I have always been reluctant about
performing a work for live instrument (saxophone) and tape/CD.
There's something “static” about such a configuration. Besides,
is it not far more enjoyable to rehearse and perform music with
friends and colleagues? However, there are things that need to be
tried, and I was waiting for the right opportunity to do so. When
Open Space Victoria asked me to present a solo piece for their
upcoming Score Reading Club event, I suggested Jacob ter Veldhuis's
“Believer” for baritone sax and boombox,
A while back I had ordered a copy of
this piece, straight from Jacob TV's website. I had tried to program
this work for a local chamber music series, but the organizer had
told me that “Believer” was perhaps “not a good choice” for
their “particular” audience. Fortunately, Open Space gave me
another chance to present this piece, in fact, their new New Music
Coordinator Chris Reiche chose this work out of a total of three solo
works I had submitted.
In order to learn more about Jacob's
music as well as his motivation for composing, I listened to some
more of his music and to some interviews (see footnote).
Jacob's style of composing is often defined as avant-pop, and it has
sometimes unfairly been dismissed as nearing kitsch. What I find attractive about his
music is how Jacob has found a way to mix low-brow 'pop' music with
high-brow playing techniques (extended saxophone techniques) for the
live performer. By doing so Jacob has been able to elevate his music
from kitsch, making his compositions accessible to a wider
(“multi-brow” if you will) audience.
In the beginning of “Believer”, an
interview between Bill O'Reilley and George W. Bush is juxtaposed
with a melodious part for the baritone saxophone. The pitch materials
for the saxophone part seem to be derived from the conversation
itself. In part of the piece a technique called speech-melody is used
to superimpose the saxophone and speech parts. In a sense, the
saxophone part works as a pivot between the (tonal) harmonies and the
eerie sounding slowed down conversation on the accompanying
soundtrack.
Although Jacob tends to shy away from
being explicit on his point of view on the often societal or
political topics he chooses for his music, I predict that most
listeners will (at least at an unconscious level) be able to connect
the dots on how he views the “believer” of this piece, George W. Bush. Does George W. Bush's uttering “I believe peace is coming” being answered by a saxophonist's “cry like a dying animals”
give insight in Jacob's political views? I like to think so.
In all, this is a highly effective
piece, and I would suggest to follow the instructions (in the
introduction) closely and use the PA system to fill the house with this
awesome blend of sound, one in which the saxophone player will be
able to morph in and out of when needed, covering up any
synchronicity issues one might have in playing in sync with the CD.
Footnote: Here are a few references I
used for preparing the presentation at Open Space:
