André Lamproye (1929-2004):

Hommage à Saint-Hadelin
Cantique (Entrée solennelle) 5:01
A son maitre Remacle (Méditation) 2:31
L’Envoi en mission (Choral) 2:23
Le miracle de la source (Offertoire) 2:03
La résurrection de Guiza (Communion) 3:12
Au Christ couronnant (Sortie) 4:25

Guy de Lioncourt (1885-1961):

Trois Mélodies grégoriennes
Clemens rector 1:53
Puer natus est 1:31
Pascha nostrum 1:38

Denis Bédard (1950):
Sonate I
Inventino 3:21
Barcarole 4:26
Humoresque 3:43

Alarich Wallner (1922-2005):
Ludium I 3:33
Ludium II 5:17
Ludium III 5:26

Giorgio Paris (1961):
Alio modo 4:51

Italo Di Cioccio (1953):
Dialogue
Allegro 2:25
Andante 1:16
Allegro 2:55

1 CD - DDD - 61'51''

1 CD - DDD - 61'51''

The organ is the sacred instrument par excellence. The
saxophone is the instrument of modern urban solitude, of
the dejected landscapes of the soul and of painful
monologues that exalt its infinite capacity to generate the
most subtle nuances of sound; again, as opposed to the
organ and its mostly sacred literature, where sound is
immobile and grandiose, and any variations in it are
produced by changes of register instead of by the soloist’s
touch.
The sound that produce the two instruments together - and
this CD is enough evidence of it - is truly fascinating and
perfectly blended, as if the two instruments were made to
be partners in a infinite game of fantasy and allusions,
where the sax often succeeds in camouflaging itself
between the pipes of the organ and in becoming a new,
reed, register.
The present CD features a series of works by contemporary
and 20th-century composers, all originally written for sax
(soprano or alto) and organ. The six opening pieces are
from the Hommage à Saint-Hadelin by the Belgian
composer André Lamproye. The language is traditional but
of great effect, thanks to some easy and spontaneous
melodic lines
The Trois Mélodies Grégoriennes are based on as many
famous medieval themes: Clemens rector is a Kyrie written
in the first Gregorian mode, while Puer natus est is the
introit of the Gregorian Mass for Christmas day. Pascha
nostrum, finally, is a solemn Alleluia in the seventh mode
and is sung on Easter day. In Lioncourt’s arrangements the
three pieces (especially the first) take on mysterious
overtones almost evoking a faraway lost world, attaining
effects that are touching in their simplicity.
Denis Bédard was born in Québec City, Canada, in 1950.
His Sonate I, in three short movements, is much more lay
in character than the preceding works, and is rather more
virtuosic, especially in the outer movements. The witty
and lively final Humoresque is reminiscent of Poulenc and
Ibert.
The three Ludia by the Austrian Alarich Wallner owe their
origin to the composer’s association with the saxophonist
Dieter Pätzold, to whom they are dedicated. Born in Styria
in 1922, Wallner wrote in a relatively traditional language.
The programme ends with two works by contemporary
Italian composers, both from the Abruzzo region. Alio
Modo by Giorgio Paris was written in 2005 for the concert
festival Concerti a Celano. The piece contains a clear
homage to Tommaso da Celano, author of the famous
medieval sequence Dies Irae.
The last piece, Dialogue by Italo Di Cioccio, dedicated to
the duo Giacchetti-Di Marco, is structured in the classical
Allegro / Andante / Allegro movements.