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Still Life, 1987 by Deborah Kahn Still Life N O a H G E T Z S a X O P H O N E a N D R E W S I M P S O N P I a N O

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Still Life, 1987 by Deborah Kahn Still Life N O a H G E T Z S a X O P H O N E a N D R E W S I M P S O N P I a N O publishers Andrew Simpson’s The Golden Prophecy is available direct from the composer. David Amram’s Prologue and Scherzo is published by C.F. Peters. Nathan Lincoln-DeCusatis’ Shadow Remix is available direct from the composer. Matthew Van Brink’s Sonata for Alto Saxo- phone and Piano is published by Tenuto Publications. Andrián Pertout’s Riesenschritte is available direct from the composer. Engineer: Edward Kelly, Mobile Master Liner Notes: Noah Getz Cover Art: Still Life, 1987 by Deborah Kahn Still Life N o a h G e t z S a x o p h o n e a N d r e w S i m p S o N p i a n o www.albanyrecords.com TROY1276 albany records u.s. 915 broadway, albany, ny 12207 w o r k s b y tel: 518.436.8814 fax: 518.436.0643 albany records u.k. Andrew Simpson | David Amram | Nathan Lincoln-DeCusatis | Matthew Van Brink | Andrián Pertout box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2011 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label. Still Life is derived from the commonality between painters who have used this style of painting to saxophone and wind ensemble is scheduled Composition. A composer of opera, silent create abstraction from ordinary objects and the role of contemporary musicians and composers for a December 2011 premiere in Poland with film, orchestral, chamber, and choral music, Noah Getz as soloist. he explores how music interacts with other who create abstraction from music, the art form that in many ways is the most familiar. One of my Following an explosive opening, which arts, in concert and on stage. Both his goals as a performer is to preserve the composer’s intentions while communicating the work’s immediately subsides into restless quiet, concert and theatrical works make multi- essence through my interpretation. This also involves a conceptual approach that is informed by my the saxophone enters with wailing, voice-like faceted connections with literature, visual figures. These figures continue as the piano art, or film, reflecting his fundamental understanding of the history of music and the ways that others have interpreted works over time. builds an undercurrent of momentum and interest in linking music intimately with the energy. Gradually, both saxophone and wider world (an approach that Simpson calls In addition to its more literal artistic meaning, Still Life represents a snapshot of the music that I have piano increase their pace and develop a “humanistic” music). strong rhythmic pattern, which results in a Silent film, as a nexus of drama, visual art, been performing and enjoying over the last several years. This recording is an eclectic mix of works, powerful climax. and music, is an ideal genre for Simpson’s most of which were written for me, from a number of trusted composer friends and colleagues. I find A quiet transitional passage leads suddenly multi-disciplinary explorations. An increasingly that working directly with a composer gives me the opportunity to understand the piece more clearly into the second section, a driving, rhythmic active silent film musician, Professor Simpson movement with the feel of a desperate chase. is Resident Film Accompanist for the National and to be involved from the inception of the work. For those pieces that were not written for me, The saxophone follows a virtuosic path over Gallery of Art and House Accompanist for the I have chosen repertoire that I have performed frequently with the composer present so that their the piano’s rapid figurations and bomb-like Library of Congress’ Mt. Pony Theater. He opinions about interpretation and style could be considered along with my own. explosions. The chase builds to a second, has also performed original film scores at the larger climax: the saxophone, as if in shock, Giornate del Cinema Muto in Pordenone, Italy, plays in its most extreme high register. the Sala Cecelia Meireles in Rio de Janeiro, Sound engineer Ed Kelly and I listened to this album in a variety of settings and agreed that, because The third section lends an utterly calm, Brazil, the Kennedy Center in Washington, of the diversity of the musical styles represented, each work deserved it’s own sound conception. lyrical close to the piece, highlighting the DC, the New York Public Library, the J. Paul I think the result of this process helps to preserve the individuality of each work and suggests earlier singing capacities of both saxophone and Getty Villa in Los Angeles, New York’s Lincoln piano. It is here that the “Golden Prophecy” Center, and many other venues. He is also styles of engineering that allowed greater sonic flexibility. is revealed. A brief, fast coda provides a final co-founder of the Snark Ensemble, a group —Noah Getz burst of energy. devoted to creating and performing new Noah Getz commissioned the work and scores for silent film, theater, and dance. premiered it with the composer at the piano, He actively collaborates with visual artists, at the International Saxophone Symposium in as well: recent examples include a November the music & the Composers January 2009. 