Annulé / Cancelled |
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(Pays-Bas / Netherlands)
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Mysterious Morning III [saxophone soprano / soprano saxophone] Chocolates * [saxophone alto et piano / alto saxophone and piano] avec la participation de: with the participation of: Haruku Suzuki, piano * Création / World premiere |
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| Steven Stusek (b. 1961), BM in saxophone performance, Indiana University (1983); MM saxophone performance, Arizona State University (1986); Diplome, saxophone performance (1984); Conservatoire de la Région de Paris; auditor, Paris Conservatory. Saxophone teachers include Larry Teal, Eugene Rousseau, Joseph Wytko and Daniel Deffayet.
Awards include Medaille d'Or, saxophone performance (Conservatoire de la Région de Paris, 1984i); winner, saxophone concerto competition, Indiana University (1981); Concert Artists Guild Competition (1995); Vermont Council on the Arts prize for artistic excellence (1993); was a finalist (and taken under management together with Dutch accordion player Otine van Erp) in the Nederlands Impressariaat concours for ensembles (The Netherlands, 1998). Composers who have written music for Mr. Stusek include academy award winner John Addison, Joan Tower, James Grant, Allen Shawn, Eric Nielsen, Dennis Kitz, Dorothy Robson, Daniel Michalak, and Stacy Garrop. Mr. Stusek has been an Assistant Instructor of Saxophone at Arizona State University (1984-86); Visiting Instructor of Saxophone at Ball State Universiity in Muncie, Indiana (1986-87); Saxophone Instructor and director of the big band at Middlebury College (1988-1992); Director, Big Band Utrecht (The Netherlands, 1994/ 5); founder and member of the Bozza Mansion Project, an Amsterdam-based new music ensemble. Currently Steven Stusek is Associate Instructor of Saxophone at the Indiana University School of Music, where he is completing a Doctorate in saxophone performance, and classical saxophone instructor at the College Conservatory of Music at the University of Cincinnati. |
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| In Mysterious Morning III I wished to create a state of sonic instability by means of extremely virtuoso wliting, with varioous playuing techniques such as bisloigliando, irregulal- trills, glissandi, sounds sung and plaued simultaneously, and micro-intervals; thjis instability is an image of a man quiver~ng with madness, a madness that he attempts to conceal within himself; my wish was that the piece should sound like an improvisation
–Fuminori Tanada Slow jazz? What musical language could celebrate more appropriately the lylical, deeply sensuous, expressive character of the saxophone? The three Chocolates for alto saxophone and piano are torch songs in the tradition of the passionate, tuneful ballads of the American 40s and 50s. The first two Chocolates, Godiva and Bittersweet, offer soulful narratives that speak to devotion, poignancy, romance, uncertainty longing. The third Chocolate, Triple Mocha Indulgence, is slightly less soul-searching, more ebullient, and progressively becomes animated (a sugar high, perhaps?) right up to its raucous close. Chocolates was commissioned by and is dedicated to Michelle LaCourse. |
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