Sébastien Paindestre pianiste et compositeur de Jazz chevronné revisite le répertoire de Radiohead avec sa propre formation Jazz ?Amnesiac quartet? depuis 2007 avec laquelle il a parcouru la France sur les plus grandes scènes...Il rencontre en 2012 Radiohead et Thom Yorke à Bercy et sort le deuxième album ?tribute to Radiohead vol.2? en 2013.Il collabore et se produit avec de nombreux musiciens de Jazz internationaux et des compositeurs de musique contemporaine comme Jacques Lejeune (G.R.M) et écrit pour le cinéma des musiques sur des films inédits de Georges Méliès (Studio Canal).Cette Pièce ?Round' Radiohead? dédié au saxophoniste Nicolas Prost est le fruit de son parcours musical et des passerelles entre le rock, le Jazz et la musique classique... / Saxophone Alto Et Piano

Par DOBBINS BILL. Cette oeuvre combine, assoeie les éléments musicaux des deux traditions contemporaines 'classique” et jazz. Elle fut écrite, en partie, avec l'intention de stimuler l'intérêt grandissant de franchir les frontières entre le jazz et la musique classique, et d'encourager les musiciens créatifs à devenir familier avec le vocabulaire et l'éxécution musicale des deux musiques./ Répertoire / Saxophone Soprano et Piano

RANT! is a portrait of the saxophonist Jess Gillam: her energy, her sound and her presence, painted in music from her own part of England. A ?rant? in the tradition of English folk music is an energetic dance and means ?to make merry? a reflection of Jess?s fearless and exuberant performances. RANT! draws on Cumbrian folk tunes sourced from Ed Heslam?s unique folk music resource Music of Cumberland and Westmoreland, as well as several tunes composed by Ed himself. This advanced piece is suitable for soprano saxophone or clarinet with piano accompaniment.

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.

Par KULENTY HANNA. I composed Aisthetikos Duo for soprano saxophone and piano immediately after Aisthetikos for soprano saxophone, piano and orchestra. I hit on the idea of preparing a work that could be performed more often. I was approached with a request to write such a version of Aisthetikos by its first performers: Magdalena and Bartlomiej Dus. A composition for two soloists and orchestra is no simple matter, and concert performances need a lot of preparation, while it is just easier for a duet. The soloists’ parts are slightly modified in the area of the orchestra part, but it is essentially the same work, written in the composition technique I call musique surréalistique, which I have been using for several years. It involves the overlapping of several interacting musical worlds, expanding over time. Hanna Kulenty translated by John Comber. / Date parution : 2022-11-08/ Répertoire / Saxophone Soprano et Piano