Active Projects
John Levy: TITLE TBD (alto saxophone and piano, due November 2019)
David Marynuik: TITLE TBD (alto saxophone and tape, due November 2019)
Robin McLaughlin: TITLE TBD (alto saxophone and lighting apparatus, due Spring 2020)

Commissioned Works
Coleman Rowlett: Last Salute (string orchestra, April 2019)
Connor Bonham: Suite for Strings: New Kingdom (string orchestra, April 2019)
Coleman Rowlett: Spectral Radiance (piano reduction, September 2018)
Coleman Rowlett: Spectral Radiance (alto saxophone and chamber orchestra, April 2018)
Nathan Bales: Le Chat Noir (clarinet, soprano saxophone, and piano, premiered April 2018) 
James Dinsmoor: Right Twice a Day (flute and alto saxophone, December 2017) 
Dylan Findley: La Mer - Claude Debussy (version for clarinet, tenor saxophone, piano, October 2017) 
Marc Mellits: Revolution (version for bass clarinet, soprano/alto saxophone, and piano, October 2017) 
Royal Teague: Soundbite (saxophone duo, premiered April 2017)
Coleman Rowlett: Metalwood (flute and alto saxophone, premiered April 2017) 
Matthew Quayle: Connect (consortium head, saxophone quartet, premiered March 2017) 
Chris Fredrick: Elegie et Toccata (solo alto saxophone, January 2017)
Coleman Rowlett: Spaghetti Junction (saxophone quartet, January 2017)
Kris McCormick: Life, Time, Eternity (baritone saxophone and soprano voice, premiered April 2016) 
Coleman Rowlett: Meditation (solo alto saxophone, premiered August 2015)
John Leonard IV: I Hide My Face, Its Form is Grotesque (solo alto saxophone, premiered May 2015)
Coleman Rowlett: Untitled (saxophone quartet, premiered April 2015)
Coleman Rowlett: Crucible (tenor saxophone and piano, premiered April 2015)
Molly Joyce: Push Comes to Shove (via consortium, saxophone quartet, June 2014)


Other Premiered Works
Coleman Rowlett: Departed Warmth (string orchestra and brass, world premiere December 2018)
Robin McLaughlin: Left Shark (solo tenor saxophone, southeastern premiere April 2017)
Coleman Rowlett: Sonatina (alto saxophone and piano, southeastern premiere March 2017)
Michael Pisano: A Wave and Waves (100 percussionists, USA premiere October 2016)
Nathan Bales: Cocoon (wind ensemble, world premiere September 2016)
Chris Fredrick: Trio (soprano saxophone, baritone saxophone, piano, world premiere April 2016)
Jared LeDoux: The Wanderer (saxophone quartet, world premiere April 2016)
John Leonard IV: Consequential Organization Within the Ideological State Apparatus
          (flute, tenor saxophone, tuba, percussion, and projectionist, world premiere April 2015)
Fergal Caroll: Cathedral Variations (wind orchestra, world premiere April 2015)
Coleman Rowlett: Suite (saxophone ensemble, world premiere March 2015)
Matthew Tiramani: Black (mens choir, world premiere February 2015)
Coleman Rowlett: Fanfare (saxophone ensemble, world premiere April 2014)

Commercial Recordings
Matthew Quayle: Connect (recorded May 2017, NAXOS, release TBA)
Stephen Wood: Roadless (recorded May 2017, released on "Untrammeled" CD, June 2018)

More Than a Rough Draft: Claude Debussy's Rapsodie pour Orchestre et Saxophone

The repertoire of the concert saxophone is largely occupied by compositions of fairly obscure composers, an eclectic collection of works that would hardly qualify as household classical staples. Supplementing these esoteric titles is a small amount of works written by better known composers, the most famous of which being Claude Debussy and his Rapsodie pour Orchestre et Saxophone (1903). Despite the significance of a composer like Debussy writing for the saxophone and his relative fame in comparison to other composers in the saxophone repertoire, Rapsodie remains largely unrecognized by musicologists in the context of Debussy’s compositional output and musical development. In fact, this work does not even merit any entry or footnote in the Grove Dictionary of Music! Greater understanding of this phenomenon will be garnered through investigation of the work’s genesis and development, musical analysis of outside compositional features and outside influences, clarification of misconceptions surrounding the composition, and analysis of how the work should be approached in a modern performance context.