Totems (2017) - 14'
I. Guardian
- Interlude
II. Pioneer
- Interlude X
III. Catacombs
Instrumentation
Soprano Saxophone (with opt. low brake drum and low A tube)
Alto Saxophone (with opt. medium brake drum)
Tenor Saxophone I (with toy piano and low A tube)
Tenor Saxophone II (with opt. high brake drum and low A tube)
Baritone Saxophone
Bass Saxophone (with low A tube)
Preferred Setting: The University of Texas at Austin Dell Medical School
Notes on the Piece
Program Note
Totems is inspired by three sculptures by Seymour Lipton currently in the Dell Medical School; Guardian, Pioneer, and Catacombs. The sculptures embody totemic figures thus the name. From the UT Landmarks page:
“Seymour Lipton, a self-taught artist, found inspiration in nature, machinery, and the human figure. Reflecting on the sociological concerns of his time, he wanted to express the emotional, psychological, and spiritual tensions of balancing conflict: “Sculpture is used by me to express the life of man as a struggling interaction between himself and his environment.” Lipton developed a style predicated on tension between curved and straight elements, internal hollows and external shells—an aesthetic that is the direct result of his choice of medium.”
This work while perfectly playable/suitable for a concert hall environment is written to be played in the Dell Medical School at The University of Texas at Austin. The building is open concept in that you can see all the floors from each floor. The massive staircase starts on the east end of the building and ends at the top west corner. Throughout the pieces the performers are to climb the entire staircase.
The work starts on the bottom floor where the first sculpture, Guardian, is on display. The first movement is fanfaric in nature but also very quiet like a stretched out chorale with fanfare rhythms. It remains rather quiet for most of it until ramping up into the higher registers of the saxophones going right into the interlude. The piece uses two interludes that are to be memorized by the performers so they can use that time to move up the stairs to the next sculpture. The second movement, Pioneer, is much more intense and rhythmic. The audience is to be viewing the entire work on the second floor so the loudest parts of the piece are played right in front of them. Not only are the players playing their loudest in this movement, they are also enhanced by the use of brake drums in the soprano, alto, and second tenor parts. The movement concludes with an absurdist moment of techno dance music and hooting and hollering from the second tenor saxophonist. The second interlude is much like the first and the players are to walk all the way to the top of the stairs. All of the b-flat instruments insert items into their instruments to create a massive concert G sound out of which comes a very solemn chorale beginning the final movement, Catacombs. Material from the first movement is incorporated as well as a toy piano that haunts the audience from the top of the building.
- Interlude
II. Pioneer
- Interlude X
III. Catacombs
Instrumentation
Soprano Saxophone (with opt. low brake drum and low A tube)
Alto Saxophone (with opt. medium brake drum)
Tenor Saxophone I (with toy piano and low A tube)
Tenor Saxophone II (with opt. high brake drum and low A tube)
Baritone Saxophone
Bass Saxophone (with low A tube)
Preferred Setting: The University of Texas at Austin Dell Medical School
Notes on the Piece
- If the piece is played without moving in typical concert hall fashion, repeated sections should be taken thrice.
- The toy piano is meant to creep up on the listener. It’s initial notes are not meant to be audible to the inattentive ear.
- Should the performers choose to use brake drums they must be kicked with a foot pedal.
Program Note
Totems is inspired by three sculptures by Seymour Lipton currently in the Dell Medical School; Guardian, Pioneer, and Catacombs. The sculptures embody totemic figures thus the name. From the UT Landmarks page:
“Seymour Lipton, a self-taught artist, found inspiration in nature, machinery, and the human figure. Reflecting on the sociological concerns of his time, he wanted to express the emotional, psychological, and spiritual tensions of balancing conflict: “Sculpture is used by me to express the life of man as a struggling interaction between himself and his environment.” Lipton developed a style predicated on tension between curved and straight elements, internal hollows and external shells—an aesthetic that is the direct result of his choice of medium.”
This work while perfectly playable/suitable for a concert hall environment is written to be played in the Dell Medical School at The University of Texas at Austin. The building is open concept in that you can see all the floors from each floor. The massive staircase starts on the east end of the building and ends at the top west corner. Throughout the pieces the performers are to climb the entire staircase.
The work starts on the bottom floor where the first sculpture, Guardian, is on display. The first movement is fanfaric in nature but also very quiet like a stretched out chorale with fanfare rhythms. It remains rather quiet for most of it until ramping up into the higher registers of the saxophones going right into the interlude. The piece uses two interludes that are to be memorized by the performers so they can use that time to move up the stairs to the next sculpture. The second movement, Pioneer, is much more intense and rhythmic. The audience is to be viewing the entire work on the second floor so the loudest parts of the piece are played right in front of them. Not only are the players playing their loudest in this movement, they are also enhanced by the use of brake drums in the soprano, alto, and second tenor parts. The movement concludes with an absurdist moment of techno dance music and hooting and hollering from the second tenor saxophonist. The second interlude is much like the first and the players are to walk all the way to the top of the stairs. All of the b-flat instruments insert items into their instruments to create a massive concert G sound out of which comes a very solemn chorale beginning the final movement, Catacombs. Material from the first movement is incorporated as well as a toy piano that haunts the audience from the top of the building.