A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone - Chester Jenkins

13 That evening, after the concert, Lulloff, Sedatole, Gourwitz and Bryant were all out at a post-concert party with the students from the Michigan State Wind Symphony. As Gourwitz tells the story, he saw Bryant and said to him, “You know, Joe would really love it if you would write a concerto for him.” Bryant stated he was several years out in commissions at the time, but Gourwitz replied he wanted to mention it since Lulloff had discussed it with him. 22 At this time, Sedatole and Lulloff joined the two of them at the table, and Gourwitz decided to leave to let them talk over the logistics. Gourwitz stated that once he returned to the table, “I said, ‘So, are you going to do it?’ And I looked at them, they looked and me, I said, ‘We’re doing it. Let’s go.’” 23 In preparation for the piece, Lulloff sent Bryant some recordings of his own performances, along with recordings of favorite works for saxophone including the Descenclos Prelude, Cadence et Finale , the Dahl Concerto and the Husa Concerto. Lulloff also stated he wanted the piece to be virtuosic, asking Bryant to push him. 24 In the fall of 2013, Lulloff attended a rehearsal where the clarinetist, Guy Yehuda, Associate Professor of Clarinet at Michigan State University, was performing the Clarinet Concerto by John Corigliano. Inspired by the performance of the first movement, Lulloff 22 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018. 23 Ibid. 24 Ibid.