Stephen Syverud

Apotheosis (alto saxophone, electronics)

Audio sample (.mp3)

Score, pg1-2 (.pdf - Click here to acquire Adobe Acrobat Reader)

Performance Instructions

Program Notes:

Apotheosis is a duet for electronics and alto saxophone. The composition was written at the request of Frederick Hemke. A twelve-tone series determines the order of all pitches and rhythmic durations. The series is extended to control larger aspects, such as major sectioning and a reordering of pitches of longer durations. Fixed registration (certain pitches heard only in particular registers) is used to sectionalize the piece and aid in stressing certain pitches. Durational aspects and dynamics are also dependent upon the manipulation of the series. Certain intervals are emphasized in particular sections and developed into other expressions of similar gestures. For example, electronic sounds begin the piece and expresses two intervals (a descending minor second and an ascending major second). A long duration pitch (heard as the first saxophone sound) begins each major section of the piece. After the initial pitch is heard a second time (preceded by a grace-note), the pitches which follow are B, Bb, C (a descending minor second and an ascending major second). The pitches are the same duration and within the same time frame. The intervals, durations, and time frames return and are developed. This procedured is extended in the third section to three repeated notes with the same duration and time frame characteristics. The repeated saxophone pitches are further changed in the electronics part and finally heard as repeated roars of recorded lions. The electronics and alto saxophone both introduce and develop ideas first expressed in previous sections.

Electronics: Two channels of electronics are available on a Compact Disk. A high quality system is to be used during performance. Any of the six versions (timings are exactly the same) on the CD may be used. Differences are only in mixing and timbre.

Performance: A version is selected and the CD machine is put into play mode on a cue from the performer. Once playback has begun, no further action is required except to enter stop mode at the conclusion of the composition (about 10:25).

If you are interested in acquiring complete performance materials for this piece, please contact me by email (kindly include your phone number).

I will request a small handling fee to cover reproducing & shipping costs.

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