Summer, Uptown (chamber versions)
Composers have often incorporated elements of popular music into their concert music. Dance forms such as the gavotte and the gigue were liberally used by Bach in his solo suites, Haydn found inspiration in Croatian folk song while Mahler introduced the Ländler (an Austrian dance related to the waltz) into his symphonies. Examples of this practice in the twentieth century include Ives’ quotation of popular marches and Copland’s use of cowboy songs in his ballets. Summer, Uptown also looks to popular elements – here, from the diversity of jazz – for its language, approach and character. The work is in a ternary form, defined by both tempi and style. The “A” sections are relaxed with swung eighth-notes while the “B” section is more turbulent, with an underlying Latin feel to it. There is no direct quotation of any existing popular material in this piece. Rather, it is only the general nature of these styles of music which is invoked.
Summer, Uptown exists in three versions: alto saxophone and piano; alto saxophone, cello, and piano; and alto saxophone and orchestra. All three versions were begun in Cedar Falls, Iowa, in May, 1996, and then completed in New York City that same July. This composition was commissioned by the Iowa Composers Forum as the winning proposal for the 1996 Francis Johnson Pyle Award. The version for alto saxophone and orchestra was premiered on October 5, 1996, in Dubuque,Iowa, as a part of the Iowa Composers Forum Ninth Annual Festival. The saxophone soloist for this performance was Adam Saunders, with Brian Hughes conducting the Dubuque Youth Symphony.
After you place your order below, please send an email to me indicating which chamber version you would like to receive.
- alto saxophone & piano or alto saxophone, cello & piano
- Date completed:
- ca. 7:00
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