{"id":101114,"date":"2024-01-03T14:01:22","date_gmt":"2024-01-03T19:01:22","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=101114"},"modified":"2024-01-16T18:26:45","modified_gmt":"2024-01-16T23:26:45","slug":"interview-steven-banks-talks-saxophone-classical-music-upcoming-debut-toronto-symphony-orchestra","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2024\/01\/03\/interview-steven-banks-talks-saxophone-classical-music-upcoming-debut-toronto-symphony-orchestra\/","title":{"rendered":"INTERVIEW | Steven Banks Talks About The Saxophone, Classical Music, And His Upcoming Debut With The Toronto Symphony Orchestra"},"content":{"rendered":"<figure id=\"attachment_101116\" aria-describedby=\"caption-attachment-101116\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-101116\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2.jpg\" alt=\"Steven Banks (Photo courtesy of the artist)\" width=\"1200\" height=\"628\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2-300x157.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2-1024x536.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2-768x402.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-101116\" class=\"wp-caption-text\">Steven Banks (Photo courtesy of the artist)<\/figcaption><\/figure>\n<p>Steven Banks has a goal: to bring the saxophone into the world of classical music \u2014 not just on the periphery, but as an integral part of orchestral music. He&#8217;ll be making his case in Toronto from January 17 to 21.<\/p>\n<p>His performance represents the Canadian premi\u00e8re of John Adams Concerto for Saxophone, along with Banks\u2019 own debut with the Toronto Symphony Orchestra.<\/p>\n<h3>Steven Banks, Saxophone<\/h3>\n<p>Steven Banks is the recipient of the 2022 Avery Fischer Career Grant, and was one of the first (and still few) saxophonists to be awarded First Prize at the Young Concert Artists Susan Wadsworth International Auditions.<\/p>\n<p>His warm tone has been acclaimed by critics as a revelatory addition to the many orchestras he&#8217;s performed with, including The Cleveland Orchestra, Montreal Symphony, Utah Symphony, Colorado Symphony, Mostly Mozart Festival Orchestra and Aspen Festival Orchestra, among others.<\/p>\n<p>Steven first became enthralled with the saxophone and its possibilities after a visiting teacher performed with his high school jazz band during his freshman year.<\/p>\n<p>\u201cIt was my first time hearing the saxophone played at that level,\u201d he recalls. He was thrilled, and immediately wanted to know more. The same instructor was teaching at the North Carolina School for the Arts, and a plan was formed.<\/p>\n<p>\u201cI ended up going there after getting off the wait list,\u201d he says. \u201cIt was such an intoxicating environment. That&#8217;s where I fell in love with classical music.\u201d Despite a background in gospel and soul, he felt classical music\u2019s appeal. \u201cClassical music has always just felt like me.\u201d<\/p>\n<figure id=\"attachment_101117\" aria-describedby=\"caption-attachment-101117\" style=\"width: 1200px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-101117\" src=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Steven-Banks-4.jpg\" alt=\"Steven Banks (Photo courtesy of the artist)\" width=\"1200\" height=\"800\" srcset=\"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Steven-Banks-4.jpg 1200w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Steven-Banks-4-300x200.jpg 300w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Steven-Banks-4-1024x683.jpg 1024w, https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Steven-Banks-4-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption id=\"caption-attachment-101117\" class=\"wp-caption-text\">Steven Banks (Photo courtesy of the artist)<\/figcaption><\/figure>\n<h3>Steven Banks, Composer<\/h3>\n<p>\u201cI first started writing just for saxophone,\u201d he says, although he notes that his very first piece also included a part for the piano.<\/p>\n<p>\u201cThe way I got into it was very organic.\u201d He began writing music in graduate school while wondering how he would bridge that gap between student life and a professional career. \u201cI just wanted to make music about it,\u201d he says. However, encouraged by friends, composition became a bigger and bigger part of his musical practice.<\/p>\n<p>\u201cNow, it&#8217;s an incredibly integral part of what I do.\u201d<\/p>\n<p>He says writing new music changes the way he looks at older music. \u201cThinking like a composer makes me a much better [artist].\u201d<\/p>\n<p>He\u2019s currently working on a piece for saxophone and string quartet. \u201cEventually I&#8217;d love to write a symphony, but it feels very scary.\u201d<\/p>\n<p>Steven Banks, saxophone, Riko Higuma, piano: As I am by Steven Banks<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1X8EU_4VRgI?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>The Saxophone in Classical Music<\/h3>\n<p>As Adams points out himself in his notes to his concerto, American audiences automatically link <a href=\"https:\/\/www.ludwig-van.com\/toronto\/2019\/08\/07\/classical-101-why-is-there-no-saxophone-in-the-orchestra\/\" target=\"_blank\" rel=\"noopener\">the saxophone<\/a> to jazz and pop music. It&#8217;s seldom found in the classical music repertoire.