Works for Saxophone and Piano
Kathryn Goodson, piano
1 Roshanne Etezady (b. 1973)
Streetlegal (2003) 5:20
for soprano saxophone and
William Albright (1944-1998)
for alto saxophone and piano
2 I. Two-Part
3 II. La
A Lament for George Cacioppo 8:47
4 III. Scherzo
“Will o' the Wisp” 1:52
5 IV. Recitative
and Dance 4:30
6 Milton Babbitt (b. 1916)
Accompanied Recitative (1994) 1:47
for soprano saxophone and
Gregory Wanamaker (b. 1968)
Sonata deus sax machina (2000)
for alto saxophone and piano
7 I. 2:46
9 III. 3:55
Mischa Zupko (b. 1971)
In Transit (2002)
for alto saxophone and piano
10 Red Walls of Fog 6:02
11 Mango Café 5:44
12 So Alone Am I 4:57
13 Rush Hour 2:39
14 The Dream 5:02
are the enemies of music. They can
take something restlessly alive and render it still, fixed, a mute object. Music is always doing—it is all behavior and
motion, participles and adverbs. Tim
McAllister and Kathryn Goodson are both performers with a rare sense of the
power of the committed physical gesture.
Adjectives alone do no justice to the energy, touch, attack, and pull of
is, in fact, pure movement: the movement of air in waves across the surface of
our skin and the internal organs of our ears. But more than that, it moves us: it brings movement to our
perception through layers of action encoded in the traces of effort audible in
sound. The score (the noun we are
so often fixated upon) is only a collection of dots and lines and letters that
tells performers in the most vague terms what to do, how to move.
of the pieces on this recording in some way shares an awareness of movement as
a central idea that powers music.
Even without Tim and Kathryn before our eyes, our listening bodies are
drawn into kinesthetic sympathy with the intentions of the composers and the
committed actions of these performers.
1 About her piece, Streetlegal, Roshanne Etezady writes:
“The word ‘streetlegal’ comes from the world of racing cars. To me, it suggests a vehicle of great
speed and power tearing around city streets and highways. It brings to mind something fast, brilliant,
shiny, and even a little bit dangerous.
piece has, at its core, a deep sense of hyperkinetic energy. Both instruments are required to
perform calisthenic, athletic gestures, all the while maintaining a larger
sense of musicality. The piece is
virtuosic on an individual level as well as – if not especially –
in terms of ensemble. Aggressive,
angular lines predominate in the melodic language of Streetlegal, and in terms of structure,
‘hard edges’ are the norm. Each
section of the piece seems almost to collide into the next, and when there are
transitions between sections, they are short and abrupt. The overall effect, I hope, is one of
barely containable energy, excitement, and realized momentum.”
by Tim McAllister and Kathryn Goodson, Streetlegal was premiered in 2004 at the North American Saxophone
Alliance Biennial Conference in Greensboro, North Carolina.
by critics as “a promising and confident composer,” Roshanne Etezady (b.1973) has been awarded
commissions from the Albany Symphony, Dartmouth Symphony, eighth blackbird,
PRISM Saxophone Quartet, and Rźlache.
She has been a fellow at the Aspen Music Festival, the Norfolk Chamber
Music Festival and at the Atlantic Center for the Arts. In 1999, Etezady received a Charles
Ives Scholarship from the American Academy of Arts and Letters. Since then, her accomplishments have
earned recognition from institutions including the Jacob Javits Foundation,
Meet the Composer, and ASCAP.
holds academic degrees from Northwestern University, Yale University, and the
University of Michigan; her teachers include Ned Rorem, Evan Ziporyn, Martin
Bresnick, William Bolcom, and Michael Daugherty.
2-5 William Albright’s Sonata for Alto Saxophone and Piano has become a cornerstone of
the saxophone repertoire—its emotional urgency and remarkable invention
mark it as one of the major works for the instrument. Throughout his career, Albright was a pioneer in streaming
together styles and genres that composers had kept strictly separate during the
last days of high modernism; instead of partitioning his lives as ragtime
artist, “classical” composer, and church musician, he combined them all freely
in his work. In doing so, a lot of
energy was released, and this music is full of the manic drive, quirkiness, and
rough edges that results from the rubbing together of often starkly contrasting
musical impulses. This piece
swings from the unrelenting bare hammering of the first movement to the
unbearably soft ache of the second, from the almost inaudible delicate swirls
of the third to the raucous recitative and (mad) dance of the finale.
