SKU: A0.534527

It was in the process of preparing the publication of the works of Demersseman and of Ali Ben Sou Alle that suggested to me the idea of the typical 19th century practice of the Fantasy and Variations on well-known themes.

The saxophone lends itself perfectly for this stylistic exercise. I therefore chose to write for this instrument, which the piano supports seriously.

My republican roots (in the French sense) suggested that I set several revolutionary songs from 1789. I therefore chose the emblematic “ Ah ça ira ! �, after having seen the famous sequence of “Si Versailles l’était conté� where Piaf sings this song hanging of the grill of the Palace of Versailles, in the superbe version by Jean Françaix.

I added at the end “ La Carmagnole � and the famous “ Il pleut bergère � a foreshadowing of the destiny of Marie-Antoinette who is said to have enjoyed singing this air. One will find, a bit hidden, a short citation of a work for organ by Bach.

This isn’t a pastiche but rather a sort of modern update to this form in respecting its codes, its forms of this type of work which disappeared temporarily due to forced musical austerity.

SKU: A0.742473

Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé.

The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

Le Turc Generaux. Osman Pasha is in love with his slave, the young Émilie, but she rejects him, telling him she was about to be married when a group of brigands abducted her. Osman urges her to give up hope that her fiancé is still alive (Air: Il faut que l'amour s'evole) but Émilie refuses to believe this is true. The sky turns dark as a storm brews; Émilie sees the violent weather as an image of her despair (Air: Vaste empire des mers). A chorus of shipwrecked sailors is heard (Chorus: Ciel! de plus d'une mort). Émilie laments that they too will be taken captive. She recognises one of the sailors as her fiancé Valère. Their joy at their reunion is tempered by sadness at the thought they are both slaves now. Osman enters and is furious to see the couple embracing. However, unexpectedly, he announces he will free them. He too has recognised Valère, who was once his master but magnanimously freed him. Osman loads Valère's surviving ships with gifts and the couple praise his generosity. They call on the winds to blow them back to France (Duet and chorus: Volez, Zéphyrs). The act ends with celebratory dances as Valère and Émilie prepare to set sail.

SKU: A0.1405397

The Piano Concerto No. 21 in C major, K. 467, was completed on 9 March 1785 by Wolfgang Amadeus Mozart.

The second movement was featured in the 1967 Swedish film Elvira Madigan with Géza Anda as soloist. As a result, the piece has become widely known as the Elvira Madigan concerto

Hedvig Antoinette Isabella Eleonore Jensen (December 4, 1867 – July 19, 1889), better known by her stage name Elvira Madigan, was a circus performer who performed as a slack rope dancer, artistic rider, juggler and dancer. She is best known today for her romantic relationship with the Swedish nobleman and cavalry officer Sixten Sparre. Their joint death caused great sensation and the event was described in song by, among others, the author Johan Lindström Saxon [sv] in a song beginning Sad things happen, which gained great popularity.

Here's a very unlikely arrangement of it for Brass Quintet, with the Horn as soloist. The other brass instruments are also conical, providing a mellow sound. I must emphasize that it would be best not to perform this piece if the intonation, correct notes, ensemble playing, and overall musicality are lacking.