Composers had very different reasons to seek refuge to America, physically or figuratively: Ursula Mamlok and Paul Hindemith sought political asylum because they or their art were not tolerated in Nazi Germany. Schulhoff, an enfant terrible of the 20s, wanted to go against tradition and found the vocabulary of his musical resistance in the US-imported Jazz. Paul Creston‘s and George Gershwin‘s works embody what is so typical in American classical music: the lightness and originality that often goes beyond stylistic boundaries.


Erwin Schulhoff (1894-1942): Hot Sonate (1930)
for alto saxophone and piano

Ursula Mamlok (1932-2016): Rückblick (2002)
for alto saxophone and piano

Paul Creston (1906-1985): Sonate op. 14 (1939)
for alto saxophone and piano


Paul Hindemith (1895-1963): Sonate (1943)
for alto saxophone and piano

George Gershwin (1898-1937): An American in Paris (1928)
for soprano, alto and tenor saxophone and piano