Boston Modern Orchestra Project Presents: Aftertones of Infinity

This program traces four distinct approaches to orchestral imagination. Tyshawn Sorey’s Adagio, written for Timothy McAllister, suspends time through long, quiet lines that frame the saxophone in a world of shifting resonance. Paul Moravec’s Saxophone Concerto, also featuring McAllister, moves with clarity and drive, giving the instrument a bright, agile presence within the orchestra. Lukas Foss’s Baroque Variations (1967) refracts familiar Baroque materials through collage, distortion, and mid-century experimental energy. Joseph Schwantner’s Aftertones of Infinity (1978) closes the program with a luminous, color driven soundscape built from layered textures and rhythmic shimmer. Together, the works offer four sharply different perspectives on orchestral color, form, and expressive space.