Jeffery Kyle Hutchins & Eunhye Grace Choi | Images: American Sonatas

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Classical: Contemporary Classical: Sonata Moods: Type: Instrumental
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Images: American Sonatas

by Jeffery Kyle Hutchins & Eunhye Grace Choi

New and recent classical contemporary saxophone and piano sonatas skillfully performed by the Hutchins-Choi Duo.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
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1. Sonata: I. Two-Part Invention
Jeffery Kyle Hutchins & EunHye Grace Choi
4:33 $0.99
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2. Sonata: II. La Folia Nuova: A Lament for George Cacioppo
Jeffery Kyle Hutchins & EunHye Grace Choi
9:53 $0.99
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3. Sonata: III. Scherzo "Will O' the Wisp"
Jeffery Kyle Hutchins & EunHye Grace Choi
1:57 $0.99
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4. Sonata: IV. Recitative and Dance
Jeffery Kyle Hutchins & EunHye Grace Choi
3:58 $0.99
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5. Sonata: I. Calmly
Jeffery Kyle Hutchins & EunHye Grace Choi
9:23 $0.99
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6. Sonata: II. Declamatory
Jeffery Kyle Hutchins & EunHye Grace Choi
8:10 $0.99
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7. Sonata "Funtasies": I. Boisterous
Jeffery Kyle Hutchins & EunHye Grace Choi
3:29 $0.99
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8. Sonata "Funtasies": II. Whimsical
Jeffery Kyle Hutchins & EunHye Grace Choi
3:22 $0.99
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9. Sonata "Funtasies": III. Witty
Jeffery Kyle Hutchins & EunHye Grace Choi
2:12 $0.99
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10. Sonata "Funtasies": IV. Teasing
Jeffery Kyle Hutchins & EunHye Grace Choi
4:47 $0.99
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11. Images: I. Deep
Jeffery Kyle Hutchins & EunHye Grace Choi
2:58 $0.99
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12. Images: II. Still
Jeffery Kyle Hutchins & EunHye Grace Choi
6:54 $0.99
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13. Images: III. Wild
Jeffery Kyle Hutchins & EunHye Grace Choi
5:22 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
American saxophonist Jeffery Kyle Hutchins has performed and taught around the world in Asia, Europe, and North America having been described as an “outstanding saxophonist” (Eugene Rousseau). A champion of new music, Hutchins has commissioned and premiered more than thirty new works for the saxophone; he has been a guest artist with the internationally acclaimed new music ensemble Zeitgeist and regularly performs as a member of Renegade Ensemble, a fixture in the Minneapolis contemporary music scene. Hutchins has served as Instructor of Record at the University of Minnesota, and on the faculties of the E. Rousseau Saxophone Workshop (Shell Lake, WI) and the Jae Young Summer Camp (Seoul, South Korea). He holds degrees in education and performance from the University of North Texas where he studied with Eric Nestler. Hutchins received his Master’s degree in saxophone performance from the University of Minnesota where he is also currently completing the DMA degree, studying with Eugene Rousseau. For more information visit www.JefferyKyleHutchins.com

Korean pianist EunHye Grace Choi has been praised for her “nice touch and excellent technique” (American Record Guide) and “meticulous attention to detail” (Fanfare). Since Choi began playing the piano at the age of six, she has worked with such renowned artists as Graham Johnson, Libby Larsen, and Eugene Rousseau. Choi performed extensively as a collaborative pianist throughout the United States, France, Belgium, UK, and South Korea. Choi’s recent recording featuring Clarinet Sonatas by François Devienne released on Naxos received international acclaim. Her performance at the Hot Springs Music Festival was broadcasted on NPR’s Performance Today. Choi has served as a staff collaborative pianist at the Interlochen Arts Camp, the Interlochen Bassoon Institute, and the Eastern Music Festival. She is a faculty pianist at Chapel Hill International Chamber Music Workshop. Choi holds a B.M. in Composition from Yonsei University in Korea and a Master’s degree in Collaborative Piano at Florida State University, where she studied with Dr. Carolyn Bridger. She received a doctoral degree in collaborative piano at the University of Minnesota where she studied with Dr. Timothy Lovelace. Choi currently serves as a faculty at Tennessee Tech University in Cookeville, TN where she teaches music appreciation and aural technique classes.

