Saxophone Sonata Extended Techniques
Joseph R. Connor of Lawrence University demonstrates extended techniques for performing the Maslanka Saxophone Sonata.
Joseph R. Connor of Lawrence University demonstrates extended techniques for performing the Maslanka Saxophone Sonata.
David Maslanka wrote this in February 2013
A lot of work has been done over many years to evolve a controlled and “beautiful” saxophone tone. There is a need for this kind of tone in my music, but there is also the push to the extreme. I am drawn to saxophones because of their wide-ranging vocal quality, which feels like a real extension of the human voice. Saxophone sound can break the heart with its softness and tenderness, and completely overwhelm with its power. “Beauty” cannot be confined to a narrow box labeled “beautiful.” Beauty is in the rightness of the musical moment, and that rightness can be a piercing cry at fff.
I think the strong appealing element of the Sonata is that it feels like an intimate journey and story for two people. There is a very close relationship between the saxophone and the piano. The piano does support the soloist in the traditional sense, but also leads and pushes. Intimacy is the key word, but that doesn’t mean just soft and sweet. It encompasses the full range of dialogue and emotions between two people. When this is established between the two players, the audience is immediately drawn in.
Fundamental issues in good music performance never change: careful attention to tempos, dynamics, articulations, and balances. If these things are carefully attended to, then 90% of the problem of what is called “interpretation” is solved.
First movement
m. 62: same tempo Q=90-96, no backing down; the ff is wild. […]
Maslanka Press has released a beautiful new edition of David Maslanka’s Sonata for Alto Saxophone and Piano. Learn more —
Steven Jordheim, an early champion of the work and former teacher of saxophone at Lawrence University, wrote a forward and performance guide included in the new edition. Here is his forward.
Commissioned by the North American Saxophone Alliance and composed in 1988, David Maslanka’s Sonata for Alto Saxophone and Piano gives to the concert repertoire of the saxophone a monumental, riveting work that both rewards its performers and deeply affects audiences. At the time, he was living in Inwood, the northernmost neighborhood of Manhattan. Inwood Hill Park, which runs along the Hudson River, contains pronounced ridges, caves, and valleys. As Maslanka walked the park, contemplating the creation of this piece, he encountered a beast in his meditation. His first reaction was to run away, but in subsequent encounters he confronted it. Ultimately the beast devoured him. The work’s unironic tonal language, traditional three-movement structure, and dramatic interplay between saxophone and piano make it intensely accessible to all. Hearing the work at its 1989 premiere, I knew that the Sonata would become an important piece in Maslanka’s oeuvre. Its music engages and moves audiences deeply, and indeed the Sonata has become a frequently performed and recorded work.
No other piece that I’ve played demanded as much of me as a performer technically, expressively, physically, or emotionally. To deliver the Sonata as Maslanka intended, “on […]
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Stephen K. Steele & Wind Symphony Alumni Ensemble Perform Symphony No. 10, Angel of Mercy, and Requiem in Naperville, IL on July 15, 2022 to a Standing Ovation of Thunderous Applause.
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This conversation is about the album The Red Door: Clarinet Works of David Maslanka (2021)
Works discussed:
Three Pieces (1975)
Fourth Piece (1979)
Little Symphony (1989)
Eternal Garden (2009)
Trio No. 1 (1971/2012)
Trio No. 2 (1981)
A Litany for Courage and the Seasons (1988)
Matthew Maslanka: My name is Matthew Maslanka. I’m David Maslanka’s son. I’m being joined by Jeremy Reynolds who is professor of clarinet at University of Denver Lamont School of Music. And he has just released a two-CD set of basically everything dad ever wrote for chamber clarinet. And it is just a stunning piece of work. And I am grateful to be able to talk with you about it today.
Jeremy Reynolds: So thank you. Matthew, thank you so much. This has been a long time coming. And thank you for speaking with me. And anytime I can talk about your dad’s work and working with him and stuff. It’s always my pleasure. So it’s great. Fantastic.
MM: Why don’t you tell me a little bit about how this thing came to be?
