Colorado Symphony Blog

Q: Glasslands draws on Irish folklore and the haunting imagery of the banshee. How do you translate that kind of mythic, emotional narrative into your sound and stage presence?

Jess Gillam: I’m always imagining scenes and places when I play, so I have quite strong mental images for each section of the piece and I hope the audience experiences the same when they listen. There are bombastic moments in the piece, but also very tender, introspective ones. Anna uses so much light and shade to color each of these moments and sometimes takes us through unexpected twists.

The saxophone sometimes clearly has the role of the banshee — as you hear right at the top of the piece — but at other times it becomes the storyteller, morphing familiar themes into new ideas and ushering us into new worlds.

Q: You’ve been a major force in bringing the saxophone into the classical spotlight. What excites you most about performing a contemporary concerto like Glasslands, and how does it push expectations?

Jess Gillam: Countless audience members have said, “I thought I hated the saxophone,” to me after concerts recently. I’m always interested to know why! The popular perception of the instrument versus where it sits in today’s musical landscape often differs hugely.

The saxophone has extraordinary power for projection, brashness, and dynamism but it can also whisper beautiful melodies in the most tender way. I think that more gentle side can often be overlooked, and Anna really makes use of that in Glasslands, especially in the second movement.

Q: What do you hope audiences in Denver take away from this piece, especially if it’s their first time hearing a saxophone concerto live?

Jess Gillam: One of my favorite things about the piece is the way Anna pairs the soprano saxophone with the winds in the orchestra. She has a way of morphing these sounds together so that it’s sometimes difficult to tell who is actually playing.

It’s quite a tour de force for the instrument, I think there are only around four bars of rest across 25 minutes. I hope audiences enjoy the drama, the storytelling, and the huge number of colors within the piece. There are some stunning melodies and some raucous dramatic gestures. It’s so much fun to play, and I hope our audience enjoys it too!

Experience it Live

Don’t miss this electrifying program, conducted by Kevin John Edusei, as the Colorado Symphony brings together Beethoven, Clyne, and Stravinsky all in one unforgettable weekend.