Pianist Philipp Kopachevsky and saxophonist Yulia Bikhovets gather in one evening iconic pieces from the academic repertoire - from Rachmaninoff to Paganini and Saint-Saëns. In the familiar pages of music, the timbre of the saxophone unexpectedly reveals itself, entering into a dialogue with the piano and changing the usual sound of beloved compositions. In this program, academic music sounds different from what most listeners are used to. On the same stage meet pianist Philipp Kopachevsky and saxophonist Yulia Bikhovets, and the familiar duet of "piano plus string" is replaced by a union of keyboard and wind instrument. This ensemble opens new colors in compositions that have long entered the canon of concert repertoire. Sergei Rachmaninoff is at the center of the evening for a reason. His Sonata for Cello and Piano and Romance in F minor are usually associated with a deep, singing string sound, but in the version for tenor saxophone, the line of the solo part takes on a different character. The timbre becomes more flexible and contrasting, the intonations are a bit freer, and the transitions between registers are especially noticeable. The composer’s vocalise in an arrangement for alto saxophone continues this line: the familiar melody sounds like a confession, sung with breath and metal. In the second part of the program, names appear that are hard to imagine in the history of European virtuosity without them. "La Campanella" by Niccolò Paganini is a symbol of brilliant technique, but in this ensemble, it also transforms into a play of timbres, where the piano picks up the rhythmic pattern, and the saxophone takes on the role of the storyteller. "Introduction and Rondo-Capriccioso" by Camille Saint-Saëns demonstrates French elegance, while the characteristic pieces of Théodore Dubois show how comfortable a wind soloist feels in a delicate, refined textural environment. The Russian line in the program is represented by Tchaikovsky's "Russian Dance." In this number, it is especially noticeable how the duo works with contrasts: from bouncy, almost folk intonations to softer episodes, where the melody seems to recall its roots. Such a construction helps to hear