Todd Oxford is an extremely good player. At his New York debut recital as Recipient of Artists International's Special Presentation Award, he played an interesting, far- ranging program well designed to showcase his instrument's technical and tonal resources and his ability to make the most of them. Much of the music was unfamiliar, therefore the information given below was provided by Mr. Oxford. His pianist was Daniel Immel, who successfully transformed himself from empathetic collaborator to independent soloist several times and rightly received equal billing.
Todd Oxford began to study the saxophone at age 13 and quickly earned several young artists awards. He holds a Doctor of Musical Arts Degree from the University of Texas. While still a student, he was invited to join the famous Harvey Pittel Saxophone Quartet and played with it for 13 years. In 1990, he co-founded the Elision Saxophone Quartet, which performs in concerts, festivals, music education conferences, radio and television. Indeed, from Mr. Oxford's biography it seems that he has been everywhere and done everything. His discography includes award-wining records on various labels, and he teaches at several universities.
His recital began with Vivaldi's dramatic Sonata for Oboe and Continuo in C minor. Mr. Oxford's transcription, transposed into D minor, was richly embellished in the slow movements and brilliant in the fast ones; played on a soprano saxophone, it sounded bright and gleaming. For the rest of the concert, he used an alto saxophone, producing a warm, mellow tone capable of a great variety of color, nuance and intensity.
Bernhard Heiden's Diversion, a tonal, chromatic piece contrasting several lyrical, slow sections with lively dances and marches, features a brilliant saxophone cadenza and several chordal piano solos. The performance was excellent. Heiden (1910-2000) was born in Germany and came to America in 1935, where he worked as composer, teacher, arranger, conductor, and pianist. His primary teacher was Hindemith, whose influence on his style is unmistakable.
David Amram (b.1930) describes his Ode to Lord Buckley as "a saxophone concerto expressing homage to the era I grew up in;" the enigmatic title refers to "a consummate performer...comedian and entertainer..." with the ability to impersonate many characters of his own creation. The music is modal, tonal and very Jewish. Mr. Oxford played movements II (Ballad), a lovely, sad melody that builds in volume and intensity, and III (Taxim), a dance that could be based on a folk tune. The performers displayed admirable affinity for the work's style and idiom.
Astor Piazzolla (1921-1992) wrote Adios Nonino as a farewell to his father, whose death, at a time of professional and emotional stress, had plunged him into deep despair. A slow singing melody over a chordal accompaniment, it is a moving lament, punctuated by jazzy rhythms where the saxophonist adds finger-snapping for castagnet effects.
Canciones del Zocalo by Aaron Bramwell (b.1975) is also based on Latin rhythms and melodies. According to the composer, they surround a young woman walking through her native village and are the staple of her life. The piece puts each instrument into the spotlight with long virtuosic passages (Mr. Oxford stepped aside in the piano solos) with alternate hand-clapping during rests, until they finally come together.
This concluded the program, but was preceded by Catch Me If You Can by John Williams (b.1932) from the film of the same title, and Le Carnaval de Venice by the flute virtuoso and composer Jules Demersseman (1833-1866), transcribed by Fred Jemke. A dazzling showpiece, it opens with a bombastic piano introduction; the famous theme, highly embellished, is followed by variations that get increasingly faster, wilder and funnier, ending with a return to the theme in the piano and a high E-flat in the saxophone. As an encore, the players repeated part of the final piece.
San Antonio Express News
COMPOSER ALLIANCE DEFTLY RE-CREATES WORKS
11/25/06
Mike Greenberg
Express-News Senior Critic
The greatest pleasures in last Saturday's concert by the Composer's Alliance of San Antonio, in Ruth Taylor Recital Hall, were superb reconsiderations of works first heard in the 1990's. David Heuser's "Deep Blue Spiral" for alto sax and electronic tape is a jazzy, nervous, high-energy piece in which the solo line is beautifully integrated with the electronics. It would make a great ballet score. The piece had made a splendid impression in a 1999 concert, but Todd Oxford's crisp, convicted, virtuosic performance on Saturday night brought it into even finer focus.
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Todd Oxford is a superb, inspired soloist and this performance is included in the Express-News's Best of San Antonio Classical - 2006.
Saxophone Soloist Shines at KU
Recording artist Todd Oxford “wows” students
and performs with music professor Dr. Jeremy Justeson.
