Works for saxophone and piano
Finished in December 1993, A Tribute to Sax was written to commemorate the centenary of Adolphe Sax’s death. It is a sort of musical homage offered by a saxophonist from Dinant to Dinant’s greatest son.
From the beginning, the solo saxophone imposes its virtuosity, rousing the orchestra into a crushing aggressivity. Surprised by the display of so much energy, the soloist manages to relax the atmosphere a little. However, the orchestra doesn’t listen and once again lets loose its anger. This is too much, so the sax replies in kind: in a few bars it shows all its facets: expressive, low, high, sarcasm and virtuosity. The orchestra in its turn, now somewhat appeased, shows its groupings. All this amuses the sax, who authoritatively stops this little game with a cadenza that closes the first part. In it are evoked all the vital elements heard up until now.
In the second part peace reigns and a new colour appears. Calm and serene, the soloist is superposed over the sound of the vibraphone before carrying all the orchestra along with him. Majestically, the orchestra affirms its plenitude. In a mature manner, it understands its duty to be reserved and effaces itself again. Over a rhythmic ostinato of muted brass, the soloist sings a line full of arabesques.
The introduction to the third part lets the orchestra express itself in a rhythmically complex sequence. As in the first movement, from the beginning the sax displays its surprising virtuosity. Intimidated, the orchestra reduces its accompaniment to a bare minimum. After a short cadenza, the orchestra lances its final attempt in an energetic march. The sax slyly dominates then abandons the orchestra before using all its charm before carring it into a redoubtable accelerando treated as a fugue.
As a preparation for the end, the soloist nevertheless chooses gentleness. The orchestra, for its part, insistently repeats the two chords that opened the work. A Tribute to Sax is dedicated to François Daneels, founder of the Belgian sax school, professor and predecessor of Alain Crepin at the Royal Conservatory of Brussels.
This piece was commissioned by the Conservatory of Esch-sur-Alzette (Grand-duché de Luxembourg), and was compulsory for the contest of the middle division diploma. The title was inspired by the address of the establishment : Avenue des terres rouges; address linked to the metal industry who was there for many years in the southern region of the Grand-duché de Luxembourg. This is a typical work for a contest with all the imposed requirements by the director of then (Fred Harles), meaning: the technical requirements of the instrument, a slow movement to test the musicality, a cadenza to appreciate the creativity and a number of asymmetric bars to test the rhythmical capacities
In three successive parts with varied rhythms and articulations, this piece was composed for the first public audition of Céline, the composer’s daughter. One can imagine the child waking up, the activities of the day, then the time for sleeping.
A very fresh and didactic piece.
It’s well known that Alain Crepin likes to play with words. After “Céline mandarine”, piece written for saxophone and composed for his daughter Céline, “Poire belle Hélène”, piece written for flute for his daughter Anne-Hélène, and “Le lapin de Jean-Gilles”, piece for trombone and composed for his son Jean-Gilles, Alain Crepin has written a “Colin malin” at the birth of little Colin, the son of a couple of friends: Anne-Christine & Jean-Jacques. The initial plan was of course to transform into rime the famous game of colin-maillard. The slow introduction evokes the birth of the child whereas the rest of the piece is written to reflect every aspect of the little boy being: cheerful and bubbly like champagne and…smart.
Written especially in the honour of children, Green Apple is an interesting piece for developing rhythm and staccato with young musicians. At the end, the child has the opportunity to sing! Exists in a version for saxophone and piano
The famous French saxophone soloist and teacher Daniel Gremelle is in charge of his own series with the Billaudot publishing firm. For many years now, he very much appreciates the music written by his friend Alain Crepin. After having insisted for several months, he finally succeeded to convince him to also enrich the series. Being the happy and proud father of a lovely girl named Marie, he wanted to give her an original anniversary present. This was all the composer needed as inspiration (many of his titles include Christian names) . The tune that accompanies each anniversary cake is skillfully quoted at the end of the piece in a rhythmical pattern with an pedagogical objective.
This work is also available for tenor saxophone and piano
Here is a small musical story: the elephant enters a china shop, he sees a doll. The doll dances for him, but sadly, he must leave her.