<\/p>\n<p>Was it a struggle for Banks to bring his love of the saxophone and a similar love of classical music together?<\/p>\n<p>\u201cThat\u2019s a funny question. It&#8217;s all been difficulties; until recently, it&#8217;s been all difficulties.\u201d Even as a college student, he recalls his choice of instrument being constantly questioned. It was not a deterrent, however. \u201cIt&#8217;s always been clear to me that I wanted to be a soloist.\u201d<\/p>\n<p>Initially, he saw his opportunities as severely limited to teaching, or perhaps playing in a military ensemble. \u201cI never really thought it was possible to perform the way I am now.\u201d<\/p>\n<p>While some works do exist for the saxophone in an orchestral context, he notes that even fewer are regularly programmed by concert presenters. \u201cRepertoire is a big hurdle.\u201d Name recognition and familiarity plays a larger than average role in classical music programming. \u201cSometimes it doesn&#8217;t matter how good the music is. It&#8217;s a big hurdle.\u201d Even the instrument\u2019s long time proponents, such as Tim McAllister, aren\u2019t so well known in the classical music world.<\/p>\n<p>Its recognition as an instrument seems long overdue. \u201cIt\u2019s the core of my practice as a musician,\u201d he adds. \u201cI think the saxophone has a unique opportunity to be part of this new sound of the 21st century.\u201d<\/p>\n<p>Its connotations allow audiences to hear the music in a different way, and perhaps even to discover classical music itself through a new kind of sound. \u201cI want to bring the saxophone to the centre of the classical music world using the work of these new composers,\u201d he says. \u201cI want it to be seen.\u201d<\/p>\n<p>\u201cThe difficulty is getting the instrument to people.\u201d He believes, though, that audiences can be convinced once they hear it in concert. \u201cThey don&#8217;t know it can sound that way.\u201d<\/p>\n<p>Steven Banks, saxophone and members of the Zor\u00e1 Quartet (Dechopol Kowintaweewat, violin; Julian Sawhill, viola; Zizai Ning, cello) perform W.A. Mozart: Oboe Quartet in F Major:<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/jg8vlULvDHg?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>Music, Commissions &amp; Inclusion<\/h3>\n<p>Along with composing, Banks routinely commissions new works. \u201cThe core of my mission as a saxophonist is to be generative.\u201d<\/p>\n<p>Banks is committed to both commissioning and performing new music \u2014 not only for its premiere, but as additions to standard repertoire. Nonetheless, he\u2019s fully aware of the challenges. New pieces require more rehearsal time. As he notes, it requires a whole industry to truly commit to the future of the music.<\/p>\n<p>One of those commissions is a new concerto. Billy Childs\u2019 Concerto for Alto Saxophone premiered in February 2023 with the Kansas City Symphony. The work was co-commissioned by nine major American orchestras from Childs, and revolves around the Black American experience.<\/p>\n<p>Banks has performed the piece with several orchestras over 2023. \u201cI absolutely adore that piece. I think it&#8217;s a piece that is definitely going to have staying power,\u201d he adds. \u201cI&#8217;m very excited for other saxophonists to play it.\u201d<\/p>\n<p>Both as an educator and performer, he\u2019s also committed to inclusion in the classical music world, including the ongoing effort to reintroduce composers such as Florence Price and Joseph de Bologne. He notes that he\u2019s not alone in that endeavour. \u201cThere are lot of people committed to bettering the classical music world&#8217;s relationship with those composers.\u201d<\/p>\n<p>Slowly but surely, Black musicians are taking up a role in the world of classical music. \u201cI think it&#8217;s one of those things that it takes a very long time to do the work that needs to be done. It&#8217;s absolutely happening.\u201d<\/p>\n<p>In commissioning work from Black composers, he\u2019s aiming for that level playing field. \u201c[I\u2019m committed] to performing their pieces as if it was Sibelius,\u201d he says, \u201cand doing the music justice.\u201d<\/p>\n<p>Saad Haddad: A Sonata for When Time Stands Still | Steven Banks, saxophone and Xak Bjerken, piano:<\/p>\n<div class=\"jetpack-video-wrapper\"><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/8m6EuSVjcbk?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"><\/iframe><\/span><\/div>\n<h3>John Adams: Saxophone Concerto (2013)<\/h3>\n<p><a href=\"https:\/\/www.boosey.com\/cr\/music\/John-Adams-Saxophone-Concerto\/58118\" target=\"_blank\" rel=\"noopener\">Adams&#8217; 29-minute Saxophone Concerto<\/a> saw its premiere in Sydney, Australia in 2013. In the composer&#8217;s notes to the work, he describes writing the piece directly following his oratorio The Gospel According to the Other Mary.