hitting drums and 55-gallon oil drums. The volume was reminiscent of the opening of Verne Reynolds’ Scenes. The composer told me afterwards that this opening was intended to create a “nasty feeling” in the listener, a goal that was certainly achieved. As the sound died down, players presented individual swells, representative of “anger-filled swells of emotion.” The piece is actually a saxophone concerto, today performed excellently by Egon Smit, who was dressed in a flashy gold suit. After the long opening, the saxophone sang a beautiful lament for the lost soul, weaving long lines over the top of percussion textures. Smit adeptly handled the demanding technical challenges of extended altissimo passages and having to project over a large ensemble.”