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 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 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 United States and abroad. inventive, funny improvisational lyricist. He has tape part. This remix, therefore, is less about the Arts studying with composer/musician (www.andrewearlesimpson.com) collaborated with Leonard Bernstein, who rearranging and more about contrasting the Henry Threadgill in 2005, and completed a chose him as The New York Philharmonic's real and the electronic, the saxophone with masterclass with various Italian composers at David Amram: Prologue and Scherzo first composer-in-residence in 1966, Langston its surreal other, and rhythmic beats with a the Alba International Music Festival in Alba, Prologue and Scherzo was composed in Hughes, Dizzy Gillespie, Dustin Hoffman, Willie stark, abstract landscape. Italy in 2006. Currently, he serves as Adjunct 1999 for Kenneth Radnofsky for a concert in Nelson, Thelonious Monk, Odetta, Elia Kazan, Professor of Music at the George Washington his honor. The composer and saxophonist Arthur Miller, Charles Mingus, , Nathan Lincoln-DeCusatis is an award- University in Washington, DC and at Shepherd had collaborated previously on Amram’s E. G. Marshall, and Tito Puente. Today, as he winning Washington, DC-based classical University in Shepherdstown, WV where he concerto Ode to Lord Buckley, which has for over fifty years, Amram continues to composer and jazz pianist who has performed teaches music theory and composition. was written in 1981. The first movement, compose music while traveling the world as a at the Strathmore Mansion, the Kennedy Prologue, is composed to be played in the conductor, soloist, bandleader, visiting scholar, Center Millennium Stage, and various Matthew Van Brink: classical French style that Debussy and and narrator in five languages. Washington, DC clubs such as Twins Jazz, Sonata for Alto Saxophone and Piano Ibert themselves championed. The second (www.davidamram.com) Utopia and Bohemian Caverns. As a classical Sonata for Alto Saxophone and Piano was movement, Scherzo, employs the vital composer, his past and current projects written for saxophonist Maria Dessena. Each of its four movements navigates a different jazz,” and the ‘Coltrane changes’– a strategy of Performers terrain. The insistent rhythm of the first move- chord substitution utilized in the composition ment gives way to a lilting twelve-tone tune based on the ‘augmented cycle’ (CMaj7 [B-flat Noah Getz is a jazz and classical saxophonist School of Music in Washington, DC, with in the second. The third movement is a m7, E-flat7], A-flat [F-sharp m7, B7], and E based in Washington, DC. He has performed recent performances at Blues Alley, the Swiss meditation on skips and steps, and the fourth [Dm7, G7]) — “created a harmonic revolution,” at major venues throughout the United States, Embassy, the Washington Convention Center, sums things up, quoting from the other three and became a ‘substitute pattern’ applicable including at Carnegie Hall, the Kennedy Center, and the Music Center at Strathmore. He has before evolving into something new. to any standard jazz chord progression. In The The Phillips Collection, The National Gallery of performed with Sheila Jordan, and has Jazz Theory Book Mark Levine points out that Art, the Dame Myra Hess Concert Series in collaborated frequently with David Amram Matthew Van Brink is a composer, lyricist, “although Giant Steps is a very challenging Chicago, the Music Center at Strathmore, including a recent performance at the Cornelia pianist and accordionist. Van Brink is on the tune, its 26 chords (10 key changes equal to World Saxophone Congress XIII, and as the Street Café in New York City. piano and composition faculty at Concordia 11 tonal centers) are just V-I and II-V-I progres- guest soloist for the MOSA Concert Series Dr. Getz has presented masterclasses, Conservatory (Bronxville, NY), which has sions in only three keys: B, G, and E-flat.” Saxophone Summit in New York City. Dr. Getz recitals and lectures at universities across the commissioned and given the premieres of received a first-round Grammy nomination country, including at Mannes-The New School many new works of chamber music and