Very easy, this piece is really good for young children.
Published for alto or tenor.
From the first notes, the pirouettes of the animal can easily be imagined. After the playful games in the morning, a little siesta is planned before the pirouettes start again! There is also a version for saxophone and chamber orchestra which was created at Odessa (Ukraine) in October 2015.
Excellent for introducing staccato and the 3/8 time signature.
Water is the source of inspiration for this piece. Its movements and moods are evoked in music by many tempo changes (the student should be able to discover the cadenzas) as well as many dynamic and rhythmical contrasts.
The insomnias of composers often bring interesting ideas which can later be exploited. Here we have a nice swing theme, which can be recognized in different variations divided by small cadenzas and a nostalgic ballad.
There exists equally a version for saxophone and chamber orchestra which was created in Odessa (Ukraine) in October 2015 as well as a version for saxophone ensemble (created in Japan in December 2014).
This piece was commissioned by Nadine Bichler, professor of saxophone at the conservatory of Echternach (Grand-duché de Luxembourg) and was imposed as a piece during the contest for the diploma of the lower division. As Major chief of the band of the Royal Belgian air force, Alain Crepin very often made reference to his military career for the choice of his titles. This one finds also its inspiration in “depart” which constitutes for every young musician a terminal test of a cycle of musical studies. This is typically a piece for a contest with all the imposed requirements for the occasion: technical instrumental elements, a slow movement to test the musicality and a cadenza to appreciate the creativity.
As conductor of the Royal Belgian Air Force Band, Alain Crepin has been influenced by his military career and more particularly his flights with the F16.
This work consists of four linked parts in a “slow-fast-slow-fast” order. The work starts with an evocation of a flight coming from the depths of the earth. After this orchestral introduction, the soloist appears for the first time engaging in a first flight. The saxophone player creates an alert rhythm and a cheerful atmosphere while dialoguing with the orchestra. After his intoxicating flight, peace returns. The saxophone floats and remembers his love for earth. However his place is up there in the sky, windswept and supported by an obstinate rhythm, he takes off again to reach his highest point and hopes to reach his zenith.
There exists also a version for saxophone and symphonic orchestra, as well as a version for chamber orchestra which was created in Odessa (Ukraine) in October 2015 and a version for saxophone ensemble (created in Japan in December 2014)
The French saxophone virtuoso Nicolas Prost was looking for a new composition for his CD project with the wind orchestra “Harmonie des sapeurs-pompiers des Yvelines” in the Paris region. He had an idea to ask Alain Crepin to compose a piece for all ages but nevertheless with a difficult solo part. From the start the composer imagined a work for alto or tenor saxophone with orchestral or piano accompaniment. We can hear chords in the style of Benny Goodman and a “walking bass” which is typical for the left hand of the piano. The title was chosen in function of the great virtuosity demanded of the soloist.
There exists a version for saxophone and chamber orchestra. It was created in Odessa (Ukraine) in October 2015
This work was commissioned by the International Adolph Sax Association of Dinant. It was created especially for the Day of the Symphonic Wind Bands in September 2008. It’s a composition for saxophone solo (alto or tenor) with accompaniment of a wind ensemble. There also exists a version for saxophone and piano and a version for two saxophone soloists. This is the version with piano which is recorded on CD
Written for soprano sax and piano, this Sicilienne won a prize in the composition competition organized by SABAM (The Belgian authors society) and the Belgian TV. The melody is supple and nonchalant and the key of c sharp minor and the characteristic rhythm of the Sicilienne make this piece a moment of real happiness.
A piece for tenor or baritone sax and small or large band is also printed in a version for sax and piano. It is in two parts, constructed using three themes, joined together by a little introductory motif. The silhouette of the tenor sax is well-known and inspired the title of the piece, composed by Alain Crepin at the request of his friend Edmond Moreau. Michel Mergny and Dominique Duhen made the first CD recording of the piano and sax version.
A young Chinese visits the town of the saxophone to the sound of a popular song.
Suddenly he discovers Western music before returning to his universe. The saxophone and the piano sketch a few imitations before the conclusion