Uploaded July 2021 | Updated September 2026, 2 weeks ago
PROGRAM NOTES BY SARAH:
"Disquiet began life as melodic fragments I would hum to myself on the subway while living in New York in the year 2000. In 2004-2005 those fragments evolved into my first piece for orchestra, written while I was a graduate student at Yale. In 2012, I revised and expanded the piece. The creative impetus for this music was, to speak broadly, the agitation of unspoken words, particularly when those words simmer and writhe beneath a self-imposed calm. In addition to its dramatic declarations, the music has moments of tenderness and whimsy; at one point even something of a drinking song makes its presence known. Ultimately, though, the piece is a meditation on the idea that even the most agitated restlessness can engender a certain serenity and gratitude."
COMPOSER: Sarah Kirkland Snider
CONDUCTOR: Robert Baldwin
ORCHESTRA: Utah Philharmonia
NOTE: This is a live recording!
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
PROGRAM NOTES BY SARAH:
"Disquiet began life as melodic fragments I would hum to myself on the subway while living in New York in the year 2000. In 2004-2005 those fragments evolved into my first piece for orchestra, written while I was a graduate student at Yale. In 2012, I revised and expanded the piece. The creative impetus for this music was, to speak broadly, the agitation of unspoken words, particularly when those words simmer and writhe beneath a self-imposed calm. In addition to its dramatic declarations, the music has moments of tenderness and whimsy; at one point even something of a drinking song makes its presence known. Ultimately, though, the piece is a meditation on the idea that even the most agitated restlessness can engender a certain serenity and gratitude."
COMPOSER: Sarah Kirkland Snider
CONDUCTOR: Robert Baldwin
ORCHESTRA: Utah Philharmonia
NOTE: This is a live recording!
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
![Amy Beth Kirsten — World Under Glass No. 1 (2011) [w/ score]](https://i.ytimg.com/vi/yPAVz-jVDGE/mqdefault.jpg "Amy Beth Kirsten — World Under Glass No. 1 (2011) [w/ score]
This is Amy Beth Kirsten’s imaginative, formidable piece for bassoon quintet (five bassoons), “World Under Glass No. 1,” commissioned and performed by the acclaimed bassoon quintet, Dark in the Song. Called a “bassoon supergroup” by the American Music Center, Dark in the Song was formed in 2010 by five of the most dynamic and accomplished young players and teachers in the U.S. Its members bring an eclectic, wide-ranging mix of sensibilities and experiences to the group.
Kirsten writes in the program notes:
“World Under Glass No. 1 is inspired by the work of New York artist Thomas Doyle (b. 1976). His astonishing scenes-in-miniature are displayed in what might be described as oversized snow globes. Far from beautiful snowscapes recalling holiday cheer, they portray dark, disturbing (even depraved) secret human moments painstakingly arranged and preserved. From afar, the spectator initially delights in these tantalizing objects resembling a holiday toy. Carefree curiosity slowly draws us near. Upon closer inspection, delight turns to sudden horror. This emotional whiplash stunned, horrified, and eventually inspired me. I didn’t know if I should laugh at how I was fooled or cry for the little tragedies under glass that somehow felt even more extreme expressed this way. Viewing Doyle’s work made music sound in my imagination. This is that music.”
COMPOSER: Amy Beth Kirsten
BASSOON QUINTET: Dark in the Song
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
#scorefollower #contemporaryclassical #classicalmusic")
![John Mackey — Concerto for Soprano Saxophone and Wind Ensemble (2007) [w/ score]](https://i.ytimg.com/vi/yiaWdPm2hFc/mqdefault.jpg "John Mackey — Concerto for Soprano Saxophone and Wind Ensemble (2007) [w/ score]
John Mackey wrote his brilliant Concerto for Soprano Saxophone and Wind Ensemble (2007) with a central idea: the middle three movements outlining the anatomy and components of the saxophone: felt (the pads of the keys), metal (the body), and wood (the reed). Instrumentation is also chosen to essentially match the materials for each movement. The outer movements (Prelude and Finale) showcase the entire wind ensemble.
To more briefly sum up the material in each movement taken from information in the program notes:
Prelude is a very brief overture to the concerto, with material that foreshadows each of the movements to come.
“Felt is the study of the keys on the saxophone, including a lot of virtuosic material in incredibly fast, intricate runs, pitch bending, and alternate fingerings.
Metal is the converse, showing the singing, beautiful quality of the saxophone, scored for mainly metal percussion and brass.
Wood showcases a tango dance that gives homage to the saxophones prevalent use in jazz clubs, and other intimate settings/venues where the instrument performs a very lyrical, memorable melody.
The final movement, Finale, takes an aid, right in the beginning, from John Coriglianos Clarinet Concerto, one of John Mackeys favorite works. This quote is humorously meta, as it is six bars quoting John Coriglianos Clarinet Concerto, which itself is quoting a work by 16th century composer Giovanni Gabrieli, “Sonata Pian e Forte.” Afterwards, the saxophone takes off at lightning speed, showcasing all the virtuosity and master technique a brilliant saxophonist can showcase.
COMPOSER: John Mackey
CONDUCTOR: Jerry Junkin
SOPRANO SAXOPHONE: Stephen Page
BAND: University of Texas at Austin Wind Ensemble
NOTE: This is a live performance! (recorded in Bates Recital Hall on 9/27/2015)
TRACKLIST:
0:00 - Introduction
0:12 - I. Prelude
2:22 - II. Felt
8:05 - III. Metal
15:48 - IV. Wood
20:09 - V. Finale
Please be aware that all of the music (and images) featured in this video belong to their respective owners, and I or this channel does not claim any right over them. I upload these solely for archiving purposes, and for the sharing and enjoyment of great music. Monetization is not enabled. If you are the rightful owner of copyrighted material used and would like the video removed from YouTube, please, instead of reporting/striking my channel, leave a comment below with your statement and I will take the video down effective immediately.
#scorefollower #contemporaryclassical #classicalmusic")
