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James Adler and Jordan P. Smith Premiere Reveries, Interrupted at Manhattan School of Music

Mar. 03, 2010

On Thursday, February 25 James Adler premiered his new work Reverie, Interrupted with saxophonist Jordan P. Smith at the Manhattan School of Music's Greenfield Hall. Adler writes:

Reverie, Interrupted is a seven minute work with twists and turns. Reverie begins “Lyrical, Flowing Gracefully” in B-flat major. Disparate rhythms and some odd rhythmic figures in saxophone against competing piano provides for colloquy.  Independence of melodic lines, textures, and rhythms was my goal. 

Midway through the work, some “growling” occurs; this is followed by smearing grace-like figures in both saxophone and piano. Repeating, drone-like figures are now introduced in the piano against a legato and emotive line in the saxophone. Angular and lyrical.

Interrupted introduces a faster “interrupted” section and more “growling” and imitation occurs. Grace-note figures, quasi glissandi, are presented in both the saxophone and piano.

This moves into another “interruption,” a lyrical respite in D-flat major, marked “poco sostenuto e cantabile,” leading into a very slow section marked “Grave.” It’s soft; the saxophonist has several multiphonic figures (fingerings are provided on the score) as a special effect Jordan welcomed. A bit of stringendo moves the saxophone line faster, scalar, and very legato. Some “funky” rhythms in the piano right-hand vs. a very lyrical and precipitous descending bass-line lead into a repetition of earlier drone-like figures. One more Interrupted visit leads the work to its bright, rhythmic ending – on the upbeat – in B-flat major. Several “slap tone” and “open slap”saxophone notes punctuate the last two measures of the piece. The piano figures remain rhythmic, jazzy, and angular.

 

Visit www.adleroaksmusic.com to learn about the music of James Adler.

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