William Albright (1944-1998) was an American composer, organist, and pianist. At age 15 he began studies at the Julliard Preparatory Institute, and continued his studies with Ross Lee Finney and Leslie Bassett at the University of Michigan. In 1968 he studied with Olivier Messiaen at the Paris Conservatory. Two years later he accepted a professorship at his alma mater, where he taught composition and was associate director of the school’s electronic music studio until his death in 1998. His saxophone sonata was written in 1984 as a consortium commission for Donald Sinta and Ellen Weckler; Laura Hunter and Brian Connelly; and Joseph Wytko and Walter Cosand. It was made possible from a grant through the National Endowment for the Arts. The work explores diverse compositional styles from minimalism, atonality, and be-bop, moving from blistering energy to abandon and profound sadness. Albright writes: Of all of the movements, the second perhaps most deserves comment. This movement is dedicated to the memory of the composer George Cacioppo who died unexpectedly on April 8, 1984. Co-founder of the ONCE group and mentor to two generations of composers, Cacioppo and his music and personality rest at the foundation of my thinking. He would have very much appreciated the use of the traditional title “La follia” (the madness) in my reincarnation as “La follia nuova.” Like its Baroque antecedents, the movement is in a chaconne-variation form, although at one point the sections jumble together, or intersect. The fact that the key is F-sharp minor may be important, or it may not be.

Pulitzer-prize winner Jennifer Higdon (b. 1962) is one of the most performed living American composers working today. Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto and in January, 2010, Higdon received a GRAMMY for Best Contemporary Classical Composition for her Percussion Concerto. She holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Higdon writes of her sonata (originally for viola and piano): This piece was written as a conventional work in that its harmonies come out of the tonal tradition. It was written with the traditions of other viola sonatas in mind (Hindemith, Clarke) and was undoubtedly influenced by some of the flute music that I have played (Prokofiev Sonata & Copland Duo).

Sy Brandon (b. 1945) holds the rank of professor emeritus of music from Millersville University, Millersville, PA where he taught low brass, composition, orchestration, music history, electronic music, and music industry for twenty-four years. He received his B.S. and M.S. in music education from Ithaca College and his A. mus. D. in composition from the University of Arizona. His composition teachers include Warren Benson, Elie Siegmeister, and Robert McBride. Sonata “Funtasies” was composed for Jeffery Kyle Hutchins, tenor saxophone and EunHye Grace Choi, piano. It is in four movements. The first movement “Boisterous” is not in the classical sonata form, however, it does reflect sonata-like qualities with contrasting themes. It is very rhythmic and uses the interval of the fourth for its melodic and harmonic material. The second movement “Whimsical’ is in a moderate tempo with five beats per measure. It is very playful as it alternates diatonic with chromatic passages with outbursts of musical laughter. Movement 3 "Witty" is in a scherzo style. The melody and harmony are based on thirds but are not in any clear key because the thirds will freely vary between major and minor creating an atonal quality. Contrast between staccato and legato is another way the movement is witty. The last movement is called "Teasing" and is in a modified Rondo form ABACBA. The teasing occurs in many different ways. The first appearance is the way the movement seems to stop and start as if promising a longer line, but not delivering. In the B section, the left hand of the piano plays a syncopated idea consisting of wide intervals and frequent rests. The right hand inserts a jeering four-note motive. The saxophone plays a melodic idea centered around a descending minor third, the universal teasing chant interval. The C section is in 7/8 and acts as a chase scene, as if a game of tag is being played. The ending continues the teasing by avoiding a strong cadence with deceptive chords and melodic lines of vague tonality/modality.

David Biedenbender (b. 1984) has worked with such artists as the PRISM Saxophone Quartet, Alarm Will Sound, and the United States Navy Band, among others. He received the Doctorate of Music and Master of Music degree from the University of Michigan, and the Bachelor of Music degree from Central Michigan University. He teaches at the Interlochen Arts Camp and at Oakland University. He writes about his work: I wrote Images following a dream I had one night. After waking from this dream, I was left with a rather indistinct image of what had actually taken place, yet the impression that it left on me was so unmistakably vivid, I felt compelled to write this piece based on the elusive memory. The first image communicates the uncontrollable and dizzying sense of motion that occurs in the moments between sleep and lucidity; the second reflects upon a beautiful stillness that is distorted and then transformed back to tranquility; and the third is reminiscent of a wild, late night jam session.

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