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SATB Saxes

Aureole for saxophone quartet was co-winner of New Music for Young Ensemble's 1980 Composers' Competition. In one movement, this twelve minute work falls into four sections, each of which is both longer and faster than its predecessor. The first section begins with small, closed structures in tight juxtaposition; by the fourth, it has progressed toward open-ended developmental continuities.

TRAVIS ALFORD "Transitions" for Flute, Trumpet, and Piano

(also see NY Times Review)
TRAVIS ALFORD (b. 1983) is a composer, trumpet player, and improviser in the Boston area. Growing up in Spring Hope, NC, he began playing the trumpet at the age of 11 in school concert and jazz bands, community groups, and in church. In college he discovered he was much better at composing than playing the trumpet (though he still tries). As a performer, Travis played with the ECU Symphonic Wind Ensemble, various chamber and jazz ensembles, and with the North Carolina "Pops" Orchestra. While at NEC he was a member of The Forge, a contemporary improvisation collective under the direction of Tanya Kalmanovitch. Current projects include Test Pattern, a composer/performer collaboration with composers Dan Van Hassel (piano) and Mu-Xuan Lin (voice), and the experimental & collaborative music series COMPROVISED (BOS & NY), of which Travis is co-founder and Artistic Director. He is also co-founder of the Park Street Brass Ensemble, based at Park Street Church in Boston, where he is also on the leadership board of the arts ministry, which



Nimbus, premiered by Matthew Krejci on a Music Now concert in Sacramento, CA in October, 2002, is a short piece for solo flute written at the request of Perspectives of New Music for their festschrift in honor of Martin Boykan’s seventieth birthday. While no attempt was made to make any specific allusions to Marty’s music, the piece does capture some of the intensely lyrical qualities of it as well as, I would hope, the flexibility and elegance of phrasing found in the music of my primary teacher. After behaving in a characteristic manner for most of the piece, the flute engages in a quasi impersonation of a violin in a ten measure passage near the end. Following this, at the very end, it reverts to typical flute-like behavior in an explicit and whimsical reference to the beginning of the second half of the piece.



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