoma and is honored to sponsor
the May 2021 performances.
Dianne K. Conway GTH PartnerSymphony Tacoma Board of Directors President
3
4
Pick up and delivery in Washington State7 LuthiersSince 1964
970 5th Ave NWSuite 100Issaquah, WA 98027www.HammondAshley.com
www.pnweye.com
General & Specialty Eye Care & Exams
Vision Correction Surgery (LASIK/PRK) Eyeglasses, Sunglasses, and Contacts
Tacoma3602 S 19th St 253.759.5555
Gig Harbor 4700 Point Fosdick Dr
NW, Suite 112 253.858.5186
▪ General&SpecialtyEyeCare▪ General&SpecialtyEyeCare &Exams &Exams
▪▪ VisionCorrectionSurgery VisionCorrectionSurgery (LASIK/PRK) (LASIK/PRK)
▪▪ Eyeglasses,Sunglassesand Eyeglasses,SunglassesandContactsContacts
TacomaTacoma3602S19thSt3602S19thSt253.759.5555253.759.5555
GigHarborGigHarbor4700PointFosdickDr4700PointFosdickDr
NW,Suite112NW,Suite112253.858.5186253.858.5186
Thankyouforjoiningus!SUPPORT and view UPCOMING PROGRAMS at symphonytacoma.org
