STACY GARROP • COMPOSER

AUDIO
Excerpt of Fragmented Spirit
HD Duo (Michael Duke, saxophone, and David Howie, piano)
Incandescence • Saxophone Classics CC 4002 • The Classics Labels • Purchase recording

ORDERING SCORES
Theodore Presser Company
114-41106 • $25.95 • full score and sax part • click to order
Sheetmusicplus.com
PR.114411060 • $25.95 • full score and sax part • click to order

ERRATA
Performers, the following mistakes are in the printed scores. Please correct:
- m. 109, beat 2 - change the saxophone to have a concert C instead of a concert A, so that it matches the piano part. The transposed pitch will need to be changed in the sax part too.
- m. 119 - the piano has an extra, 6th beat in this 5/4 measure. Remove the extra beat at the end of the measure.

PROGRAM NOTES
fragmented
i feel
so
fragmented
i
am
small bits
scattered over cement
glittering specks, dark lines
i don’t know
how
to reassemble myself

fragmented
i sound
listen
open my jaw
i gurgle, cough, gasp
a silent, violent scream
my throat cannot
recall
its primary function

a spirit in pieces
you see it
strewn everywhere as if on parade
you have power
you can stomp on it
smash it
or you can collect the bits
and teach my hands
how
to reshape my tattered spirit
into vibrance.

-S.G.

The Capitol Quartet has exclusive performance rights until July 13, 2019. They also have exclusive recording rights until July 18, 2019.

COMMISSIONER
Capitol Quartet

PROGRAM NOTES
The phrase “Heav’n has no rage, like love to hatred turn’d, Nor Hell a fury, like a woman scorn’d” was penned by William Congreve in 1697 in his tragedy play The Mourning Bride. Over the centuries, the original phrase morphed into the more commonly known phrase “Hell hath no fury like a woman scorned.” While the original phrasing has lost some of its elegance in its shortened modern form, the sentiment remains the same – a scorned woman is going to be steaming mad.

Hell Hath No Fury is my take on the Lilith myth. Lilith was the first wife of Adam, who God created before he made Eve. Lilith was cast out of Eden when she refused to be subservient to him, particularly in regards to amorous matters. As the piece begins, we hear Lilith screaming in fury and anguish. This is followed by a calmer section, in which she is in shock at her fate. Lilith once again lashes out in anger before she sullenly walks out of the garden of Eden forever.

Hell Hath No Fury was commissioned by the Capitol Quartet (Christopher Creviston, soprano saxophone; Joseph Lulloff, alto saxophone; David Stambler, tenor saxophone; and Henning Schröder, baritone saxophone) and the Margot Music Fund.

-S.G.

AUDIO (FLUTE VERSION)
Christina Castellanos, flute

COMMISSIONER
Christopher Creviston, saxophone

ORDERING SCORES
Theodore Presser Company
#114-41826 • $15.99 • click to order

PROGRAM NOTES
Legends of the phoenix are found in stories from ancient Egypt and Greece. While each culture possesses a range of stories encompassing the phoenix myth, these tales tend to share similar traits: a sacred bird with brilliantly colored plumage and melodious call lives for typically five hundred years; then the bird dies in a nest of embers, only to be reborn among the flames. In Egyptian stories, the phoenix gathers scented wood and spices for its funeral/rebirth pyre, then collects the ashes from its earlier incarnation and flies them to the temple of the sun in Heliopolis to offer as a tribute to the sun god. In Greek myths, the phoenix was approximately the size of an eagle and was adorned with red and gold feathers; it would fly from either India or Arabia to Heliopolis to give its offering. The bird’s association with immortality and resurrection are particularly intriguing aspects of these tales, giving numerous writers (including William Shakespeare, C.S. Lewis, and J.K. Rowling) a rich resource for their own stories.

Phoenix Rising consists of two movements. I. Dying in embers represents an old phoenix who is settling on top of a pile of embers and breathing its last breath; II. Reborn in flames depicts the newly born phoenix getting its first taste of flight. Phoenix Rising was commissioned by saxophonist Christopher Creviston.
-S.G.

VIDEO
Jonathan Hulting-Cohen, saxophone, and the University of Massachusetts Wind Ensemble; Matthew Westgate, conductor

All consortium members hold exclusive performance and commercial recording rights until 5/30/19.

COMMISSIONERS
• Appalachian State University • John Stanley Ross, conductor • Scott Kallestad, saxophone
• Arizona State University • Gary W. Hill, conductor • Christopher Creviston, saxophone
• Baylor University • J. Eric Wilson, conductor • Michael N. Jacobson, saxophone
• Butler University and the Butler University chapter of Kappa Kappa Psi • Michael J. Colburn, conductor • Heidi Radtke, saxophone
• Carthage College • James Ripley, conductor • Andrew Carpenter, saxophone
• Louisiana State University • Damon Talley, conductor • Griffin Campbell, saxophone
• Penn State University and the Margot Music Fund • Dennis Glocke, conductor • David Stambler, saxophone
• SUNY Potsdam • Brian K. Doyle, conductor (head of consortium) • Casey Grev, saxophone
• University of Alabama • Kenneth Ozzello, conductor • Jonathan Noffsinger, saxophone
• University of Massachusetts Amherst • Matthew Westgate, conductor • Jonathan Hulting-Cohen, saxophone
• University of Michigan at Ann Arbor • Michael Haithcock, conductor • Timothy McAllister, saxophone
• University of Nebraska-Lincoln • Carolyn Barber, conductor • Paul Haar, saxophone
• University of North Carolina at Greensboro • John R. Locke and Kevin M. Geraldi, conductors • Steven Stusek, saxophone
• University of Oregon • Rodney Dorsey, conductor • Idit Shner, saxophone
• University of South Carolina • Scott Weiss, conductor • Clifford Leaman, saxophone

