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

77 idea. 65 Lulloff felt in advance that Bryant would be the composer he would like to request a concerto from, due to his writing for the saxophone section in his Concerto for Wind Ensemble . 66 Bryant heard in Lulloff’s performance of the Mackey Soprano Saxophone Concerto something that he thought he could exploit in his own work. 67 That shared vision and mutual admiration clearly played a part in the successful creation and performance of this work. It is also clear that, were it not for the relationships forged prior to the commissioning of this work, it likely would not have come into being in the first place. That the first connection was made 17 years prior to the premiere, between a band director and a 50 year old alum requesting to march in the band provides a truly unique story, 68 and demonstrates the type of serendipitous events that can create the pathway to the creation of a momentous work of music. Gourwitz’s role in this project cannot be minimized. He is more than a benefactor. This was, as he sees it, an opportunity to give back to the music community, and to his dear friend, Joe Lulloff. 69 The wind and saxophone community should both be appreciative recipients of Gourwitz’s generosity and desire to support wind music of the highest caliber. 65 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018. 66 Ibid. 67 Steven Bryant, interview by author, phone interview, March 8, 2018. 68 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018. 69 Ibid.