might be said that the heart of the piece is the second movement, dedicated to
the memory of Albright’s friend, composer George Cacioppo, who died unexpectedly
in 1984. “Cacioppo and his music
and personality rest at the foundation of my thinking,” writes Albright. He chose an alternate spelling of the
baroque ground-bass variation form, la folia for the title of this altered-chaconne movement; his
use of the modern Italian spelling in “La follia nuova” suggests both a new “la folia” as well as a “new madness.”
work was written in 1984 for three saxophone/piano duos (Laura Hunter/Brian
Connelly, Donald Sinta/Ellen Weckler, and Joseph Wytko/Walter Cosand) with a
grant from the National Endowment for the Arts.
of the foremost composers and organists of the twentieth century, William Albright (1944-1998), was a pioneer in
the creation of a post-modern musical language, insisting on integrating musical
impulses from popular and folk musics into classical composition. A student of
both Ross Lee Finney and Olivier Messiaen, Albright received numerous awards
including two Guggenheim Fellowships, a Fulbright Fellowship, two Koussevitzky
Awards, the Queen Marie-Jose Prize, and an award from the American Academy of
Arts and Letters.
accomplished performer and scholar of ragtime and stride piano, he was
instrumental in fomenting the 1970’s revival of that genre; he also recorded
the complete rags of Scott Joplin (regarded by some as a definitive
contemporary interpretation), as well as many of his own ragtime
compositions. Before his untimely
death at the age of 53, Albright served as chairman of the music composition
department at the University of Michigan, where he was known as a master
teacher who inspired generations of composers.
6 The music of Milton Babbitt is often
misunderstood as being rigidly mathematical—with the intense focus given
to the structural rigor (particularly with respect to pitch) that Babbitt
applied to the creation of his works, their extremely lively and varied
gestural vocabulary can be overlooked. Accompanied Recitative, for all its brevity, it is
full of swingy rhythmic energy and vocal leaps and twists. The title suggests a
relationship with Babbitt’s later work From the Psalter (2002) for soprano and orchestra, which the
composer also described as an “accompanied recitative.” In any case, the reference in the
work’s title to vocal music is an important one, as Babbitt had a lifelong
relationship with the voice in his work, one that included his extensive
collaborations with soprano Bethany Beardslee.
piece was originally commissioned in 1994 by saxophonist John Sampen for an
innovative series of short compositions by American composers titled “Postcards
from America.” (William Albright was also, incidentally, commissioned for the
(b.1916) is one of the most influential and celebrated composers and writers in
the musical life of the United States; his early research as a composer and
theorist into what is sometimes called “total serialism” was among the first
examples in the world. He was also an important pioneer in electronic music as
one of the founders of the Columbia-Princeton Electronic Music Studios and as a
consultant with RCA in the design of the famous Mark II synthesizer, with which
he went on to create a number of works. He has been the recipient of numerous
honors, including a MacArthur Fellowship and a Pulitzer Prize Citation for his
life’s work. Babbitt is one of the few artists in the world who is both a
member of the American Academy of Arts and Letters and a Fellow of the American
Academy of Arts and Sciences. He studied composition with Roger Sessions, and
holds degrees from NYU and Princeton University, where he taught for many years
before joining the faculty of the Juilliard School.
7-9 Gregory Wanamaker’s Sonata deus sax machina, like the Albright Sonata,
combines selected formal aspects of the classical sonata with musical materials
of more recent vintage. The
composer intends the title’s pun not to suggest any formal parallels with the
literary term for improbable plot devices, deus ex machina, but rather to evoke the drive and energy of
mechanical motion. Each of work’s
three movements is characterized by a different mechanical movement-quality: a
the sonata-allegro first movement, the repetitive stasis of an ever-present
electrical hum in the chaconne-informed second, and the crazed swings of an
imagined cartoon-construction (marked rondo psycho) in the third.
Musical motives and themes recur throughout the piece, creating cyclic
connections between the movements despite contrasting motion patterns.
work was commissioned by Tim McAllister, and premiered at the 12th World
Saxophone Congress in Montreal on July 9, 2000 with pianist David Heinick.
1968) teaches composition and music theory at the Crane School of Music at The
State University of New York-Potsdam where he also serves as an active member
of and advocate for the Teach Music in New York City Project. He has received
awards from ASCAP, the National Association of Composers USA, and
Britten-on-the-Bay. Wanamaker’s music has been performed throughout the
Americas and Europe, and recordings of his music include his Triaria on Ensemble Radieuse’s disk Inbox (KCM Records).
world premieres include Elegy performed by the Trujillo
(Peru) Symphony Orchestra, speed metal organum blues performed by the PRISM Saxophone Quartet at Symphony
Space in New York City, Clarikinetics performed by Deborah Bish at
the Festival de Inverno de Vale Veneto, Brazil, and a new saxophone quartet for
the Ara Saxophone Quartet.
