3.6.17 Straight to Tape

Posted by Andrew D Meyer on February 6, 2017 in Concerts, Live Shows, Saxophone, Uncategorized | Leave a comment

I’m very excited to announce that I’ll be playing a live show at the General in South Bend, IN on 3.6.17 with my former Sobriquet bandmates, who now go by the moniker, After Ours. Here’s a little info for the curious about what my portion of the evening will entail…

Andrew D. Meyer, Solo Soprano Saxophone

This program consists of original material for solo soprano saxophone, electronic tape, and electronic effects, written and performed by the composer. Improvisation will be featured heavily in all pieces, as well as elements of chance and indeterminate notation. Much of the written material is based on short, driving, rhythmic phrases in a somewhat post-minimal style.

Northern Stomp – Soprano Saxophone, Electronic Tape, and Electronics

Northern Stomp was written in the early summer of 2016 while the composer was traveling around Iceland and (hopefully) evokes the primal beauty and roughness of the landscape. When walking through the moonscape of craggy rocks and steaming fissures near the continental divide outside of Reykjavik, one experiences space in a very powerful way. Simple, driving rhythms propel this piece on as high tones reverberate overhead like the northern lights flickering across the sky. 5’49’’

Forever Bright – Solo Soprano Saxophone

Forever Bright is a section from a larger work based on a personal mantra from the composer, which is ‘I aim to be Quiet, Calm, Forever Bright and Vibrantly Alive.’ The Forever Bright section begins with a loosely improvised ‘call’ section before diving into rapidly moving patterns and more developmental improvisation. There is a short moment of respite in a quietly reflective ballad section before the piece returns to flowing patterns and vibrant improvisation. The score for this work is available through Dorn Publications under the title ‘Three Improvisations for Soprano Saxophone.’ 10’’

Aeolian Reeds – Soprano Saxophone, Electronic Tape, and Electronics

Aeolian Reeds is a response and a tribute to the legendary all-night concerts performed by Terry Riley, particularly his well-known recording, Dorian Reeds. Riley used what he called ‘the time-lag accumulator,’ his saxophone, and an organ to create long-form improvisations from looped material, with melodies and drones fading and blending into one another. Aeolian reeds is a nod to this technique, on a shorter scale (people would bring sleeping bags to Riley’s performances and stay all night.) The drone tones for Aeolian Reeds are taken from electronically-altered recordings of actual Aeolian Harps, which are large instruments built into landscapes where the wind vibrates massive strings stretched across large spaces. Short figures are repeated through a delay unit to blend with each other and the drones to create a meditative, somewhat psychedelic experience. 10”

Most Magical Night – Solo Soprano Saxophone

Most Magical Night contains written cellular material that is repeated at the discretion of the performer in an homage to Terry Riley as well as small sections of completely free improvisation. The inspiration for this work came as the composer was walking late at night through the Nydalen and Maridalen neighborhoods of the Norwegian capital Oslo as a storm was moving in. The feeling of an impending storm creates a sort of magic and electric feel in the air. This is reflected in the composition in terms of repetitive figures building toward and shying away from various climaxes. The score for this work is available through Dorn Publications under the title ‘Three Improvisations for Soprano Saxophone.’ 10’’

Blood Den – Soprano Saxophone, Electronic Tape

The main melody for this composition was written while the composer was living in Elkhart in 2008, though the piece was left largely unfinished until 2016. More material has been added for this concert. Blood Den follows a loose rondo form, with the main theme repeating several times. Its creepy, winding melody is embellished and varied throughout the piece, eventually turning into a dance-beat near the end. 6’52’’

Hope to see you there!