JR: Yeah. So a very good friend of mine, Peggy Dees, who your dad also knew quite well. She was integral in getting Eternal Garden off the ground. She was I think the leader of the commission project. And she contacted – No, we met actually doing a recording session down in Florida for I think it was Carl Fischer. And we became really good friends and she roped me into the commissioning project for […]
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In October 2016, I (Matthew Maslanka) accompanied my father to Middle Tennessee State University where I photographed and recorded his masterclasses and rehearsals. This is his rehearsal on October 25. He helped produce his final CD during this visit.
Audio Recording (1:22:57)
(transcript below)
Reed Thomas
Good afternoon, everybody. So, the plan for next couple of days, we’re going to start with some sections of Alex and the Phantom Band, then we’re going to move on, once we’ve had the chance to dress and get ready, we’re going to move to St. Francis. And the second movement, first, then we are going do the first movement and during those times Dr. Maslanka is going to be working with you. Helping, so we can make sure that we produce the music in a way that is the best of our ability. (inaudible)
So we are very privileged to have him here to work with us this week. So if you will please welcome Dr. David Maslanka.
David Maslanka
Thank you, it’s an honor and will evolve as a pleasure as we get going together. My whole need in the music making is just that, that we make music together, as opposed to technical chunks of this and that. We’re going to make music all through the rest of our week together today. So I want to start, not take too much time with you now just to let you know who I am. And we’ll start with our friend, Alex here. This is a neat little […]
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In May 2003, Tiffany Woods emailed David a series of questions in the course of writing a paper. She was a student at the University of North Carolina Greensboro and taking a Band Literature course with Dr. John Locke. David wrote a thorough response. The interview has been excerpted from their correspondence and interleaved here. It has been lightly edited for spelling and style.
Tiffany Woods: I’ve read your interview with saxophonist Russell Peterson and first I want to talk a little about your compositional process and you referred to what you termed “active imagining.” While to some degree this makes sense in terms of a ‘programmatic’ piece, such as A Child’s Garden of Dreams and maybe even the Mass, when you sit down to “compose a symphony” does the same concept still apply?
David Maslanka: “Active Imagining” is a term used by the psychologist Carl Jung. It is a way of moving the conscious mind into the space of the unconscious. They closest thing to it that most people do is daydreaming. The difference is in being aware that it is happening, and in finding ways to deepen the experience. The result is that it is possible to approach the unconscious directly and to ask for the direction or energy that wants to become music. The process applies equally to all kinds of music. It isn’t about whether the music has a story, but about opening the channel […]
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature one of David's very last interviews. In April of 2017, Damon Talley - Director of Bands at LSU - had the opportunity to sit down with David and discuss Symphony No. 4 during a residency with the LSU Wind Ensemble.
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature Part 1 of Julian Velasco's interview of David from his home in Missoula, MT in 2016.
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Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, we feature three recent extraordinary performances of Symphony No. 7.
From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature a classic performance of Requiem with Gregg Hanson and the University of Arizona Wind Ensemble from the 2014 Western/Northwestern Division CBDNA Conference.
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature pictures from David's residency at Lawrence University with Andrew Mast and the Lawrence University Wind Ensemble in 2010.
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature a classic performance of Give Us This Day with Gregg Hanson and the University of Arizona Wind Ensemble from the 2008 Western/Northwestern Division CBDNA Conference.
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Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, we feature three amazing examples of how a few talented musicians have used technology to play David's music and make it available on the internet for us to enjoy.
From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature pictures of Stephen Steele using scores to prepare a studio recording of David's music.
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature an episode from the podcast Bandranting featuring Gregg Hanson and James Sepulvado discussing David's music.
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From the Maslanka Archive features media and stories of David's life and work. This week, we are excited to feature pictures from David's residency with Stephen K. Steele and the Illinois State University Wind Symphony for a performance of A Child's Garden of Dreams in 2012.
Maslanka Weekly highlights excellent performances of David Maslanka’s music from around the web. This week, we showcase more creative arrangements of Give Us This Day.