By Kara Getsko, The Keystone
Rich musical tones filled the air in the Georgian Room on Monday, October 6th as soloist and recording artist Todd Oxford performed a saxophone concert for KU students.
Dressed in a black suit that matched his dark hair, Oxford played six pieces throughout his hour-long concert, his fingers moving quickly and effortlessly over the valves of his alto saxophone. His only accompaniment was chamber musician Rebecca Butler on piano. As Oxford began his first number, Vivaldi’s “Sonata in C Minor,” I was immediately impressed by the quality of the sound and his professional manner.
His performance included works such as Glazunov’s “Concerto for Alto Saxophone, ”Ravel’s “Piece en Forme De Habanera,” Bozza’s “Aria” and Demersseman’s “Carnival of Venice.” Oxford also played a duet, “Morse Code Pop,” with KU music professor Dr. Jeremy Justeson.
“Justeson and I met about 10 years ago at the University of Texas at Austin,” Oxford explained. “We have performed together many times over the years and have become very close friends. I was the best man at his wedding about a year and a half ago.”
“Morse Code Pop” definitely grabbed my attention. It was more fragmented and spunky than the smooth tones the saxophone is known for. Oxford and Justeson looked as though they were having a great time while performing. They tapped their feet and bobbed their heads as they performed Robert Smith’s upbeat piece. This piece really stood out from the rest of the songs. “He is one of the most talented musicians that I know,” Oxford said of Justeson. “It was such a pleasure to perform with him in Kutztown.”
I also enjoyed his performance of Bozza's "Aria" because it began slowly, picked up the pace gradually, and ended on a long, high note, which gave the piece a nice twist. Throughout his performance, audience members gazed intently at Oxford as he created striking sounds from his instrument. He took several bows after each piece to acknowledge the stream of applause from the audience. Although the last song Oxford performed was entitled "Carnival of Venice," the music did not imitate the loud, playful sounds of a festival, but it was slow and mellow – a calm ending to a lovely performance.
Sophomore Psychology major Laura Kise said although she didn’t like saxophones prior to the concert, she changed her mind after watching Oxford. “I thought he was very talented,” Kise said. Jennifer Conley, a freshman Political Science major, said the concert was “a lot more interesting than I thought it would be. I didn’t think the saxophone would sound so nice,” Conley said with a smile.
Oxford said he chose to play the saxophone at the age of 13 after witnessing an instrument demonstration by eighth grade band students. “I thought it looked the coolest and had a rich, warm sound that drew me in,” Oxford explained. “I’m glad it did!”
Oxford is a founding member of, and the soprano/alto saxophonist, with the Elison Saxophone Quartet. Their new CD “Live through the Years,” as well as Oxford’s solo CD “Finesse” was recently released nationally. Currently, Oxford is practicing for many upcoming engagements where he will have to play soprano, alto and tenor saxophone. “I perform with Austin Symphony in a couple of weeks, I’m preparing for an upcoming tour with the Elison Quartet and I’m expecting the release of a CD by the Barbwire Music Project,” Oxford said. “I am very excited about all these things.”
In response to his increasing demand, Oxford has toured throughout 46 of the 50 states and various other countries. “Thailand was the most fascinating place I have ever performed by far,” Oxford said. “It is just a beautiful country. The King of Thailand is a saxophonist, so we were a big hit over there, needless to say.”
Oxford also teaches at Southwest Texas State University, the University of Mary Hardin-Baylor, Temple College and the Pflugerville, Texas Independent School District. His main advice for his students is “practice, practice, practice.” “Always be prepared,” Oxford said. “Make lots of phone calls; build your reputation. Never give anyone a reason not to hire you, or refer your name to someone else.”
Finesse Reviews
Todd Oxford, Baritone Saxophone
Carla McElhaney, Piano
Review by Paul Wagner
from the September/October 2002 issue of Saxophone Journal
In recent years, the saxophone family of friends and players has been growing in leaps and bounds. The literature abounds with transcriptions and original material for solos and ensembles in all styles. Soprano and alto saxophones predominate at this party, and there is still a strong representation of tenor saxophones. In all this attention the baritone seems to have been over looked or even worse ignored. Of course, it is extremely important in quartet or ensembles but as a classical solo instrument it has never really caught on. It is not the listener’s fault, they can’t enjoy what they can’t hear.