Andrián Pertout completed a PhD degree for his contribution with the New Hudson of Music, University of Oregon, University of musical theater for its student performers. at the University of Melbourne on Tweddle Saxophone Quartet to America’s Millennium California at Berkeley, University of California He has also been commissioned by Schott Trust, Australian Postgraduate and Melbourne Tribute to Adolphe Sax, Vol. V, and was a at Davis, Northern Arizona University, Queens Music, Collage New Music, New York Youth Research scholarships, studying composition finalist in the Haverhill International Soloist College, Johns Hopkins University, Aaron Symphony, Celebrity Series of Boston, and under the guidance of Brenton Broadstock. Competition in the United Kingdom. In 2007, Copland School of Music, Florida State Lara St. John, and his compositions and Composition awards include the Friends & his album Crosscurrents, which explores the University, and the Puerto Rico Conservatory. arrangements are published by Schott Enemies of New Music Composition Prize intersection of jazz and contemporary classical He has been a guest lecturer at the International Music and Tenuto Publications. (USA), International Music Prize for Excellence music, was released by Albany Records. Saxophone Symposium, the Sigurd Rascher (www.matthewvanbrink.com) in Composition (Greece), Betty Amsden Dr. Getz has commissioned and premiered Centennial Celebration, the North American Award, Louisville Orchestra Prize (USA), and numerous works for the saxophone, including Saxophone Alliance National Convention, Andrián Pertout: Riesenschritte the Zavod Jazz/Classical Fusion Award. He recent collaborations with Pulitzer Prize-winning and on the Blue Note Lecture Series in Riesenschritte represents a contemporary is currently the President of the Melbourne composers Aaron Jay Kernis and Lewis Washington, DC. Dr. Getz is the Saxophone interpretation of John Coltrane’s seminal work Composers’ League, as well as Honorary Spratlan. He premiered Fernando Benadon’s Musician-In-Residence at American University, Giant Steps — the title track of the album Fellow at the University of Melbourne. Hidden Charges with the Empyrean Ensemble where he instructs private students, coaches ‘Giant Steps’ and a benchmark for most Andrián’s music has been performed in in 2007. In 2002, Pulitzer Prize-winning saxophone ensembles and leads the American saxophonists. Giant Steps was recorded at over thirty countries by orchestras including composer Henry Brant selected Dr. Getz to University Jazz Workshop, and at the Levine Atlantic Studios, New York, on May 5, 1959, the Melbourne and Tasmanian Symphony perform his Concerto for Alto Saxophone and School of Music, where he instructs jazz and released on Atlantic Records in January, Orchestras, The Louisville Orchestra (USA), Orchestra for the first time in 50 years. saxophone students. (www.noahgetz.com) 1960. This particular recording features John Orquestra Petrobrás Sinfônica (Brazil), In addition to performing classical repertoire, Coltrane (tenor saxophone), Orquesta de Cámara de Chile (Chile), Dr. Getz maintains an active schedule performing For pianist Andrew Simpson please refer to (piano), Paul Chambers (bass) and Art Taylor La Chapelle Musicale de Tournai (Belgium), jazz. He is the alto saxophonist and founding his bio included in the notes on the music and (drums). Coltrane was the “most influential and Oare String Orchestra (UK). member of the Levine School Jazz Quintet, an the composers. and controversial tenor saxophonist in modern (www.pertout.com) Artist-In-Residence ensemble at the Levine Still Life N o a h G e t z s a x o p h o n e troy1276 TotalTime=53:07 5 4 3 2 1 Still Life wa r ning: c TROY1276 Riesenschritte [9:50] Andrián Pertout Sonata for AltoSaxophoneandPiano[11:37] Matthew VanBrink Shadow Remix[8:39] Nathan Lincoln-DeCusatis Prologue andScherzo[6:20] David Amram The GoldenProphecy[16:39] Andrew Simpson o p yr igh t subsis tel: 01539824008 box 137,kendal,cumbriala8 0xd albany recordsu.k. tel: 518.436.8814 f © 2011 915 broadw albany recordsu.s. www.albanyrecords.com t s in all A lbany r ec a or y R , albany ecords dings issued unde D N a z t e G h a o N ax: 518.436.0643 , ny12207

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