Saxtronica

7PM July 27th, 2025

Program

Holding Patterns
Wyatt Cannon (2000)

Holding Patterns blends the rhythmic complexity of progressive rock with the expressive voice of the alto saxophone. Built around intricate polyrhythms and shifting meters—especially in 3s, 5s, and 7s—the piece explores cycles of motion and stasis. The electronics, created with SuperCollider and Reaper, provide a textured, evolving backdrop that alternately supports and challenges the saxophone's lyrical lines. The result is a dynamic interplay between human expression and mechanical precision.
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Parabolic Mirrors
Hector Torres (2003)

Written to be performed by Jonah Cabral, Parabolic Mirrors follows an introspective experience of a somber catharsis of emotions that often get pushed to the side. The saxophone and fixed media remain mostly separate to imitate the inner emotion's activity, the saxophone, and the continuous nature of life and the world around us, steady and unchanging despite the variety of emotions from everyday life.
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Arcade Jig and Ambience
Nate Sassoon


Flowers and Their Roots
Seessa (2002)

"Flowers and Their Roots" explores what it means to be human and the balance between good and evil. Using an ultrasound of the composer's heart, the fixed media keeps the tempo while the saxophone plays sonorous tones over it indicating a longing for a time that has never been.
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Nomads of the Second Sky_Alto Saxophone and Fixed Media
Hsuan Chang KITANO

Nomads of the Second Sky, written for alto saxophone and fixed media drawing on its warm and heartfelt sound, was inspired by Kitano's time at an Aboriginal festival in Taiwan. The piece imagines an ancestral—or perhaps future—tribe, untethered from geography, migrating not across mapped terrain but through unseen airways, drifting toward a land that exists only in memory or myth. This sonic journey arises from quiet questions: What are we busy for? and Why must time press so hard upon us? In resisting the regimentation of the clock, the music turns instead to the organic pulses that sustain life: the heartbeat, the footstep, and the repetitive rhythms of labor. These bodily and environmental patterns form a natural tempo—one that encourages presence, breath, and the simple act of noticing the scent of the air. Themes evolve like footprints on shifting wind, tracing a horizon unmarked by calendars or destinations. This piece captures a fleeting moment marked by a profound yearning to understand what makes life worth living. It invites listeners to wander, to slow down, and to dwell in the spaces where sound becomes survival and time becomes texture.
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Teeter
Brady Wolff (2002)

Forest Worship
William E. Hawkins (1997)

Forest Worship (2025) culminates several projects and meditations by William E. Hawkins. Combining modular synthesis, roasting pan sounds, and a dynamic Max patch, this two movement work explores the forest from the fungal, microbacterial, creepy- crawly perspective. In "Microbiome," all the energy swirling and cycling between these living systems flourishes unabashedly. The contrasting "Inside Out" asks how human activity might sound or feel from within swampy ponds, inside trees, and from underground.
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let it rain
Xander Toth

I started this collaboration thinking I wanted to do something jazzy. When I began working on the music, I found myself instead starting with something I imagined could play at a rave, that then morphed into more pop-punk territory, steadily devolved into metal, and finally began to explore territory that sort of defied genre; feels maybe a little mysticalish. I was enduring a particularly brutal month of asthma attacks while working on this, and as I was making some coffee with an electric tea kettle, to open up my lungs, I became entranced (and blissfully distracted) by the slow progression of form arising from the synthetic boiling. I recorded it, distorted the shit out of it, and weaved it into my ongoing project, tightening the total form of the fixed electronics with something that hearkened back to the rave/punk/metal vibes from earlier. It wasn't until I started writing the saxophone part that my initial desire to write something jazzy finally worked its way into the piece--sort of superimposed on top of the inconstant mosh I'd been aimlessly working on instead. The saxophone's live processing retunes it in variously justly-intoned intervals and splatters it across the stereophonic soundscape.
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About the Musicians

Wyatt Cannon

Wyatt Cannon is a composer and multimedia artist whose whimsical and eclectic work explores sound as a medium for long-form narratives inspired by evolution, astronomy, and spirituality. Blending technology, environmentalism, and metaphysical themes, he uses electronic media to connect listeners to the physical world. He is currently pursuing a Master of Music in Computer Music Composition at Indiana University's Jacobs School of Music and holds a B.M. in Music Composition from the University of the Pacific. His music has been featured at SEAMUS and MOXSonic, performed by ensembles such as Earplay, Friction Quartet, ~Nois, and the San Francisco Contemporary Music Players, and showcased in his EPs Ruminations (2023) and Digital Infinities (2025). Wyatt has received awards including the Pacific Bands Composer Commissioning Award and the SF Search Composition Competition, and has participated in festivals such as Fresh Inc, VIPA, and the Emerging Composers Intensive at Hidden Valley.
Website

