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

80 Also of interest would be the development of Lulloff’s improvised sections and cadenza. It would be interesting to see the development of the improvised cadenza as performed over multiple concerts, as he hinted at in the interview conducted with the author. 73 Lulloff stated he has recordings of several of the improvisations, and others should be available from the institutions where the work has been performed. An analysis of these would be insightful not only for the development of Lulloff’s approach to these sections, but to research into improvisation in classical or concert works. Due to the advent of self-publishing composers, such as Steven Bryant, it would be interesting to know what processes composers have put in place to ensure the continued availability and performance of their works after their career has ended, or in the event of their sudden passing. With the exceptional quality of literature currently self-published, the sudden disappearance of it, without distribution and publication rights, could have significant impact upon the wind-ensemble and the music community at large. More importantly, that unavailability could have serious effect upon a composer’s continued legacy and estate. Howard Gourwitz has been a significant contributor to the field of band/wind ensemble music as a commissioner and supporter of music. He was the sole commissioner behind John Mackey’s Asphalt Cocktail , Steven Bryant’s Concerto for Alto Saxophone , and a co-commissioner of John Mackey’s trumpet concerto, Antique Violences . Contributions 73 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018.