Melody Shop March (1910, 2009)
by Karl King (1891-1971)
arr. Kevin Kastens
C.L. Barnhouse

This march was dedicated to E. E. Powell and Al Shortridge, owners of the Powell Music Co. Melody Shop in Canton, Ohio, King’s hometown at the time. The nineteen year old composer was playing euphonium with Robinson’s Famous Shows and was on tour much of the time, but he always enjoyed returning to Canton to see his family and friends. March researcher Robert Hoe wrote that “of all the marches ever written, this one is considered the ne plus ultra (summit of achievement) for baritone-euphonium players.” Most clarinet players also appreciate the challenge in their part.

Bigger Than the Sky (2021)
by Jon Bubbett (1959)
Alfred Music

Imagine floating amongst the clouds on a beautiful summer afternoon. Making lazy circles and simply floating on the breeze. Making a pass over people standing on the ground watching until finally floating off into the distance to some place….bigger than the sky.

TACTiLE (2023)
by Derek Brown (1983)
Derek Brown Publications

As the title TACTiLE hints at, this piece consists entirely of pitches and percussive sounds created only by the saxophones and hands of the players. You read that correctly, no breath or mouthpiece-in-mouth required the ENTIRE piece! Using various advanced techniques, the 8 saxophonists are required to think of themselves perhaps more like a drum line than a traditional double saxophone quartet, key-slapping and clicking their way through a rhythmic and surprisingly harmonic adventure unlike any the saxophonist has likely been on.

A Moment (2018)
by John Pasternak (1986)
C.L. Barnhouse

A Moment was inspired by those who dared to dream. John Pasternack’s reflective and dreamlike work features contemporary harmonies with expressive and reflective melodic lines.

Let it Snow! Let it Snow! Let it Snow! (1945, 1996)
by Sammy Cahn & Jule Styne (1913-1993)
arr. Calvin Custer (1939-1998)
Alfred Music

Let It Snow! Let It Snow! Let It Snow!, also known as simply Let It Snow, is a song written by lyricist Sammy Cahn and composer Jule Styne in July 1945 in Hollywood, California, during a heat wave as Cahn and Styne imagined cooler conditions. The song was first recorded that fall by Vaughn Monroe, was released just after Thanksgiving, and became a hit by Christmas. Despite the lyrics making no mention of any holiday, the song has come to be regarded as a Christmas song worldwide due to its winter theme, being played on radio stations during the Christmas and holiday season, and having often been covered by various artists on Christmas-themed albums.

Musical Postcards, mvt. 1 Sequoia (2012)
by Frank J. Halferty (1954)
Kendor Music

Frank J. Halferty retired from public school teaching in July 2015, after 39 years in music education. He now has an active schedule of composing and arranging and is in demand as a clinician, adjudicator, and guest conductor.

He composed Sequoia to be part of his book of 10 classics and folk songs from around the world, along with a few Halferty originals.

Russian Dance from Swan Lake (1875, 2021)
by Pyotr Tchaikovsky (1840-1893)
arr. Mark Smith (1986)
Murphy Music Press

Dr. Stephen Page, Alto Saxophone

Tchaikovsky’s Russian Dance is a lively and energetic piece of music from the ballet Swan Lake. It is also known as Dance of the Little Swans or Dance of the Cygnets. The dance is performed by four ballerinas who represent cygnets, or baby swans, and is part of Act II of the ballet. The music is characterized by its fast tempo, playful melody, and intricate rhythms. The piece was written following Swan Lake’s premiere as a revision to the original program. The saxophone chamber arrangement features a lovely virtuoso work for an alto saxophone soloist summoning forth the spirit of Russia through its rhythms and melodies.

Phoenix (2023)
by Joseph Sowa (1984)
Manuscript

1 . Feverish
2. Ashen
3. Ascendant

WORLD PREMIER

David Mobley, conductor

The legendary bird that rises from its own ashes, the phoenix is a symbol of rebirth and renewal. Each movement of this eponymous piece for the saxophone choir represents part of that cycle. The first movement, Feverish, begins with delusions of grandeur that become increasingly bizarre until the music self-combusts. The second movement, Ashen, plaintively mourns its humble state and yearns for transcendence. The third movement, Ascendant, rises from these ashes to become again confident and resplendent. Commissioned for the RRHS Saxophone Choir, Phoenix explores the endless cycle between life and death that evokes emotions that one didn’t know they could experience.