Michael Schell Michael Hersch: When I first began to compose, many of the works I wrote were quite long. Together Brian and Joe played all the episodes of Star Trek, the next Generation, Deep Space 9, and Voyager. I had just rebuilt the valves of a special one-of-a-kind Paxman horn and was being very clever using the lathe to clean up a spot. It was at this point however that I decided to begin work on The Vanishing Pavilions, which seemed a natural outgrowth of what I had done before.

We have been making a mellophone conversion where we make a new leadpipe that uses a horn mouthpiece. Was it a moment in time, or did it evolve gradually? She enjoys quality time with her husband and also attends various sports game with him. Paul Muller Rob Deemer Maybe in a different way. From there, it was an easy transition to building the whole horn. I certainly knew that a work of this scale would have little chance of ever being programmed. S21: I know Last Autumn is composed of many smaller linked movements; did you compose them mostly in sequence in relation to the final “geography” of the entire piece, or come up with their order and placement later, or what? While there are a few works still in my catalog from those years, most of the pieces I wrote during this period I also am not satisfied with.

Wes Flinn GL: Over the last few months the piece has required me to explore different sound concepts and different ways of beginning sounds, technically called “attack & release,” but I’ve never liked the word attack. This website uses cookies to enhance user experience, including login status. One has to allow a piece to unfold, to discover the piece. Still, even when following what we can’t help feel is the absolutely right path this music is leading us, short (Webern) or long (Wagner, Morton Feldman, Andrew Violette, David Toub, you), was there ever a moment where you had to look at the sheer size of these visions and think “is this crazy or what”? We have also customized some unusual instruments. Practically speaking however, there are thematic, rhythmic, and harmonic connections within and between each work.

What was a new experience for me when writing this work was the fact that instead of writing one core version and then arranging it for another instrument, I wrote each version simultaneously, thinking of the particular worlds of both the horn and alto saxophone on each instrument’s terms. My hope is that the audience will feel this, too. There was a time that he played one of my horns and told me; “this is the horn everyone’s been looking for”.
You asked if I thought it crazy to write music on this scale. Its somber eloquence sings of truths that are personal yet not confessional… Within the sober palette, the expressive power and range are vast.”. It’s no different from any other piece I’d play. Gary Louie: I’m playing a recital on Sunday that is just as long as Last Autumn.

Tammy Yonce

Lanier Sammons The second part, Last Autumn, is a duo, and it exists in two versions: one for horn and ‘cello, the other for saxophone and cello. We have since developed another version of the Geyer with William Caballero. I had a fairly clear picture of how the entire work would unfold when I began the project in 2001. It’s a whole evening of music and the sax is front-and-center – playing a Valentine’s program of works by a relatively unknown composer named Fernande Decruck, Bill Albright, Ned Rorem, and Benjamin Britten. Daniel will be starting to play something and I’ll hear a color arising from the cello that has an influence on my own sound production. Paul Bailey

I’ve had a long relationship with the Hersch piece. Of course, I continued playing the horn, doing some recording work and freelancing. In my life I’ve done a lot of transcriptions to broaden the saxophone repertoire and one of the things that’s appealing to me is the challenge it gives me as an instrumentalist.

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