Composer Elliott Schwartz has pursued an interesting a varied career; he has written a number of full orchestral works, was a pioneer in the use of the synthesizer in classical music, has an entire section of his worklist devoted to pieces based on game theory, and has even jammed with free jazz legend Marion Brown. As one would surmise from his association with Brown, Schwartz loves the sound of the saxophone and has written a lot of music dedicated to it; the title work of Innova's Hall of Mirrors features the Radnofsky ...
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Composer Elliott Schwartz has pursued an interesting a varied career; he has written a number of full orchestral works, was a pioneer in the use of the synthesizer in classical music, has an entire section of his worklist devoted to pieces based on game theory, and has even jammed with free jazz legend Marion Brown. As one would surmise from his association with Brown, Schwartz loves the sound of the saxophone and has written a lot of music dedicated to it; the title work of Innova's Hall of Mirrors features the Radnofsky Saxophone Quartet with Schwartz himself as pianist. Although ostensibly a set of variations on a phonetic spelling of the instrument's name -- "sachsofone" -- and including some sections involving game theory, Hall of Mirrors (2001) is anything but discursive; appropriately it is a kind of a reflection on the different qualities of the sax: its jazz voice, its French "classic" voice, clarinet-like qualities, and other things with the piano acting as though it were in a dialogue with...
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