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 aggressiveness. 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 a flash and in a few bars shows all its facets: expressive, low, high, sarcasm and virtuosity. The orchestra in its turn, now somewhat appeased, shows its sonic plans. 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 is installed and a new color appears. Calm and serene, the soloist is superposed over the sound of the vibraphone before leading along the orchestra in the depths of his momentum. Majestically, the orchestra affirms its fullness. In a mature manner, it understands its duty to be reserved and steps aside again. Over a rhythmic ostinato of muted brass, the soloist brings natural lines full of arabesques. The introduction to the third part lets the orchestra express itself in a rhythmically complex sequence. Just like in the first movement the sax displays its amazing virtuosity. Intimidated, the orchestra reduces its accompaniment to a strict minimum. After a short cadenza, the orchestra launches a final attempt in the form of an energetic march. In a sneaky way the sax dominates then abandons the orchestra before using all its charm to tag it along into a redoubtable accelerando treated as a fugue. To prepare 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 Danneels, founder of the Belgian sax school, professor and predecessor of Alain Crepin at the Royal Conservatory of Brussels.

There exists also a version for saxophone and symphonic orchestra as well as a version for saxophone ensemble (created in Japan in December 2014).

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.

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)

It’s by request of saxophone virtuoso Nicolas Prost, who was looking for a composition for his CD project with symphonic wind band of the fire brigade of Yvelines, that Alain Crepin launched himself into this composition. There are four distinct parts. An introduction in the form of a cadenza sets the mood: the saxophone presents itself with some fantasies and them imposes itself on the orchestra. In the second part the orchestra proposes some chords in Benny Goodman style on a “walking bass” whereas the saxophone installs itself with a disconcerting virtuosity. The third part creates an other atmosphere: one would think he’s walking on clouds whereas when the orchestra plays the theme again, the soloist floods us with skillful breathtaking arabesques. The soloist proposes different variations on the edge of his seat before he takes his leave.

There exists a version for saxophone and chamber orchestra. It was created in Odessa (Ukraine) in October 2015.

A piece for tenor or baritone sax and wind band or piano. It’s a two part composition using three themes which are and joined together by the little motif from the beginning. The silhouette of the tenor sax is well-known by the general public and inspired the composer in the choice of this title. It was composed by Alain Crepin at the request of his friend Edmond Moreau. There exists a CD recording from the sax and piano version.