The focus of the interpretation of tenor saxophonist Paul Lessard has taken him throughout north America and Europe. He has performed as a soloist together with concert bands, orchestras and choirs, and has given numerous recitals of solo and chamber, even in the conferences of saxophone at national and international level. Their efforts to promote the new music has led him to releasing several works by composers, such as Avner Dorman, Piet Swerts, and Paul Richards. In addition to his extensive work as a performer, Paul is a composer and arranger, and is part of the faculty at East Tennessee State University. He is a graduate of the University of Toronto (D. M. A.), the University of Florida (M. M.) and the Gettysburg College (B. S.).Very much in demand as a pianist, collaborator, and with more than 600 pieces of camera in its repertoire, Casey Dierlam Tse has performed hundreds of concerts, projects and recordings. Not outside the world of the saxophone and ardent interpreter of his repertoire, Casey has worked with a staggering variety of internationally renowned artists, and as a partner in a duo with her husband, Kenneth Tse. Regularly participates in conferences and competitions saxophone, and is the coordinator of piano collaborative of the North American Saxophone Alliance. His piano studies were supplemented with those of the pianist and pedagogue Zitta Zohar in New York.
Concerto for Alto Saxophone and Orchestra...........................Paul Alexander Lessard (World Premiere)
II. Flowing, with a touch of the romantic
This performance presents the world premiere of the Concerto for alto saxophone and orchestra by Paul Alexander Lessard (version for saxophone and piano). The three movements of the work are unified by a progressive degradation of the material is linear, with ideas melodic traditional ever more twisted, until they finally collapse in the burst motifs fragmented the movement's end. The Concert Lessard is a monstrous tour de force for both the soloist as a whole (or pianist), making it a particularly evident in the registry altissimo end. With a scripture for saxophone challenging but very idiomatic, this work promises to be attractive for the soloists of the first row, and has the potential to enter the canyon of the modern repertoire for saxophone.