Julius Hemphill : Composer

One Atmosphere

Water Music for Woodwinds

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Multi-movement work for seven saxophone players, with doubling on flute and clarinet. The Julius Hemphill Papers has the instrumental parts used in the original performances, on which are written the names of the original performers, as well as materials used in the preparation of the edited score by Marty Ehrlich. The work also appears on archival audio recordings.

The four movements of “Water Music for Woodwinds” are:
I. Mr. Neptune
II. Ms. Catherine
III. Kinspawn
IV. Backwater

From Marty Ehrlich: The archival audio collection includes two performances of this work, in which we first hear Hemphill’s conception of a saxophone choir. Soon after those performances, he formed the World Saxophone Quartet with Hamiet Bluiett, Oliver Lake, and David Murray. About a decade later, Hemphill returned to composing for a six-saxophone choir with Long Tongues: A Saxophone Opera and with the formation of the Julius Hemphill Saxophone Sextet.

Found on: One Atmosphere.

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Savannah Suite

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Composition for flute, cello, and drums, first recorded on the posthumous album One Atmosphere (2003). The archive includes a score in holograph.

Found on: One Atmosphere.

From Marty Ehrlich: There is a cello part in the Julius Hemphill Papers with the title “S. Suite, Motional III,” which perhaps indicates that this work was performed during Hemphill’s lifetime. I recorded this work on One Atmosphere in a trio with Erik Friedlander on cello, and Pheeroan AkLaff on congas and drum set. The cello part is full of triple-stops and is quite demanding.

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One Atmosphere (For Ursula)

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Composition for piano quintet (piano, two violin, viola, cello), written for Ursula Oppens and the Arditti Quartet. This work was premiered in 1992, and is published by Subito Music. It was recorded on the album One Atmosphere (2003), performed by Ursula Oppens and the Pacifica Quartet. The archive includes a score in holograph with annotations.

Found on: One Atmosphere.

From Marty Ehrlich: Along with “Mingus Gold” and “Parchment,” all written for classically trained performers, this is one of Hemphill’s most extensive through-composed works, one without any improvisation in its fabric. 

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