The CD Finesse changes that condition as it features Todd Oxford as a classical baritone saxophone soloist. Todd Oxford has toured extensively throughout the world. He began his studies on saxophone at the age of thirteen. After receiving many young artist awards he initiated his advanced studies with Harvey Pittel at the University of Texas. With only two years of study completed and having amassed further awards and recognition Todd was invited to join the Harvey Pittel Saxophone Quartet. He was the youngest member in the twenty-five year history of this grand quartet. He credits the quartet for really sharpening his skills on the baritone. In addition to his heavy performance schedule with the quartet he finds time to appear as a soloist of all the saxophones.
In the beginning of the saxophone’s concert life the artists had to develop their own repertoire or at least cajole composers to write for their instrument. Todd Oxford is faced with that same predicament; the concert library for the baritone saxophone is relatively thin. “Despite the flattering observations by Hector Berlioz in 1842 regarding the unveiling of Adolphe Sax’s new baritone saxophone, today’s classical music lovers are largely unaware of its capabilities as a captivating solo instrument. It’s gorgeous rich tone is a solo voice demanding attention. The Baritone Saxophone produces a wide range of tone color, dynamic variation and dazzling technical possibilities. My love of performing a variety of musical styles and the ability of the instrument to encompass these styles has inspired me to expand the concert repertoire by arranging works from the instrumental voices in the same tessitura. As a result of performing two middle movements of Bach’s First Suite for Cello in concert with the HPSQ I became interested in performing the entire work. I approached the world famous virtuoso Cellist Paul Olefsky for coaching, who further suggested I transcribe the Franck Sonata in A Major for violin and piano.” From these beginning thoughts the CD Finesse has emerged with Todd Oxford and his baritone saxophone.
Todd Oxford is an outstanding soloist. His sound on the baritone is superb and varies from being robust and resonant to a gentle wisp that lightly sweeps through the room. At times he even takes on qualities similar to a cello. At times the listener can almost hear the nonexistent bow. His technique is extremely quick, precise, and always sounds effortless. His articulation could not be any better than it is. His abilities allow him to transcend the apparatus of the music and allow him to communicate with the essence of the music. Todd Oxford has definitely become one with the baritone saxophone.
The opening selection is the Sonata in A Major for violin and piano by César Franck. Immediately you are struck with beautiful sound of the baritone and how well it works with the piano. The pianist is Carla McElhaney and deserves full and equal kudos for the creation of this excellent duo. The Sonata becomes a living entity in this duo’s more than capable hands. The lines just flow and swirl in your ears. And by the time you can think, “That’s a baritone saxophone,” it no longer matters because the musicality has caught up to you. Now you think, “well this is the way it is supposed to be.” The full range of the baritone is used throughout the piece and in the second movement there is a section that showcases the beauty of the low register. The performance is just excellent; two artists giving new life to a beautiful piece of music.
From here on Todd Oxford goes unaccompanied with three famous composers. The very next selection is the Bach Suite No. 1 for unaccompanied Cello in G Major. This is fantastic! It is hard to believe that this piece was not written for either the baritone or Todd Oxford because this is such a perfect fit. Todd allows Bach to sing through the baritone and the listener’s get the thrill.
The Bozza Improvisation et Caprice came out beautifully on the baritone but the real surprise is hearing how well Paul Bonneau’s Caprice en Forme de Valse sounds on the baritone and how extremely well it was performed by Mr. Oxford.
This is a beautiful CD performed by an outstanding artist who has a musical soul as big as his Baritone. This CD should be in your CD player as soon as you can put it there. It is a performance to be long remembered and savored. §
Clarinet and Saxophone - from Great Britian
Review by Susan McKenzie
Todd Oxford's performing career has taken him worldwide (from Nova Scotia and Bangkok to Lisbon and his native USA), to much critical acclaim. After beginning his studies at the age of thirteen he went on to study with Harvey Pittel at the University of Texas and, after winning many young artists awards, was invited to join the Harvey Pittel Saxophone Quartet – the youngest member in the twenty-five year history of this prestigious ensemble.
He has dedicated his career to making today’s music lovers more aware of the baritone saxophone’s capabilities as a solo instrument. It is true that the instrument is overlooked, as anyone who has ever played baritone in a quartet or wind band will know, but with this record Mr. Oxford demonstrates the kind of rich tone colour and dazzling technique that can be achieved. He also shows how the baritone can express musical ideas and communicate emotion on a par with any other solo instrument.
