Recorded live at the University of Nebraska - Kearney, April 2, 2022
Stephens, composer and alto saxophone
Jim Margetts, piano

Black Lives Matter

Breathless

Performed by the CSC Jazz Band, April 2022, Memorial Hall

It's a Rainy Day

Michael Stephens, soprano saxophone
Katie Hughes, piano

2023 UNK New Music Festival - March 31st

"When love prevails, fear departs"

Jim Margetts on piano, with the composer on saxophone.

Written in homage to the composer who did more than any other in the 20th century to expand the palette of sonic possibilities. The piano music was conceived through aleatory approaches and juxtaposed with the inversion of the opening theme from Echoes in Time.

Relics and Remnants: VII. 4-33

Jim Margetts on piano, with the composer on saxophone.

I began composing the music of this movement on the nineteenth anniversary of my first date with my wife. The music is inspired by and dedicated to Lauren.

Relics and Remnants: VI. Nineteen (for Lauren)

Jim Margetts on piano, with the composer on saxophone.

This music takes its foundation from a Frederic Chopin mazurka, not unlike Luciano Berio's treatment of the Scherzo from Mahler's Resurrection Symphony in his Sinfonia. At times, much of the original is still present, but sometimes nearly all of it is stripped away. The music here is an homage to both composers. No harm was inflicted on the Chopin mazurka; you can still listen to and enjoy the original.

Relics and Remnants: IV. Frederic and Luciano

Jim Margetts on piano, with the composer on saxophone.

Inversion, or mirroring, is fundamental to the opening of "Complementary Lacunae". The inversion of the initial motive in the right hand of the piano is nearly its complement. The bass line in the left hand of the piano in built upon the complement, but with space created by removing most of the pitches. The saxophone line is created similarly. The complement of the initial takes over and drives the middle section, giving way to a bit of foreshadowing of VII. The ending of "Complementary Lacunae" pairs the initial saxophone line with jazz-influenced harmonies in the piano.

Relics and Remnants: III. Complementary Lacunae

Jim Margetts on piano, with the composer on saxophone.

“Echoes” began as a solo soprano saxophone piece, and can be performed as such. The melody was then set with marimba, for "Echoes in Time", before being set with piano accompaniment. However, the version with piano is not an adaptation of the marimba piece - the two exist independently. So, “Echoes” can be performed as an unaccompanied solo soprano saxophone, for saxophone and marimba as "Echoes in Time", or for saxophone and piano, "Echoes of the Past".

Relics and Remnants: II. Echoes of the Past

Jim Margetts on piano, with the composer on saxophone.

The alternate title, "sonatus contrapunctus interruptus", describes in part the construction of the movement. When I began writing it, the organization of the music resembled a short sonata form, which I decided to dissect and interject with quotations from other movements. Music from all of the previous movements is included, like a musical game of duck, duck, goose, with an attempt to affirm musical meaning syntactically for each of the remnants. The movement plays with expectations, while tying the piece together.

Relics and Remnants: VIII. Duck, duck, ...

Recorded live at the Chicoine Atrium in the Mari Sandoz High Plains Heritage Center, November 29th, 2018.

Jedd Raymond, tenor saxophone
Bobby Pace, piano

I. Mosaic
II. Recalling Gawain
III. Luciano and Frederic
IV. Red Ocean, Blue Ocean

Beyond the Influence can be ironic as a title for this piece, since the work draws from several of my previously pieces – and even another composer’s music – freely and in many instances intentionally. However, the quotations are combined to create a piece that stands apart from the sources. While it is a commentary on the past, the music stands alone without knowledge of the references. “Mosaic” remembers my previous pieces for alto saxophone and piano, combined with many ideas that will be explored in the later sections of this work, like dumping all the Legos on the floor before you build. “Recalling Gawain” consist mostly of quotations from the second movement of my saxophone quartet, Chadron Sketches, but it also develops some material presented in “Mosaic”. “Luciano and Frederic” is built on Frederic Chopin’s Mazurka in B-flat major, Op. 7, No. 1, not unlike the way Luciano Berio built the third movement of Sinfonia on the “Scherzo” from Mahler’s Resurrection Symphony. “Red Ocean, Blue Ocean” juxtaposes two very different musics: the red rather relentlessly developing intensity, and the blue providing a serene close to the piece. Beyond the Influence was composed for my tenor saxophone student, Jedd Raymond, to perform with CSC’s accompanist, Bobby Pace. It is dedicated to my composition mentor and fellow saxophonist, Mathew Rosenblum. I think I am starting to understand some of the things Mathew was trying to teach to me.

Beyond the Influence

Amy Likar, piccolo - visit www.amylikar.com
recorded February 4, 2020

A long time ago, Amy Likar asked me to write a piece for piccolo and piano for an upcoming program. I had several failed attempts and did not finish anything for the event. However I did return to the project periodically, but without success. I simply did not hear the instrumental combination. So I focused on the piccolo, but the music I imagined sounded more like an eagle bone whistle. I worked with that material, composing much of the piece during a visit to the Black Hills. I have long had an interest in Native American history and culture, though admittedly much of it came post-Costner. That interest is clearly present to me in the opening material of this piece, so I decided to recognized it in the title. Pahá Sápa is the Lakota phrase for the Black Hills as viewed from a distance. So I finished the requested work – several years late and for the wrong instrumentation – and Amy Likar premiered Pahá Sápa in December of 2015.

Pahá Sápa

Composed for, and performed by the BrassWood Duo:
Abby Lyon, trombone
Rick Puzzo, marimba

All In Good Time

In memory of Charles Carey

Warren Henry, guitar and bass
Rick Puzzo, drums
Joel Schreuder, vocals
Michael Stephens, tenor saxophone, clarinet samples, digital sequencing

I am always thankful for the opportunity to make some music with my friends.

Cerulean Shadows

Stephens, alto saxophone
recorded by Daniel Binkard

music by Hoagy Carmichael
lyrics by Ned Washington

The Nearness Of You

Michael Stephens is a Professor of Music at Chadron State College in Nebraska.

MICHAEL STEPHENS ❖ composer and saxophonist

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