Duration: 14:00
Instrumentation: Soprano/Tenor Saxophone, 2 Percussion (+ Electronics)
Premiere: April 12, 2018 // MATA 20th Anniversary Festival // The Kitchen, NYC
Premiere performer: Erin Rogers, saxophones/electronics; Amy Garapic + Matt Evans (percussion)
Publisher: A-Town Publications (ASCAP) © 2018

Light-On-Light was commissioned by Music at the Anthology, Inc. for the 2018 MATA Festival of New Music. Light-On-Light was begun while in residence at Copland House, Cortlandt Manor, New York, as a recipient of the Aaron Copland Award.

Light-On Light was revised for Popebama (saxophone + 1 percussion) in 2018.

Original version for saxophone + 2 percussion:

Version for saxophone + 1 percussion:

Program Note:
Light-On-Light is a journey through time and transport.         —Erin Rogers (2018)

“full of humor and ideas, including the use of saxophones and other items as percussion instruments, gamely played by Matthew Evans and Amy Garapic. Perhaps she was partly inspired by David Van Tieghem, who used his drumsticks to convert literally everything into an instrument. Her own part was full of clicks and breaths, prompting me to ask my friend if he thought anyone else could perform it. He wisely responded that it would depend entirely on the notation, which is true for any set of extended techniques. Either way, it was a wild ride.”
—Jeremy Shatan, AnEarful [Full article]

“A fantasy of musique concrete, extended saxophone, and percussion (often effected with electronics), Rogers had a large sampling pad and a small hotel bell at her feet, in addition to two saxophones. Sullivan had a large table with several percussive implements I won’t get too deep into, but will note that included among them were sandpaper, wood, and metal, almost as if the perfect instrument for which to play the percussion part for this piece would be the train itself. At one point near the middle, Rogers dissembled her tenor and slowly but precisely handed it to Sullivan while retrieving her soprano – Sullivan grasped it with care and began to play it in precise rhythms without blowing, the instrument itself became a percussive instrument, much like a train could in the world of the piece. The sounds of the instrumentation mixed wildly with sampled train sounds, but making frequent stops (as if a local train stopping at various towns), bars of tacit where the space of a sample could breathe, or the audience could process the blasts of chaotic saxophone and furious drumming. At several points Rogers spoke deftly into the instrument, and upon looking at the (generously provided to me as a reviewer) score noticed that there is an actor called for and several light cues. In this duo arrangement the light rail experience was palpable as taking place within the music, I’m thrilled that I was there to experience this experiment with representation in sound – a journey which used the structuring of time and auditory material to transport us into transport.”
—Brian McCorkle, Jazz Right Now [Full article]

Purchase Sheet Music: Light-On-Light