10-14 Mischa Zupko’s In Transit takes the form of a travelogue as its model, in
which each movement represents a new stylistic and timbral locale. As in the Wanamaker, there is a concern
here for maintaining thematic and formal elements between movements. Zupko
writes, it is “as if this work represented a traveler whose new experiences
came to be increasingly colored by past experiences as the journey drew to a
trip takes us not only through the space between remembered places and their
associated sound-images (a foggy runway in Seattle, steamy Miami nightlife,
bustling New York traffic), but also through the sequential time of a journey,
including the eventual return suggested by the dreamy remembrances of the final
movement. The nostalgic effect is
heightened by Zupko’s use of a sad, popular song written by his grandfather in
the 1940’s as an underlying musical ground for the piece. The song comes most clearly into focus
in the third movement, which culminates in an almost literal quotation of the
tune; the composer intended “that the other movements would lead into and away
from this movement through more and less obvious uses of the motivic fragments
taken from the song.”
work was commissioned by Tim McAllister in 2001 and is dedicated to him; the
revised version was premiered in 2002 by McAllister and Kathryn Goodson in Ann
Arbor, Michigan. It was written in memory of Zupko's grandfather, Ed (Papa)
(b.1971) has received many awards including first place in the Pacific Symphony
Orchestra’s American Composers Competition, the Lee Ettelson Composers Award, a
shared first prize in the USA International Harp Competition Composition
Contest, three ASCAP Morton Gould Young Composers Awards, the First Music award
from the New York Youth Symphony, and the Jacob Druckman prize from the Aspen
Music Festival. He has been commissioned by the Minnesota Orchestra, the
Pacific Symphony, the Fromm Foundation, and the Gilmore International Keyboard
for flute and piano was recorded by Thomas Robertello and is available on
Crystal Records. His composition teachers have included his father, Ramon
Zupko, Eugene O’Brien, Fredrick Fox, David Dzubay, Augusta Read Thomas, and Don
Timothy McAllister and pianist Kathryn Goodson have collaborated since 1999,
giving concerts throughout the United States, South America, and Europe. Recent performance venues have included
the Conservatoire National Supérieur de Musique de Paris, national meetings of
the North American Saxophone Alliance, the Lake Placid Center for the Arts in
New York, Kerrytown Concert House of Ann Arbor, MI, the Interlochen Center for
the Arts in Michigan, and the Trujillo International Bach Festival of Peru. In Transit marks their first recording project together. With acclaimed bass trombonist of the
Detroit Symphony, Randall Hawes, they have been performing as a trio committed
to expanding the repertoire for this unique combination of instruments.
chair of the renowned PRISM Saxophone Quartet and acclaimed soloist, Timothy McAllister is one of America’s leading
saxophone performers and teachers. His career has taken him throughout the
United States, Canada, South America and Europe, garnering prizes at national
and international competitions and solo appearances in major venues. He has performed with the Detroit
Symphony Orchestra, Ann Arbor Symphony, Hot Springs Festival Orchestra, Houston
Symphony, Orchestra of Northern New York, Oberlin Contemporary Music Ensemble,
and the New World Symphony among others.
An active chamber musician, he is a co-founding member of the QUORUM
Chamber Arts Collective, and has performed with the Detroit Chamber Winds and
Strings, Brave New Works, and the Minimum Security Composers Collective
Ensemble. Prior to joining the
PRISM Quartet, he received the Grand Prize at the 2001 Fischoff International
Chamber Music Competition with the Ninth Circle Saxophone Quartet.
a member of the PRISM Quartet, McAllister has recently made concerto
appearances with the Columbus Symphony Orchestra, Augusta Symphony,
Jacksonville Symphony Orchestra, and the Nashville Symphony, and presents
numerous chamber music engagements annually, including regular appearances in
venues throughout Philadelphia and in New York’s Symphony Space, Merkin Hall,
and Carnegie Hall. Recent
residencies with PRISM have included the Walden School for Young Composers in
Dublin, New Hampshire, Philadelphia’s Settlement Music School and Free Library,
Interlochen Center for the Arts, and the Chautauqua Institution.
