Jessica Voigt-Page

VIDEO RECORDINGS

 

(scroll down for audio only)

SOLO VOICE WITH PIANO

BIOS for Soprano saxophone and Piano

By Kym Dillon


Sonatine (arr. Soprano saxophone and Piano)

By Maurice Ravel


Time Transfixed for Soprano saxophone and Piano

By Maria Grenfell


Sonata for Alto saxophone and Piano

By Margaret Sutherland


Legende Op. 66 for Alto Saxophone and Piano

By Florent Schmitt


CHAMBER MUSIC

Trio for Oboe, Bassoon and Piano Fp.43 (arr. Alto and Tenor saxophones and Piano)

By Francis Poulenc


Procession of the Nobles (arr. for saxophone ensemble)

By Nikolai Rimsky-Korsakov

Performed by Austin Saxophone Ensemble

 

AUDIO RECORDINGS

SOLO VOICE (UNACCOMPANIED AND WITH PIANO)

RAFT SONG AT SUNRISE

  • Ross Edwards

  • Composed 1995 (for Shakuhachi)

“Although this was my first attempt to write for the shakuhachi, an end-blown Japanese bamboo flute, people had been observing for years that the phraseology of some of my more quiescent works, notably The Tower of Remoteness (1978) for clarinet and piano, recalls the traditional shakuhachi repertoire of meditational pieces (honkyoku). This similarity wasn't consciously intended but perhaps it's not surprising: rd come to regard my own works as musical contemplation objects and my source of inspiration was was the timeless and mysterious sound world produced by insects. Raft S011g at Sunrise takes advantage of the astonishingly expressive qualities of the shakuhachi to introduce a human voice into this sound world It was composed especially for Riley Lee to perform during the exhibition of Ross Mellick's bamboo construction Raft No. 3 at the Art Gallery of New South Wales in January 1996. Later that year Riley was to make an important contribution to my music for Bruce Beresford's feature film Paradise Road.” - Ross Edwards


GAVAMBODI No.2

  • Jacques Charpentier

  • Composed 1966

Gavambodi No. 2 for Alto Saxophone and Piano is an interesting work, which exhibits the mystical and spiritual impressions of Charpentier’s travels to India and also the influences of his teacher, Olivier Messiaen. Written in three parts, Gavambodi No. 2 journeys through a mysteriously poetic and contemplative opening, to a driving, rhythmically intense middle followed by a brittle, atmospheric end. Exploring the 55th South Indian Carnatic mode, the entire piece is based around the notes C, D, Ee, F#, G, Ab and Bbb, and traverses the extended range of the saxophone.


BIG LIGHTHOUSE

  • Stuart Greenbaum

  • Composed 1998

“To my ear, the soprano saxophone has an ambiguous tone which can smoothly alternate between an elegant classical sound (not dissimilar to the oboe) and something more wild and raw. This contrast is at the heart of the piece. Big Lighthouse opens fugally, with a theme that is partly playful and whimsical, but also slightly melancholy. As the piece progresses, it alternates episodically between 'straight' and 'swung' quavers, culminating in an elated utterance over an extended dominant pedal in the piano (A), and cadencing to a final bi–tonality on the note of D.” - Stuart Greenbaum


CHAMBER MUSIC

PRIMAL

  • Aaron Perrine

  • Composed 2012

Recorded by Pelegon Saxophone Quartet.

Soprano saxophone : Jessica Voigt-Page

Alto saxophone: James Skretta

Tenor saxophone: Eli Pederson

Baritone saxophone: Andrew Allen