PROGRAM NOTES
In addition to being another name for the element mercury, “quicksilver” is used to describe something that changes quickly or is difficult to contain. My concerto of the same name was inspired by the Roman god Mercury, as well as the mercurial nature of the saxophone: unpredictable, very lively, and volatile. Mercury (known as Hermes in Greek mythology) is best known for his winged shoes, which allowed him to fly swiftly as the messenger of his fellow Olympians. Mercury had other duties too, including serving as the god of merchants, travelers, and tricksters; he also ushered souls of the departed to the Underworld.

Quicksilver tells three tales of the Roman god. The first movement (Antics of a Newborn God) opens with the birth of Mercury; after he takes his first steps, he toddles around, gleefully looking for mischief. He stumbles across a herd of cows that belong to his brother Apollo; Mercury slyly lets the cows out of their pen before toddling onward with his mischief-making. In the second movement (Guiding Souls to the Underworld), Pluto, god of the Underworld, bids Mercury to bring him fresh souls. The movement begins with death-knells tolling for humans who are about to die; Mercury picks up these souls and leads them down to the gates of the Underworld. The third and final movement (Messenger of Olympus) depicts Mercury as he is busily running errands for various gods and goddesses. We first encounter him mid-flight as he dashes to earth to find Aeneas, a Trojan lieutenant who had been run out of Troy by the invading Greeks. Aeneas is on a quest to find land on which to establish a new city that would eventually become Rome. While traveling, he is distracted from his quest when he meets the beautiful queen Dido. They live together for many years before Mercury intervenes; he chastises Aeneas for giving up on his quest and persuades him to pick it up again. As Aeneas mournfully resumes his journey, we hear Dido perish of a broken heart. Mercury then takes to the skies to seek out Perseus, who is preparing to kill the Medusa, the hideous gorgon who has snakes for hair and a gaze that turns those who catch her glance into stone. Mercury advises Perseus on how to slay Medusa and lends Perseus his sword to do the deed. We hear Perseus victorious in the beheading of Medusa, after which Mercury takes to the skies once more to fly home to Olympus.

Quicksilver was commissioned by Appalachian State University, Arizona State University, Baylor University, Butler University, Carthage College, Louisiana State University, Penn State University, SUNY Postdam, University of Alabama, University of Massachusetts Amherst, University of Michigan at Ann Arbor, niversity, Baylor University, Butler University, Carthage College, Louisiana State University, Penn State University, SUNY Postdam, University of Alabama, University of Nebraska-Lincoln, University of North Carolina at Greensboro, University of Oregon, and University of South Carolina.

-S.G.

PERFORMANCES
10/18/17: Crane Wind Ensemble at SUNY Potsdam, NY (world premiere)
4/14/18: University of Massachusetts Amherst Wind Ensemble at the 36th Annual New England Saxophone Symposium, MA
4/19/18: University of South Carolina Wind Ensemble, Kroger Center for the Performing Arts, Colombia, SC
4/26/18: Butler University Wind Ensemble, Indianapolis, IN
5/10/18: University of Oregon Wind Ensemble, Beall Concert Hall, Eugene, OR
9/27/18: University of Alabama Wind Ensemble, Tuscaloosa, AL

AUDIO
Ambassador Duo
Illuminations • Equilibrium Records EQ 77 • Purchase recording

COMMISSIONER
Otis Murphy

ORDERING SCORES
Theodore Presser Company
114-41107 • $36.95 • full score and sax part • click to order
Sheetmusicplus.com
PR.114411070 • $36.95 • full score and sax part • click to order

ERRATA
Performers, the following mistakes are in the printed scores. Please correct:
Mvmt 1
- mm. 19-21 - piano LH is missing an 8vb.
- mm. 178-184 - piano RH is missing an 8va.
Mvmt 2
- m. 7 - the note below the piano LH should say hold to measure 17 (not 87).
- m. 17 - at the end of the measure & below the staff, there should be an asterisk for a piano pedal lift.
- m. 29 - piano LH, the grace note to the last beat should only have the lower pitch (strike the upper pitch).
Mvmt 3
- m. 61 - the sax trill should have a flat above it instead of a natural. (It is correct in the sax part, since that’s transposed.)
- m. 137 - the piano is missing a Pedal indication - this begins on beat 1.

PROGRAM NOTES
Tantrum has the formal structure of a traditional sonata, but its connection with the historical form stops there. The first movement (Obsession) obsesses continuously on a four note figure, which is introduced immediately following an extended slow introduction. Lost, the second movement, actually began as a piece for voice and piano; it subsequently lost its text, and the saxophone sings forlornly in its place. The third movement (Fits and Fists) takes a quirky bit of music and modulates it up an interval of a perfect fourth every chance it gets. This high energy piece presents a playful challenge for both the saxophonist and pianist.
-S.G.