Pour Saxophone Soprano et Piano / for Solo Saxophone and Piano-André Jolivet’s Chant de Linos for Saxophone and Piano (arrangement: Carmen Lefrançois). Captivated by the magical and religious dimension of music André Jolivet (1905-1971) couldn’t help but have a predilection for the Flute a “deep expression of humankind (…) that charges sounds with what in us is both visceral and cosmic”. Eight years after the famous Incantations for solo Flute in 1936 he wrote the Chant de Linos for Flute and Piano. Its pedagogical purpose – as an examination piece for national Conservatoire students - does not mask itsgravity: in Ancient Greece it was a funeral lamento originally sung in memory of the poet Linos who lost his life to Apollo’s jealousy. In 1945 the composer transformed this piece into a powerfully charming quintet for Flute Violin Viola Cello and Harp. The Editions Leduc are publishing a transcription for Soprano Saxophone and Piano written by Carmen Lefrançois and approved by Christine Jolivet the composer’s daughter. Lefrançois beautifully avoids smothering the delicacy of the music with the Saxophone's dynamics which could prove excessive in this context. The threnody interspersed with ritual dances retains its strange beauty touching the hearts of a new generation of musicians.

Jack Brymer premièred this work originally called 'Sopsonare' in 1973 at the American School at St. John's Wood playing on Michael Krein's Selmer soprano saxophone. This Sonata the first composition for saxophone by Colin Cowles was inspired by the acquisition of a soprano saxophone whilst teaching in Hemel Hempstead in the early 1970s. Although having played on a simple system soprano as a boy (an instrument borrowed from and taught him by his father) this re-introduction to the instrument was to kindle a life-long love of the complete saxophone family and the composition of an almost endless 'library' of works for it at all levels. It was also at a time whenthe composers had made recent acquaintance with the eminent saxophonist Peter Ripper and had been introduced to the saxophone quartet by the recently formed London Saxophone Quartet whose leader Paul Harvey was to play this Sonata and the Elegy for Soprano Saxophone and String Orchestra. He in fact premiered the latter work which Jack Brymer then played in public on a number of occasions. It was recorded by Peter Ripper with the composer at the piano at the BBC Maida Vale Studios. It is a totally non-esoteric work but like so much of the composer's music it is fun and approachable bearing repetition without becoming tedious. The composer has always favoured the Bb saxophones (soprano and tenor) which is reflected by his output. Of particular note are: • Concerto for Tenor Saxophone and Orchestra• In Memoriam for Tenor Saxophone and String Orchestra• Sonata for Tenor Saxophone and Piano • Three Bala Sketches for Tenor Saxophone and Piano. This Sonata for Soprano Saxophone and Piano and the Elegy for Soprano Saxophone and Strings are particular favourites of the composer.

For Soprano Saxophone and Organ accompaniment.'Peter Abelard was a medieval philosopher poet and musician born in France in 1079. He taught at Notre Dame Cathedral in Paris lodging with Canon Fulbert whoadmired hiswork. In time he also became tutor to Fulbert's beautiful seventeen-yearoldniece Helo se.Abelard and Helo se began a passionate love affair (Dance of Peter and Helo se) which resulted in a son Astrolabe.For thesake of Abelard's position they married secretly and Canon Fulbert waspresent at their marriage. But Fulbert later reacted furiously to news that Abelard hadsent Helo se to a convent believing that he had abandoned her infavour of his owncareer. In revenge he had Abelard castrated (Revenge of Canon Fulbert).After his mutilation Abelard became a monk and he and Helo se remained constantcorrespondents for the remainder of his life. Hecomposed a hymnbook for Helo se who by then was Abbess of the convent of the Paraclete. Among the hymns was avisionary poem of the New Jerusalem set to a beautiful melody in the Dorian mode O Quanta Qualia.On his death in1142 his remains were taken to the Paraclete at Helo se's request andher body was later laid to rest in the same tomb. Finally their remains were taken toParis and in 1817 they were buried together in one sepulchre (InParadisum).Peter Abelard documented much of his own story in a number of writings includingthe Historia Calamitatum Mearum (The story of mytroubles).'             - James Whitbourn