2010 performance of his lotus and poppy accompanied by a synchronized animation andrew Simpson: the Golden prophecy work. In three large parts played without andrew earle Simpson composer, pianist, of images by DC-based artist Micheline The Golden Prophecy, for alto saxophone pause, the piece resembles a traditional and organist, is Professor of Music at the Klagsbrun, and a March 2011 premiere of and piano, explores the extremes of technical sonata or concerto. The Golden Prophecy Benjamin T. Rome School of Music of The new piano-percussion scores to digital ani- versatility for the saxophone, particularly with was recorded in the summer of 2009 for Catholic University of America in Washington, mations by New York-based artist Sharon regard to vocal sounds and high-register the present disc, and a version for alto DC, and chair of the division of Theory- M. Louden at the National Gallery of Art. Simpson has directed collaborative perfor- influence of the jazz masters that Amram has Nathan Lincoln-deCusatis: include performances by the Chesapeake mance events such as “The Comic Roach: performed with throughout his career. Shadow remix Orchestra, the Left Bank Quartet, saxophonist A Roadhouse Picture Show,” a silent film Shadow Remix takes its name from a project Noah Getz, and upcoming commissions cabaret that he conceived and scripted for david amram has composed more than that the composer was working on during by the Inscape ensemble, and the piano the 2009 Capital Fringe Festival, and “Silent 100 orchestral and chamber music works, the summer of 2008 — a semi-serious, and saxophone duo Six Impossible Things. Explosions, Invisible Jumps” (2009), in which written many scores for Broadway theater experimental attempt at a remix competition Recent awards and accolades include a 2006 chorographers, dancers, composers and and film, including the classic scores for designed by the rock band Radiohead. Walsum prize in composition for his string instrumentalists joined forces to present the films "Splendor in The Grass" and "The The classic definition of a remix is an alternate quartet Quinta Corda, a River Concert Series new choreography inspired by new music Manchurian Candidate;" two operas, includ- version of a song that adds, subtracts, and commission for large orchestra and narrator inspired by silent films of French film pioneer ing the groundbreaking Holocaust opera rearranges elements usually using audio celebrating the 375th anniversary of the Georges Méliès. "The Final Ingredient;" and the score for the editing techniques. Here the remix pertains founding of the Maryland colony (2009), and Professor Simpson’s instrumental cham- landmark 1959 documentary "Pull My Daisy," not so much to an arrangement, but the an American Music Center CAP award (2009). ber music is recorded on the Capstone, narrated by novelist Jack Kerouac. He is also deconstruction of the original audio files of Originally from Rising Sun, MD, Nathan Fleur de Son Classics, Athena, and other the author of three books, "Vibrations," an sax riffs and percussion that make up the Lincoln-DeCusatis attended Ithaca College, labels, with projects forthcoming on Naxos autobiography, "Offbeat: Collaborating With tape part of the piece. While none of the graduating Magna Cum Laude in 2004 with and Albany Records. More than 20 of his Kerouac," a memoir, and "Upbeat: Nine Lives Radiohead remix made it into this work, a B.M. in composition, and then went on to silent film scores, both for piano solo and of a Musical Cat" published in the fall of 2007 the piece hints at the original inspiration with be a University Fellow at the University of chamber ensemble, appear on DVD (All Day by Paradigm Publishers. some fleeting rock beats that emerge out Maryland, College Park obtaining his D.M.A. in Entertainment). A pioneer player of jazz French horn, he is of the abstract surroundings. The composer composition in 2008. During this time he also As a collaborative pianist, he performs also a virtuoso on piano, numerous flutes and envisioned the real life saxophone as studied at the École Normale de Musique – frequently in traditional and contemporary whistles, percussion, and dozens of folkloric interacting with a shadow of itself — the Alfred Cortot in Paris, France in 2003, was repertoire with vocalists and instrumentalists instruments from 25 countries, as well as an time-stretched, distorted saxophone in the an Associate Artist at the Atlantic Center for across the
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