“Acclaimed for his unique approach, virtuosic performances, and as a champion for both new and
forgotten works, Indian-American Saxophonist Andrew Harrison has captured the hearts of audiences
across the globe, while introducing the world to important voices, and showcasing the beauty and
brilliance of the saxophone.”

These words could not have expressed the delight of hearing a heart felt, musical, technically inspiring, Romantic, and energized performance on Thursday evening at SSU’s Schroeder Hall. Andrew’s musicianship and professional performance with his accompanist, Jason Lo on piano, left the hall aghast at the beauty of his instruments, the Alto and Soprano Saxophones. When one sees the word saxophone, it usually implies a bluesy, jazzy, pop tune tone-like quality but to hear the instrument with colors, range, technical virtuosity, expression in the style of great composers, is a thrill and the audience was not disappointed.

 

Schroeder Hall is a perfect space for its intended use of smaller ensemble Chamber Music. It was fully utilized by the performers who played with heart, technical virtuosity, and aplomb reaching every corner of the hall and resonating with the small but enthusiastic audience. The only disappointment was the small audience to a concert deserved of a much larger one. Still, it did not dissuade the performers from delivering an electric performance of stunning expression.

 

Andrew is fast building a reputation here in Sonoma County. His students have gathered around his warm personal inspiring teaching and love for his craft. The hiring of Andrew by Sonoma State
University is a coup in the world of collegiate and professional music. Having grown up in Riverside County, CA, he was inspired from an early age to be a saxophonist. He has commissioned and premiered works by a diverse group of emerging and celebrated composers, including Jules Pegram, Giovanni Santos, Viet Cuong, Nina Shekhar, and Derrick Skye, among numerous others. 

Andrew is passionate about mentoring the next generation of artists to find their unique perspectives and to craft a professional journey that is singular and meaningful. Currently he serves on the faculty of Sonoma State University, and previously served at Mt. San Antonio College, Cerritos College, the French Conservatory of Music and the Colburn School. He holds a Doctorate of Musical Arts degree from the University of Southern California Thornton School of Music, and a Masters degree from the University of Texas at Austin Butler School of Music, and his teachers have included legendary saxophonist Harvey Pittel, and LA Philharmonic Saxophonists Jim Rotter and Douglas Masek.

The entire program was of Romantic style save for the Muczynski which may be labeled as contemporary Expressionistic. The Danzon #6 performed on Soprano Saxophone was elegant, sweet, passionate and interpreted
accordingly. Flowing themes and giving was to passionate tango references, Andrew’s tone ebbed and
flowed with the texture of the music as it navigated across each register. Beautiful playing and full of
expression.

The Grant Still work, Romance, one of a few Black American classical composers and commissoned by Sigurd Rascher the famous early proponent of classical saxophone playing and techniques, begins Andante moving to a Moderate tempo on the Alto Saxophone. Unlike jazzy saxophone styles of wide and slower vibrato, the humming of the classical style vibrato on the sax, is narrower, medium fast and changes with register and range of the instrument making a connection with that of string instruments. Grant Still’s Romance rings as a Stephan Foster style of folksy and home spun melodic quality. Delightful and easy for ears to absorb the bell like sounds. This is a stark contrast to Grant Still's Afro Symphony which takes a direct quoting of blues and maybe
even the sounds of New Orleans Preservation Hall Jazz.

Robert Muczynski’s Sonata in two movements was a programing delight as it veered away from the melodic pieces heard previously. The opening Andante presented contemporary harmonies and slower tempos requiring technical control as edges of sound both and its fullest and the whispering tone made possible on the saxophone. The pianist was an equally talented partner with Andrew and both were in a unified interpretation of this beautiful movement which Andrew described in his opening statements a
Desert of sound. Eerie and extreme leaps in registers, Andrew had his pianist create the perfect accompaniment for the expression of the saxophone.

After Intermission, the piece de resistance was performed and did not disappoint. Rachmaninov’s Cello Sonata in four movements was a perfect example of the virtuosity of both Andrew and Jason Lo.
In fact, it could well have been titled Piano Concerto #4 with Saxophone obligato. What a delight to hear the pianist, who was a shorter man with less hand spread than that of the composer and he mastered the piano part with complete command and artistry. The alto saxophone was a worthy replacement of the cello lending to its ability to be expressive as a string instrument. First Movement, Lento–Allegro, a beautiful sub tone subito entrance made the audience sit up an extra inch as Andrew wove the melody with a legato pianissimo to mezzo forte levels. Even in extreme altissimo registers, Andrew’s control and flexibility is an example of his technical mastery.
The second movement was a 6/8 Scherzo with a bright tempo and rapid tonguing adding to the challenge of making this work doable. One can hear the virtuosity that each of the players share on their instrument. Jason’s playing rose to the occasion and brought out the level of music heard in Rachmaninov’s piano concerti. Just amazing!

 

What brought out a significant element of the performance was that the musician’s electronic sheet music allowed for no frantic page turning so commonly seen in live performance and it made the case
for using an Ipad or computer.

The Third Movement was a soaring elegant vocalize, that shows off Andrew’s tone, vibrato, control, breathing, and an interpretation of Rachmaninov. Sweeping large phrases and long tones extending the music with echoes of Symphony no 2 opening theme. Once again the expression of range went to the extremes of emotional and interpretational depth. Bravo to the pianist Jason Lo once again. Fourth Movement was symphonic in nature. This movement was a summation of the previous movements with Russian characteristics melodically and harmonically in Rachmaninov’s style. A grand ending to a concert that was impressive in its scope of musical expression and technical wizardry. Truly a work of grand style as a Rachmaninov piano concerto would have, it was a remarkable concert in the remarkable hall.