Jean-Marie Londeix to Antoine Tisné – March 28, 1980

Jean-Marie Londeix à Antoine Tisné – 28 mars 1980


Bordeaux 28 March 1980

Jean-Marie LONDEIX
9 rue de Mulhouse
33000 BORDEAUX

How is the composition of the ballet music progressing for our collaboration with the Ensemble International de Saxophones?

The date of the performance is still set for April/May 1981. It's vital that we provide the choreographer, Vladimir SKOURATOF, and his dancers with a recording of the work by next November. Will this be possible?

You know you can give me the conductor’s score (in C if that suits you) and I will extract and copy out the parts. As well, if it would make your job a bit easier, I could orchestrate it for saxophones ... if you feel that it’s appropriate!

This year’s ensemble has reached a quality never before attained. It’s very impressive! I see the potential that can be drawn from this new type of orchestra, and the interest that could arise from the creation of a new wind orchestra built around the saxophone family (just as the symphonic orchestra is built around the string family) - and this with an ensemble of musicians three or four times smaller...

Perhaps you know that I have been reelected as President of l’AsSaFra [Ed. Note: The Association of Saxophonists of France]. We hope to provide you with some [Ed. Note: financial] assistance for the piece you’re composing for the Aix-les-Bains competition.

As well, will you accept my offer - a personal one this time - of 2,500 francs for the [Ed. Note: ballet] piece for the Ensemble? I know it's not much, but it would give me great pleasure if you would accept.

I heard the recording by [Ed. Note: Jean-Yves] FOURMEAU of “Music for Stonehege[sic]” on the radio and he seemed to have adopted the suggestions that I made to you. It was really very good. Bravo!

Believe, dear Sir, in my sincere admiration, and in my most respectful and devoted sentiments as well.

p.s. The [Ed. Note: Cultural] Minister has just removed the saxophone from the list of required disciplines in music schools controlled by the state — can this be possible?! And it has happened despite the fact that the saxophone has now found a place as a “modern” instrument worthy of interest, and the most serious composers are taking it into consideration! This is a retrogressive measure, prejudicial to the instrument whose promotion we work towards unceasingly.

I hope that you might be able to help ensure that this unfortunate new attitude changes as soon as possible.

Translation by Jennie Wood and William Street, University of Alberta

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