In order to expand the instrument’s repertoire and to show how it can encompass other musical styles Oxford often arranges works from other instruments. The first of these being the famous Violin and Piano Sonata in A major by César Franck (in which he is joined by award-winning McElhaney). The result is a very lyrical performance with beautiful phrasing and a pure, singing tone. For the next track on the recording, Bach’s Suite No. 1 in G major (originally for unaccompanied cello), the saxophonist approached the world famous virtuoso cellist Paul Olefsky for coaching. Again, this performance demonstrates Mr. Oxford’s extraordinary command of this instrument as well as his high level of musicianship. He manages to almost soar around the instrument (especially in the Prelude) and make it sound light and graceful even in the lower register – no mean feat on baritone!
The final two tracks, Bozza’s Improvisation and Caprice and Bonneau’s Caprice en Forme de Valse, are performed with equal panache, virtuosity and just the right amount of quirky playfulness that is required. It perhaps would have been nice to hear something more modern in the programming but with such exceptional playing who can complain? An inspiration to baritone players everywhere!
Barbwire Music Project
"Local audience lauds memorial..."
Abilene Reporter News
Written by Jade Jackson Lloyd
In some ways, the 9/11 memorial concert Thursday night unfolded like the events of the day itself. The concert opened with lighthearted jazzy pieces that made some of the roughly 150 gathered bob their heads to the beat. The second half of the performance jolted concertgoers out of their safety zones and mentally carried them back to the events of two years ago. For composer Stephen Barber, that was the desired effect.
Austin-based musicians played five of Barber’s compositions to an audience including his friends and family. Four of the pieces premiered at the concert. Barber, an Abilene native, played the first song of the evening with Tosca, a string quartet. Then, the Barbwire Ensemble joined them on stage and Barber took a secondary role. Barber prepared concertgoers for the solemn tone of the concert’s second half with an introduction of The Fallen Sisters, his 9/11 musical tribute. "Shift your ears ... to your imagination," he said. "The music does tell a story. You’ll see, hopefully, visions of what happened on the plane to Washington, as the towers fell. ... I hope you keep your mind’s eye open."
Bud Arnot, of Abilene, did just that. "We all already have the mental pictures of the events of the day," said Arnot, chief justice of the Texas 11th District Court of Appeals. "This just put a soundtrack to it." Russell Wilson, a childhood friend of Barber’s, said that while he considers himself a classical music "traditionalist," he enjoyed experiencing his friend’s music. "I closed my eyes and tried not to watch the performances and just listen to it," said Wilson, of Abilene. "... I heard the events and pictured them in my mind as they happened."
The piece opened and closed with a poem sung by the Classical Chorus of Abilene. In part, the poem reads: "In the hour of deepest sorrow/turning inward in the grieving/we shatter the sky/our anguish made cruel by our own suffering." Though the musicians first played The Fallen Sisters last November, one said playing it on the anniversary of the attacks proved a powerful experience. "To do it on the 11th made it all the more meaningful," said Todd Oxford, a soprano saxophonist for the ensemble. "It’s a gift of healing to be able to express ourselves musically." For conductor Dan Welcher, the piece sums up all that the day represents: "It’s graphic and violent and tragic," he said. "It’s not pretty. ... It’s descriptive of watching this thing happen."
Customer Reviews
Jim Butler - Tokyo, Japan - September 6, 2004
A fresh look at the classics. Dr. Todd Oxford's new CD, "Finesse" (Equilibrium), is a great classical music album by any standard of measure. I would recommend this CD to not just lovers of saxophone music, but all lovers of the music of Cesar Franck, J.S. Bach, and the Post-Impressionist French composers. A fan of Yo Yo Ma's cello recordings, for example, would find Dr. Oxford's interpretations of Bach to be exhilarating, deep, and honest. As well, Dr. Oxford shows a true mastery of the magnificent baritone saxophone (which I read from another magazine article is, stunningly, an auxiliary to his true "home base," alto and soprano saxophones). This is manifested throughout the recording with consistently rich, vibrant, and even tone quality, musical lines with commitment and conviction, and a deep musical understanding of the various styles of music recorded here. Dr. Oxford studied with the renowned saxophonist Harvey Pittel, and it is easy to see why he was so active in the Harvey Pittel Saxophone Quartet, and why he is currently so active as a soloist, saxophone artist, and music educator. His abilities seem limitless, and we are all eagerly awaiting his next album.
