Lockdown Sessions

My first performance without an audience after the initial lockdown in March 2020, this piece is part of a collection of pieces by composer and fellow RCS Alumni Nicholas Olsen, chronicling his thoughts and feelings throughout the Covid-19 pandemic. This movement, ‘Daily Briefing’, explores the repetitive and often frustrating nature of the No. 10 briefings from the early stages of lockdown. Co-stars in this recording include my ironing board and broom – creating a truly authentic performance ‘From Home’!

This major work for unaccompanied saxophone explores the musical form of the waltz in dazzling technical detail, but despite the challenges involved the music itself is light and frivolous, with a distinctly French charm. My favourite aspect of this piece is the use of fast runs, grace notes and arpeggiated passages to create the illusion of harmony, filling out the otherwise rather bare sound of a solo instrument with lush and rich chords.

This project, kindly supported by Live Music Now Scotland, was a continuation of my investigation into the music of J.S. Bach. I had previously carried out extensive research on the Flute Partita through my transcription for soprano saxophone, but this concert gave me the opportunity to transcribe another piece – the 3rd Violin Partita, BWV 1006. This piece introduced many new challenges due to the fact that I was no longer transcribing from the wind repertoire, meaning that many of the constraints of the saxophone – principally the need to breathe – were not considered in the original composition. However, working on this performance was a highly rewarding and educational experience, and I am confident that my efforts have demonstrated that the genius of this music can shine through regardless of the instrumentation.

This beautiful carol was commissioned by the Nevis Ensemble for their recording project in December 2020 – a week of socially distanced music making in the midst of the coronavirus shutdown. I feel very fortunate to have had the opportunity to take part in this project, as it was the first time I’d played with other musicians in months – the feeling was incredible! The poignant Gaelic text of this carol was written by Marcas Mac an Tuairneir, and read in the recording by the poet himself. It explores the darker side of the festive season, speaking of the poverty and hunger felt by many at this time of celebration, but finishes with a shimmering and joyful final verse full of love and hope for the new year.

This piece is the third movement in a larger series of works entitled “Afterlife”, which was commissioned by fellow Scottish saxophonist Lewis Banks. I was lucky enough to attend the incredible premier of this piece back in September 2019, and it left such an impression that I knew I had to get my hands on this music and play it myself! Much like the solo works of Bach this piece is packed full of different possibilities for interpretation and expression, and it was a great experience delving into this score and exploring all of these colours and nuances. After a lot of previous work on transcriptions of Bach’s partitas for Flute and Violin, it felt like a natural step to continue into contemporary solo repertoire which was inspired by his music.

This is another well-known work for solo saxophone, originally composed in 1952 and dedicated to Marcel Mule, then professor of saxophone at the Paris Conservatoire. The opening improvisation is almost directly lifted from another of Bozza’s solo pieces for flute (Image, Op. 32), but the fast-paced caprice is unique to the saxophone – making use of the full conventional range of the instrument with flurries of chromatic scales and arpeggios.

Exploring the extremes of timbre on the soprano saxophone, this piece travels from pastoral beginnings through impressions of a chicken, before settling into a final section reminiscent of beatboxing – a completely bizarre mix of ideas, but very enjoyable to navigate as a performer. I particularly appreciate the way in which the composer incorporates several extended techniques which are usually synonymous with the more inaccessible, avant-garde saxophone repertoire, and presents them in an accessible and often humorous way throughout the piece.

This piece is the first in a set of nine contemporary concert etudes, each specialising in a particular combination of challenging 'extended' techniques. This particular etude explores the softest sounds of the instrument, incorporating circular breathing and the delicate use of subtone, along with a large variety of multiphonic sounds.

This piece gets its name from the Westland Saxophone Festival in Holland, where it received its premiere by the composer in January 2017. The music explores a variety of soundscapes, with a dialogue emerging between the contrasting virtuosic and reflective sections. The opening motif is punctuated with multiphonics which recur throughout the piece, contrasting with lyrical arpeggiated passages.