When my esteemed colleagues, Drs. William Street and Marnie Giesbrecht, approached me with the request for a new piece for Alto-Saxophone and Organ, I thought of honoring them by creating a motif/theme with some reference to their names. I chose the first and last letter of their last names (G, S, T, T), transcribed into English, German and French letter names as g –E-flat – B - b. This motif, especially the interval of the falling or rising major third/diminished fourth or expanded as an augmented chord, is heard directly or in an oblique way in all three movements. In the first movement, Passacaglia and Fugue, the four-note motif is expanded into a twelve-tone theme, though treated in a tonal fashion. In the second movement it has a more lyrical character; in the last, it appears as a more figurative theme with cluster chords. The title Passage du Temps is not so much a reference to music as a time art, but an homage to some of the great compositional devices and styles since 1700 to which I feel indebted: from the contrapuntal techniques by Bach in I, the quasi-ostinati accompanying a cantilene by Vivaldi and Bach (II, main theme), the French Romantic organ genre pieces (II, middle section) to the more “edgy” neo-Classic style of the early 20th century. The organ registrations serve as a general guide to the desired timbres and textures, but will require adjustments from one instrument to another to ensure theproper balance between the instruments. I wish to express my sincere thanks to Trent Worthington for transcribing themanuscript into digital format. Jacobus Kloppers Edmonton, Alberta, 2016