Hector Torres

Hector Torres, born in Southern California, is a Bay Area-based composer, performer, and teacher. He is focused on new and post-modern fusions of his classical training and improvisation exploration. His music has been performed by the Golden City Brass Quintet, ECHO Saxophone Quartet, and San Jose State University's Wind Ensemble. Outside of his writing, Hector is a founding member of the Golden City Brass Quintet, a new group focused on premiering new works, adapting existing repertoire for brass quintet, and community outreach. Hector is involved in teaching extracurricular music to students ages 4-10 in the San Jose and Campbell area
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Nate Sassoon

Seessa

Seessa is an indigenous transgender composer born and raised in Baltimore. He graduated summa cum laude at Ithaca College with a Bachelors in Music Composition. He now resides in Detroit, Michigan where he is a special education teacher, taking a break before pursuing higher education.
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Hsuan Chang KITANO

Hsuan Chang Kitano is a producer, curator, and versatile keyboardist specializing in harpsichord, fortepiano, and piano. Her work integrates diverse cultural perspectives with historically informed performance, celebrating the improvisational traditions of 17th- to early 19th-century Europe and Asia. Recently, she has found her voice in fixed media, capturing the highs and lows of recent years.
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Brady Wolff

Brady Wolff, a Kansas City-native composer, blends morphing bodies of sound, intense rhythmic activity, and mathematical processes to create music capturing his fascination with our world. Brady's music combines a deep historical fluency with modern perspectives to create works that engage with themes of climate change, queer identity, and neurodiversity. Brady's music often delves into themes of discomfort, tension, and control, influenced by his experiences with Tourette syndrome.
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William E. Hawkins

Equally inspired by science and spirituality, Hawkins (b. 1997) finds material in fluid dynamics, microbiology, modern hubris, and spiritual meditations. The inexplicable connections and creations possible in a subliminal mindset drive his compositional method. A composer, conductor, violist, vocalist, and visual artist, as well as an emerging performer and composer of electroacoustic music, Hawkins explores the extremes of musical density, often utilizing dramatic contrasts to find new paths toward catharsis. Hawkins has had works performed by chamber groups including the American Modern Ensemble, Mivos Quartet, the Momenta Quartet, the Neave Trio, the Walden School Players, and violinist Nigel Armstrong. His work has also been presented at the Brevard Music Festival, Mostly Modern Festival, Atlantic Music Festival, Alba Music Festival, and the Walden Creative Musician's Retreat. His song cycle Looking Up won third place in the American Prize professional division for vocal chamber music, and his orchestral piece Catalyst Nimbus was named in a group of top contenders for the 2022 American Composers Orchestra Earshot competition. Hawkins holds a BA in Music from Brown University and is pursuing a Masters in Composition and Computer Music at the Jacobs School of Music at Indiana University, where he studies composition with Gabriel Jenk and electronic composition with Chi Wang and John Gibson. He previously studied with Eric Nathan, Wang Lu, Dalit Warshaw, and Rodney Lister.
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Xander Toth

Jonah Cabral

Jonah Cabral is a Bay Area based saxophonist from San Francisco, CA. He has been able to share the stage with highly respected musicians in both Jazz and Classical such as Carl Allen, Smith Dobson Jr, Nicholas Beard, Akira Tana, John Daversa, Andreas van Zoelen, Paul Cohen and many more. He has played throughout the world South Korea, Taiwan, Vietnam, the Netherlands, Germany, Spain, Slovakia and extensively throughout the United States. Jonah earned a Bachelor of Music from San Jose State University and a Masters from Fontys Conservatory in the Netherlands. During his studies he has performed in the top Jazz Ensembles, Wind Band, Orchestra and various formations of chamber music groups. Some of Jonah's awards consist of being one of winners in La Jolla Symphony's 2019 Young Artist Competition, a finalist Fremont Symphony's 2019 Young Artist Competition, Delta Symphony's 2019 Young Artist Competition and in the Northern American Saxophone Alliance 2018 National Competition. Jonah released his first album as a leader in 2022 recorded live at the highly acclaimed jazz club Paradox in the Netherlands. Jonah is currently a freelance musician. He is the soprano saxophonist of the Zēlos Saxophone Quartet.
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Donations

Venmo

Thank you for joining us at today's concert! Events like this bring joy, connection, and inspiration to our community—but they also come with significant costs. From artist fees and sound equipment to venue rentals and staffing, every detail adds up. That's why we're asking for your support. Your donation, no matter the size, helps make more unforgettable concerts like this one possible. Every dollar brings us closer to our next show. If you enjoyed today's performance, please consider giving—because music thrives when we all pitch in.