<\/p>\n<p>\u201cOne would normally be hard put to draw lines between two such disparate creations. One deals with such matters as crucifixion, raising the dead and the trials of battered women. The other has as its source my life-long exposure to the great jazz saxophonists, from the swing era through the likes of Coltrane, Eric Dolphy and Wayne Shorter.\u201d<\/p>\n<p>Adams&#8217; father played alto sax in a swing band during the 1930s, and he grew up listening to jazz as a constant on the record player. Still, with the Concerto, his goal is not to recreate jazz, but to use it as inspiration in the form of Western classical music.<\/p>\n<p>He describes it best:<\/p>\n<p>\u201cWhile the concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface.\u201d<\/p>\n<p>\u201cThis is an interesting piece, because it walks the line between jazz and classical music,\u201d Steven says. \u201cThe sound that he was envisioning is very jazz adjacent.\u201d<\/p>\n<p>Banks actually played the piece for the composer, at first using what he calls \u201creal jazz\u201d inflections, but the sound wasn\u2019t what Adams was after. Like many of Adams\u2019 works, at times the piece is quite modal, reminiscent of classic jazz of the 60s and 70s. \u201cBut, there are also a lot of places that mimic a solo section with strings that you might find in [Charlie Parker].\u201d<\/p>\n<p>He calls it a blend of minimalism and Adams\u2019 more recent, and more complex, style.<\/p>\n<p>\u201cI&#8217;ve never played anything like this piece,\u201d he says.<\/p>\n<p>\u201cThis piece is uniquely challenging for the orchestra,\u201d Banks adds. He notes the complexity of the composition that changes meter \u201calmost every bar\u201d.<\/p>\n<p>\u201cIt&#8217;s really sort of an athletic event. I&#8217;m excited to do that with an orchestra with the calibre of the TSO.\u201d<\/p>\n<ul>\n<li>More information and tickets about the concerts on January 17 &amp; 20 (at Roy Thomson Hall), and January 21 (at George Weston Recital Hall) &#8211; where Oundjian will also conduct Rachmaninoff&#8217;s Third &#8211; [<strong><a href=\"https:\/\/www.tso.ca\/concerts-and-events\/events\/oundjian-conducts-rachmaninoff\/\" target=\"_blank\" rel=\"noopener\">HERE<\/a><\/strong>].<\/li>\n<\/ul>\n<p><strong><em>Are you looking to promote an <a href=\"https:\/\/www.ludwig-van.com\/toronto\/advertising\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #0e101a\"><u>event<\/u><\/span><\/a>? Have a\u00a0<a href=\"https:\/\/www.ludwig-van.com\/toronto\/masthead\/\" target=\"_blank\" rel=\"noopener\"><u>news tip<\/u><\/a>? Need to know the best\u00a0<a href=\"https:\/\/www.ludwig-van.com\/toronto\/events\/\" target=\"_blank\" rel=\"noopener\"><u>events<\/u><\/a>\u00a0happening this weekend? Send us a\u00a0<\/em><\/strong><a href=\"mailto:anya@ludwig-van.com?subject=Let's%20chat\" target=\"_blank\" rel=\"noopener\"><strong><em><u>note<\/u>.<\/em><\/strong><br \/>\n<\/a><\/p>\n<h3 class=\"western\"><em><b>#LUDWIGVAN<\/b><\/em><\/h3>\n<p class=\"western\"><em>Get the daily arts news straight to your inbox.<\/em><\/p>\n<h3 class=\"western\"><em>Sign up for the Ludwig Van Toronto e-Blast! \u2014 local classical music and opera news straight to your inbox <\/em><a href=\"https:\/\/583e6ce0-dfd0-48be-8a33-61256b3c58e3.mlbtlr.com\/p2\/Fbd8jWoWQQ6CdBcLIvut3Q\/02E3cYaETqaj4Xm087cpSg?contactid=S3HHYfHY5rZv5f94S15MnA\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/583e6ce0-dfd0-48be-8a33-61256b3c58e3.mlbtlr.com\/p2\/Fbd8jWoWQQ6CdBcLIvut3Q\/02E3cYaETqaj4Xm087cpSg?contactid%3DS3HHYfHY5rZv5f94S15MnA&amp;source=gmail&amp;ust=1695737525351000&amp;usg=AOvVaw0QTqKRwRJQFGK3KoJYigxX\">HERE<\/a>.<\/h3>\n","protected":false},"excerpt":{"rendered":"<p>Steven Banks will be in Toronto January 17 to 21 to make his debut with the TSO, and perform the Canadian premi\u00e8re of John Adams Concerto for Saxophone.<\/p>\n","protected":false},"author":64,"featured_media":101116,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"jetpack_post_was_ever_published":false},"categories":[40967,76,19,29,38,63],"tags":[30543,40978],"yst_prominent_words":[6767,6715,8358,14729,6616,8405,14728,28118,10254,16034],"acf":[],"jetpack_featured_media_url":"https:\/\/www.ludwig-van.com\/toronto\/wp-content\/uploads\/sites\/2\/2024\/01\/Copy-of-INTERVIEW-2.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9bakr-qiS","amp_enabled":true,"_links":{"self":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/101114"}],"collection":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/users\/64"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/comments?post=101114"}],"version-history":[{"count":5,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/101114\/revisions"}],"predecessor-version":[{"id":101321,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/posts\/101114\/revisions\/101321"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media\/101116"}],"wp:attachment":[{"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/media?parent=101114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/categories?post=101114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/tags?post=101114"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/www.ludwig-van.com\/toronto\/wp-json\/wp\/v2\/yst_prominent_words?post=101114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}