Program Note
As a saxophonist, I had always looked upon the traditional woodwind quintet with a sense of confusion and jealousy. Of course, the horn is a nice color to blend with the other instruments, but I never understood why composers hadn't utilized the saxophone within a chamber wind configuration. As I began my composition studies in the late 90s, I took the opportunity to write Looking Glass, a short work for woodwind sextet that had not one but two saxophones (replacing the bassoon with a baritone saxophone as well as including a soprano saxophone). Many years later, after having performed Looking Glass with the resident woodwind quintet at Interlochen Summer Arts Camp, bassoonist Ryan Reynolds approached me with the idea of writing a new work for the Akropolis Reed Quintet, which was extremely exciting because not only were they insanely good, but the instrumentation was one that I had been eager to tackle for some time.
When Akropolis asked me what I wanted to write for them, I knew that it had to be energetic and visceral, so I suggested something of a perpetual-motion, hodge-podgian, Dr. Seuss-inspired meta-instrument made up of the five instruments in the quintet. As I rummaged around for a title, I hit upon the term "gallimaufry," which has two great definitions: 1) a confused jumble or medley of things and 2) a dish made of diced or minced meat, especially a hash or ragout...both of which sounded amazing for the concept of a piece (and one of which sounded amazing for dinner!). The inclusion of the saxophone and bass clarinet within the quintet allowed me to not only explore a vast array of color combinations within the work but also to play around with the wide ranges of the instruments as well, often putting lower instruments in their high registers and higher instruments in their lower registers. The fact that all five instruments have equal facility provided me with the chance to really run wild with my imagination, and while the final product might not sound as humorous as I had initially conceived, that sense of whimsy and non-sequitur is apparent throughout the work.
— Rob Deemer
When Akropolis asked me what I wanted to write for them, I knew that it had to be energetic and visceral, so I suggested something of a perpetual-motion, hodge-podgian, Dr. Seuss-inspired meta-instrument made up of the five instruments in the quintet. As I rummaged around for a title, I hit upon the term "gallimaufry," which has two great definitions: 1) a confused jumble or medley of things and 2) a dish made of diced or minced meat, especially a hash or ragout...both of which sounded amazing for the concept of a piece (and one of which sounded amazing for dinner!). The inclusion of the saxophone and bass clarinet within the quintet allowed me to not only explore a vast array of color combinations within the work but also to play around with the wide ranges of the instruments as well, often putting lower instruments in their high registers and higher instruments in their lower registers. The fact that all five instruments have equal facility provided me with the chance to really run wild with my imagination, and while the final product might not sound as humorous as I had initially conceived, that sense of whimsy and non-sequitur is apparent throughout the work.
— Rob Deemer
Reproduction Notice:
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.