The University of South Florida Symphony Orchestra, under the baton of Maestro William Wiedrich,
continues its spectacular season on November 20, 2 p.m., in the USF Concert Hall, with a magnetic
program with something for every musical taste. Opening with Mozart’s masterful Symphony No. 39,
the orchestra will then feature the US premiere of composer Baljinder Singh-Sekhon’s “The Offering”,
Concerto for Saxophone and Orchestra, featuring saxophonist Doug O’Connor, (US Army Band,
“Pershing’s Own”) who originally premiered the work with the Thailand Philharmonic. Meet the
conductor, composer, and soloist at a pre-concert talk on stage at 1:30. The USFSO closes the
program with Ottorino Respighi’s beautiful and stirring “Pines of Rome”.
Baljinder Sekhon, The Offering (2011)
Baljinder Sekhon is one of the most promising young composers of his generation. He studied at Eastman School of Music and is currently a visiting professor of composition at the University of South Florida. He has received commissions from all over the world and his works have been performed on four continents. He describes his new saxophone concerto as follows:
“The Offering was composed for saxophonist Doug O’Connor and The Thailand Philharmonic Orchestra. In essence, the three movements express a journey dealing with identity, transformation, and celebration. The first two movements are for alto saxophone and the third is for soprano saxophone. The opening movement, “Abandon Yourself,” is in three sections: an opening section which is ostinato-based and presents a progression of the five pitch collections that drive the piece, a second section which mixes and shuffles the material from the previous section as if a puzzle is constantly being constructed and deconstructed, and the third section which presents the previous motives in syncopated fragments that come to an abrupt end. The second movement, “Turn to Ash,” employs a variety of extended techniques throughout the orchestra in order to develop and transform the overall timbre of the orchestra. It is built from an augmented (stretched-out) reiteration of the last section of movement I. The movement slowly deteriorates as the previous motives and pitch material appear in “crumbled” versions and the lethargic musical characters are created from timbres and motives that seem to have fallen apart. The identity of the piece, as established in the first movement, seems to have vaporized by the end of the second movement. Together, the first two movements express one long-range idea that deals with grappling with one’s troubles and imperfections while attempting to hold on to positive traits; something that ultimately ends by completely leaving behind its identity. The result, as the titles suggest, is a complete liberation of self and the third movement is a celebration of the resulting enlightenment. “Acquire Majesty” is an upbeat resolution to the previous struggles and the saxophonist, playing soprano, expresses a triumphant feeling through lyrical, soaring, and dance-like motives. As the title suggest, this piece is about offering one’s self to the world and, eventually, receiving grace and gratification. Lao Tzu’s Tao Te Ching inspired the narrative of this piece, along with the movement titles and general feeling.”
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