Anemology

Many composers are focused on sound, which is understandable since the common definition of music is “an art of sound in time.” (Dictionary.com). I like sound as much as the next composer, probably more than the average civilian, but it is the “in time” part that has preoccupied me. Or more specifically, the movement of sound through time.

It seems improbable that a vibrating column of air directed by a saxophonist through a brass tube to produce varying frequencies at varying intervals of time could makes us feel anything … other than a breeze. The small movements of our ear drum can be assembled by the brain into a vivid sense of motion at varying speeds across varying topographies in varying viscosities and through portals to surprising new dimensions – an epic journey with concomitant emotional ups and downs along the way. The illusion of movement in music is magic!

Woodwinds including the saxophone are generally capable of speed, agility and a variety of color and Tim McAllister, Anemology’s dedicatee, possesses a rare and special virtuosity which I’ve become familiar with through various collaborations over the past 20 years. His playing howls, grooves, flutters and flows like the wind.

Anemology, the science, is the study of air movement … and so is music. Music and wind are invisible except for the movement they cause. Anemology celebrates movement.

– SM

P.S. Writing this program note on the return flight from a ski trip brings to mind how two of my lifelong passions – skiing and music – have influenced each other. They are frequently metaphors for each other and at the core they share a joy of motion and a dance with invisible forces like wind, gravity and tonality.