E-MAN - Denton, TX - October 11, 2003
Why don't you own this yet?!? This CD is awesome. It's great to listen to, and can be used as a tool to learn from. To hear someone that controls the bari saxophone in such a way is almost unheard of. Todd displays his ability as a performer, whehter playing fast or slow, to make the songs sound effortless. I especially enjoyed listening to such arrangemnets as Franck's Sonata and Bozza's Improvisation et Caprice for how Dr. Oxford makes the songs his own through his interpretations and styles. This CD is great, so why you do not own it is beyond me.
A music fan - McAllen, TX - December 5, 2002
Dr. Oxford takes the Baritone Sax to its great limits . . . "Thank you very much Dr. Oxford. You have finally given us the first classical baritone saxophone recording ever. Not to mention that also sounds great! The interpretations are outstanding and the control is obvious throughout the recording. Bravo, especially in the Bach!"
Classical Lover - Texas - July 27, 2002
"This is awesome!!!!! Where did this guy get such talent? He is young and already matured into a fantastic musician. I urge anyone who appreciates really enormous talent to buy this CD."
A music fan - Texas - July 24, 2002
"This piece is breathtaking!!! The power of the bari is shown so very beautifully in this Franck piece. The artist has exceptional tone and range and Oxford plays with sensitivity, allowing the piano it's place in the piece. Never have I heard the bari played in this way. Thank you, Todd Oxford, for taking this wind instrument to it's outer limits."
Will Kelley - Austin, TX - July 15, 2002
Great . . . "This was one of the best CD's of classical baritone saxophone I have ever listened to. Wait a minute, this is one of not many out there. I really enjoyed it and can't wait for his quartet to come out with their new one."
Michael Christensen - Norman, OK - February 14, 2002
Bari Sax Rules . . . “I bought this album because I believe that the bari sax can have a very beautiful sound if it is played correctly. Todd did a wonderful job with this recording in proving that. The Bach Cello Suite is played masterfully. The Bonneau, and the Bozza . . . very stable and precise technique. I like this album a lot. It gives me a chance to get away from the alto sax for an hour or so. --Thanks Todd.”
Sydney Randall - Redwood City, CA - December 4, 2001
Oxford shows what classical baritone is about . . . “His playing is smooth and lyrical, and he has a nice soft sound. But he also shows the power behind the baritone playing. His technique on Bozza’s Improvisation and Caprice is flawless, but his treatment of the Bach Cello Sonatas is just beautiful. This is a classical saxophone album you can play for your string player friends.”
T. Castleberry - Denver, CO - April 28, 2000
A relief to finally hear a good bari recording . . . “I’m a bari player myself, and it’s wonderful to finally have a whole recording of “classical” baritone saxophone. Mr. Oxford is very talented, and his technique is flawless -- I’ve played the Improvisation and Caprice, and know that it is not an easy piece, especially at the tempo chosen by Mr. Oxford. Though his transcriptions are very well done, I would love to hear Mr. Oxford play some more modern saxophone literature, whether for baritone or not. Once again, I applaud a fine CD to help establish that though the baritone saxophone is large, it is no less nimble than any of its smaller relatives.”
A music fan from Texas - March 10, 2000
Nice playing . . . “Very nice recording. I really loved the Allegro from the Sonata in A Major and the Bozza and Bonneau works. I am trying to play Caprice en Forme de Valse on the baritone also, and this is a great tool.”
A music fan from New York - February 4, 2000
WOW . . . “Todd is a master of the baritone saxophone. I think his performance of the Bach cello suites is the definitive recording for all saxophonists to listen to. His playing of the standard alto repertoire on the baritone is also an amazing accomplishment. Thank you Todd for giving baritone players a wonderful recording as a reference to know what the horn should sound like.”
H.W. Ronald Tutt - Dallas, TX - January 17, 2000
A wonderful example of Baritone Saxophone . . . “Mr. Oxford displays his complete dynamic control and technical proficiency of the baritone saxophone. His command of the instrument is second to none and demonstrates the finest of classical saxophone performance. In a genre dominated by alto saxophone recordings it is refreshing to discover a recording that allows the listener to hear the robust, yet delicate qualities of the instrument in the hands of a true artist.”
