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An American In Paris

Béla Bartók Tanzsuite

Maurice Ravel Ma mere l’oye

George Gershwin An American in Paris

Erwin Schulhoff Hot Sonate

Dimitri Shostakovich from 24 Präludien op. 34

On stage, next to the piano, three different saxophones will be wait-ing: soprano, alto and tenor. In this program the Duo presents their own arrangements (with the exception of Schulhoff's Hot Sonata). The tenor gives a dark swing to Bartok's Dance Suite. The alto makes the multiple personalities in the Preludes by Shostakovich more vivid. The soprano melts together with the piano and create an unexpected imi-tation of the Balinese sounds that are hidden in Ravel's Suite. Finally, all three saxophones are used in Gershwin's An American in Paris, ex-panding the sound palette of a traditional Duo setting.

Imagine Home

Erwin Schulhoff Hot Sonate

Ursula Mamlok Rückblick

Paul Hindemith Sonate

Aftab Darvishi A Thousand Butterflies (commissioned for Duo M/P)

Arvo Pärt Spiegel im Spiegel

George Gershwin An American in Paris

This program is about physical immigration and immigration of the creative imagination. Seen from another perspective, it is a program around the idea of home, searching for home and homecoming. Schulhoff and Gershwin crossed to the opposite coasts of Atlantic to find a new musical vocabulary. In the case of Paul Hindemith and Ursula Mamlok, however, they had to seek refuge to the US because their lives where in danger under the Nazi regime. Arvo Pärt’s Spiegel im Spiegel radiates the feel-ing that home is not merely a geographical concept, but an in-nermost state that cannot be taken away.

The Roaring Twenties

Erwin Schulhoff Hot-Sonate

Alban Berg excerpts from Lulu Suite

Kurt Weill Three-penny Opera

Paul Hindemith Sonate

George Gershwin An American in Paris

The interwar period was a time of restless movement. It was colored by the excitement of innovation and uncertainty. Yet the odor of despair for the approaching collec-tive failure was too strong to be ignored. It is hard to imagine that Gershwin's An Amer-ican in Paris and Weill's Three-penny Opera were written in the same year. In this pro-gram the colorful cosmopolitan energy is intentionally mixed with the anxiety-ridden music in order to capture the double feeling of the period.

Framing A Shout

Béla Bartók Dance Suite

Paul Hindemith Sonate

Dimitri Shostakovich from 24 Preludes op. 34 György Ligeti Mysteries of the Macabre

Mark-Anthony Turnage Two elegies framing a shout

Edison Denisov Sonate

It is the nature of both saxophone and piano to transform their sound to the extremes: the depth of the timpani, the pizzicato of a double-bass, the scream of the human voice. The neo-primitive sounds Bartok's Dance Suite (arranged by the Duo), Ligeti's ear-corrupting Mysteries of the Macabre and Denisov's forbidden masterpiece among other works, give an excellent opportunity to the saxophone and piano duo to show how far they can go from their traditionally expected sound.