Backjump (2009) for flute, alto saxophone, and digital media
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Program Notes
Backjump was completed in April of 2009 in Baton Rouge, Louisiana, and was written for Dr. Eric Lau, professor of saxophone at the University of New Mexico. The work is for flute, alto saxophone, and digital media (two-channel audio playback) and was inspired by artwork from the Italian street artist known as Blu. When first introduced to his work, I immediately found the large-scale murals of images, figures, and cartoon-like creatures fascinating, somewhat disturbing, and incredibly beautiful. The title of the piece comes directly from the title of one of the artist’s exhibits in Berlin, 2007 – also named Backjump. My goal in this work became the challenge of realizing a sonic environment that would potentially invoke similar reactions and perceptions I had to the strange, unique work of this artist. The piece is divided into three main sections: an introduction that manipulates long tones, quarter tones, and carefully calculated frequencies in the audio part; a middle section that utilizes a relentless, nagging pulse that has an extremely dense climax; a coda that’s reminiscent of a jack-in-thebox under water.
Performances
Backjump was completed in April of 2009 in Baton Rouge, Louisiana, and was written for Dr. Eric Lau, professor of saxophone at the University of New Mexico. The work is for flute, alto saxophone, and digital media (two-channel audio playback) and was inspired by artwork from the Italian street artist known as Blu. When first introduced to his work, I immediately found the large-scale murals of images, figures, and cartoon-like creatures fascinating, somewhat disturbing, and incredibly beautiful. The title of the piece comes directly from the title of one of the artist’s exhibits in Berlin, 2007 – also named Backjump. My goal in this work became the challenge of realizing a sonic environment that would potentially invoke similar reactions and perceptions I had to the strange, unique work of this artist. The piece is divided into three main sections: an introduction that manipulates long tones, quarter tones, and carefully calculated frequencies in the audio part; a middle section that utilizes a relentless, nagging pulse that has an extremely dense climax; a coda that’s reminiscent of a jack-in-thebox under water.
Performances
- July 14, 2012 World Saxophone Congress (St. Andrews, Scotland)
- August 11, 2011 National Flute Association Convention (Charlotte, NC)
- March 22, 2011 Georgia State University, Bent Frequency Contemporary Music Ensemble (Atlanta, GA)
- December 12, 2010 Michigan State University (East Lansing, MI)
- November 9, 2010 Michigan State University (East Lansing, MI)
- June 11, 2010 California State University (Long Beach, CA)
- March 4, 2010 University of Georgia, Biennial North American Saxophone Alliance Conference (Athens, GA)