advocate of contemporary music, McAllister has premiered over 70 new works for
saxophone by many of today’s major composers and leading young voices, and his
critically-acclaimed recordings can be heard on the Centaur, Einstein, Albany,
Naxos, G.I.A. Publications, Equilibrium, Arizona University Recordings and
Innova labels. In addition, he has
been featured on National Public Radio, Dutch National Radio, and Chamber Music
Minnesota’s nationally televised Music da Camera series.
is Associate Professor of Saxophone at the Crane School of Music at The State
University of New York-Potsdam. He
holds the prestigious Albert A. Stanley Medal and multiple degrees, including
the Doctor of Musical Arts, from The University of Michigan where he studied
saxophone with Donald Sinta. He
was invited to teach at the Conservatoire National Supérieur de Musique in
Paris in 2003, and currently serves as Instructor of Saxophone on the summer
faculty of the Interlochen Center for the Arts in Michigan.
pianist, is a creative soloist and a partner with exceptional presence. Journal de GenŹve, Switzerland: “at the piano she is a generator of colors and of
lights;” International Herald Tribune, Paris: “she played Bernsteinęs Seven Anniversary Portraits with authority and feeling;” Tübingen Stadtblatt, Germany: “an exquisite American specialist of German romantic music;”
“her enthusiastic playing isnęt merely an accompaniment to the singer or
instrumentalist but a full partner.”
Goodson commands a collaborative
repertoire spanning chamber music with strings, contemporary works with winds
and art song. Her innovative solo
programs combining music and narrative have been featured on radio and
television. Kathryn Goodsonęs
performance venues have included the Detroit Institute of Arts, Michigan’s Pine Mountain Music Festival, the
Dunvegan Castle Arts Festival of Scotland, Alice Tully Hall of Lincoln Center,
the Internationale-Hugo-Wolf-Akademie in Stuttgart, the Strings in the
Mountains Festival in Colorado and many productions of the Zürich impresario,
her regional community of southeastern Michigan, she is an energetic advocate
for the arts, performing often on orchestral chamber music series, for
spiritual and political organizations and at schools. With the Phoenix Ensemble and Peter Sparling Dance Company
of Ann Arbor she is developing a new music and dance festival, the first of
which will feature the music of
Charles Ives. Among recordings of
her work is Melodrama, the critically acclaimed Albany Records release of
Russian music with Detroit Symphony Orchestra bass trombonist Randall
Hawes. Among many special
partnerships in Europe and in the United States over the years, of particular
note is Ms. Goodsonęs collaboration with saxophonist Donald Sinta, begun in
Goodson serves on the piano faculty at Eastern Michigan University and is on
the collaborative piano and coaching staff for wind instrumentalists and
vocalists at The University of Michigan School of Music. She has performed or taught master
classes at music schools including the Interlochen Arts Academy, Baylor
University, the Hartt School of Music, the Musashino Music School in Tokyo, the
Baseler Musikakademie, the Conservatoire de GenŹve in Switzerland and the
Musikhochschule Karlsruhe in Germany, where her American Art Song class has
been featured three times.
Goodson completed the Doctor of Musical Arts in Collaborative Piano with Martin
Katz at The University of Michigan.
As a student of Harmut Höll at the Musikhochschule Karlsruhe in Germany,
Kathryn Goodson was awarded the Liedgestaltung-Konzertexam, Germany’s most
advanced diploma in art song, with highest honors. Twice a Fulbright Scholar to Germany, she is also a
prize-winning lauréate of the Fondation de Yehudi Menuhin in Paris. She holds a Bachelor of Music in Piano
Performance from Oberlin Conservatory with Robert Shannon.
notes by Evan Chambers
For more information, please visit
www.timothymcallister.com and www.kathryngoodson.com.
Streetlegal (ASCAP) is available from the
Albright’s Sonata is published by C.F. Peters.
published by C.F. Peters.
deus sax machina (ASCAP)
is available from the composer.
Contact the composer at www.gregorywanamaker.com.
is available from the composer.
by Timothy McAllister and Kathryn Goodson.
recording was made possible in part by a grant from the Office of Research and
Sponsored Programs at The State University of New York at Potsdam.
August 23-26, 2004 in Helen Hosmer Concert Hall, The Crane School of Music,
State University of New York at Potsdam.
John Jungklaus, recording engineer and mastering.
and Sonata deus sax machina recordings supervised by the
photos by Taimur Sullivan.
McAllister photo by Pierre Dufour.
Goodson photo by Ameen Howrani.
layout, innova director: Philip Blackburn.
operations manager: Chris Campbell
innova is supported by an endowment
from the McKnight Foundation.