Fortunata Spinning Into Light
SKU:
$33.00
$33.00
Composer:
Rob Deemer
Scoring:
alto saxophone and eight alto saxophones
Duration:
9:00
Materials:
score (9.5 x 13) and parts (9.5 x 13)
Listen
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Program Note:
Fortunata Spinning Into Light takes its title from Jeanette Witherspoon’s 1989 postmodern novel Sexing the Cherry, which describes a version of an old fairy tale about twelve dancing princesses. The tale includes the story of Fortunata: “At a dancing school in a remote place, Fortunata teaches her pupils to become points of light.” When a colleague told me of this idea of dancers continually spinning until they turn into light, I decided it was a wonderful concept for a piece, and when Zach Shemon asked me to write a work for the 2014 North American Saxophone Alliance convention, I knew it was a match. I’ve already written a piece for concert flute and pre-recorded alto flute choir, so the idea of a similar model for multiple alto saxophones - in this case, eight saxophone parts in addition to the solo part - felt very comfortable. As a former saxophonist myself, I was overjoyed at the opportunity to explore such a unique, homogenous sound world and to get to work with such a virtuoso collaborator such as Zach.
— Rob Deemer
————--
Reproduction Notice:
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.
Rob Deemer
Scoring:
alto saxophone and eight alto saxophones
Duration:
9:00
Materials:
score (9.5 x 13) and parts (9.5 x 13)
Listen
————--
Program Note:
Fortunata Spinning Into Light takes its title from Jeanette Witherspoon’s 1989 postmodern novel Sexing the Cherry, which describes a version of an old fairy tale about twelve dancing princesses. The tale includes the story of Fortunata: “At a dancing school in a remote place, Fortunata teaches her pupils to become points of light.” When a colleague told me of this idea of dancers continually spinning until they turn into light, I decided it was a wonderful concept for a piece, and when Zach Shemon asked me to write a work for the 2014 North American Saxophone Alliance convention, I knew it was a match. I’ve already written a piece for concert flute and pre-recorded alto flute choir, so the idea of a similar model for multiple alto saxophones - in this case, eight saxophone parts in addition to the solo part - felt very comfortable. As a former saxophonist myself, I was overjoyed at the opportunity to explore such a unique, homogenous sound world and to get to work with such a virtuoso collaborator such as Zach.
— Rob Deemer
————--
Reproduction Notice:
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.
