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AUSTRALIAN SONATAS FOR ALTO SAXOPHONE AND PIANO: NEW

EDITIONS AND PERFORMANCE GUIDES FOR THREE WORKS BY MAJOR

AUSTRALIAN COMPOSERS

by

Michael Wade Lichnovsky

An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa

May 2008

Essay Supervisor: Associate Professor Kenneth Tse

Graduate College The University of Iowa

Iowa City, Iowa

CERTIFICATE OF APPROVAL ___________________________

D.M.A ESSAY ___________

This is to certify that the D.M.A essay of

Michael Wade Lichnovsky

has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the May 2008 graduation.

Essay Committee: ___________________________________________ Kenneth Tse, Essay Supervisor

___________________________________________ Maurita Murphy Mead

___________________________________________ Brian Hand

___________________________________________ Jerry Cain

___________________________________________ Nicole Esposito

ii

To Karen and Daniel

iii

The demarcation between a positive and a negative desire or action is not whether it gives you an immediate feeling of satisfaction but whether it ultimately results in positive or negative consequences.

His Holiness the Dalai Lama, The Essence of Happiness

iv

ACKNOWLEDGEMENTS

My sincere thanks to Professor Kenneth Tse, who managed to see me through

difficult times. Your kind spirit and willing manner are an example to all. To the friends

made in Iowa City who helped me when I was down, I thank you. There is always an

open door to welcome you. To the University of Iowa, who gave me the opportunity to

study in America, I hope that my future deeds will speak well of you. To Gina Cole,

runner of messages and depositor of forms, a warm thank you, for without your help I’d

still be trying to graduate. The kind words and support received from the families of

Dulcie Holland and Margaret Sutherland provided marvelous encouragement in getting

this project off the ground. Thanks also go to EMI Music Publishing Australia for

assistance in getting this edition of William Lovelock’s Sonata published, and to Trevor

Barnard for his incredible enthusiasm for the project.

But most of all, I dedicate this essay to my wonderful wife Karen, and my baby

boy Daniel. Completion of this project signals a new beginning for us, and without your

help and love I would surely have failed.

v

ABSTRACT

This project has come about because of the need for Australian saxophonists to

develop an awareness of saxophone history and culture in their own country. Dulcie

Holland, William Lovelock and Margaret Sutherland were artists who were active and

influential in the areas of performance, composition and pedagogy, helping to create and

promote the musical arts in Australia during the first half of the twentieth century. The

high regard in which they are held should be evidence enough that their works for

saxophone must be performed by their fellow Australians as a part of a well rounded,

international exposure to the very best repertoire available. Saxophonists in Australia will

be able to place themselves in a relevant world context only when they are fully aware of

the heritage their instrument has in their own country. The present editions (created using

the type-setting software Sibelius 4) seek to make performance considerably easier by

eliminating the need to use the composer’s autograph manuscripts, which are sometimes

difficult to read and understand, due to poor hand-copying or repeated photocopying

which has subsequently made some pages illegible. The accompanying performance

guides are designed as introductions, the first step for the young student wishing to tackle

these national treasures.

vi

TABLE OF CONTENTS

LIST OF TABLES...........................................................................................................viii

LIST OF EXAMPLES.......................................................................................................ix

INTRODUCTION ..............................................................................................................1 CHAPTER I DULCIE HOLLAND SONATA FOR ALTO SAXOPHONE AND

PIANO (1945): A GUIDE FOR PERFORMANCE.......................4 Dulcie Holland – A brief biography ...................................................................4 Overview of the Form.........................................................................................6 Movement I – Con moto .....................................................................................6 Movement II – Scherzando...............................................................................12 Movement III – Andante...................................................................................15 Movement IV – Tempo Scherzando (II) – A Tempo Allegro ..........................21

CHAPTER II WILLIAM LOVELOCK SONATA FOR ALTO SAXOPHONE

AND PIANO (1974): A GUIDE FOR PERFORMANCE ..........26 William Lovelock – a brief biography..............................................................26 Overview of the Form.......................................................................................27 Movement I – Adagio sempre liberamente e rubato – Allegro ........................28 Movement II – Molto vivo e leggiero...............................................................37 Movement III – Adagio liberamente – Allegro vigoroso .................................43

CHAPTER III MARGARET SUTHERLAND SONATA FOR ALTO

SAXOPHONE AND PIANO (1942): A GUIDE FOR PERFORMANCE.........................................................................50

Margaret Sutherland – a brief biography ..........................................................50 Editorial Note....................................................................................................51 Overview of the Form.......................................................................................53 Section I – Allegro, with considerable breadth.................................................53 Section II – tempo parlando – Appassionata – freely – poco meno mosso, rubato ..............................................................................................................62

Section III – Allegro – poco meno mosso – meno mosso – freely ...................65 APPENDIX A. NEW EDITION OF HOLLAND SONATA...........................................74 APPENDIX B. NEW EDITION OF LOVELOCK SONATA.........................................95 APPENDIX C. NEW EDITION OF SUTHERLAND SONATA..................................132

vii

BIBLIOGRAPHY...........................................................................................................154

viii

LIST OF TABLES

Table 1. List of Awards and Honours................................................................................5

Table 2. Author's Suggested Approach to Dynamics ......................................................55

ix

LIST OF EXAMPLES

Example 1. Holland Sonata, mvt1, mm 1-6........................................................................7

Example 2. Holland Sonata, mvt 1, mm 11- 14.................................................................8

Example 3. Holland Sonata, mvt 1, mm 29- 32.................................................................8

Example 4. Holland Sonata, mvt 1, mm 60- 72...............................................................10

Example 5. Holland Sonata, mvt 1, mm 81- 95...............................................................11

Example 6. Holland Sonata, mvt 2, mm 1-3....................................................................13

Example 7. Holland Sonata, mvt 2, mm 16-21................................................................13



Example 10. Holland Sonata, mvt 2, mm 46-57..............................................................16






Example 16. Holland Sonata, mvt 4, mm 1-4..................................................................21




Example 20. Holland Sonata, mvt 4, mm 5-8..................................................................23



x


Example 24. Lovelock Sonata, mvt 1, mm 1-3................................................................28

Example 25. Lovelock Sonata, mvt 1, mm 22-23............................................................29


Example 27. Lovelock Sonata, mvt 1, mm 36.................................................................30




Example 31. Lovelock Sonata, mvt 1, mm 103-108........................................................36


Example 33. Lovelock Sonata, mvt 2, mm 1-11..............................................................38

Example 34. Lovelock Sonata, mvt 2, mm 1-24..............................................................39



Example 37. Lovelock Sonata, mvt 2, mm 32-39.............................................................41


Example 39. Lovelock Sonata, mvt 2, mm 132-140.........................................................42


Example 41. Lovelock Sonata, mvt 3, mm 223...............................................................44




Example 45. Sutherland Sonata Manuscript, mm 64-65 ..................................................52

xi

Example 46. Sutherland Sonata, mm 1-4..........................................................................54

Example 47. Sutherland Sonata, mm 17-23.....................................................................56

Example 48. Sutherland Sonata, mm 24-26......................................................................57


Example 50. Sutherland Sonata, mm 50-55......................................................................58




Example 54. Sutherland Sonata, mm 152-154.................................................................63






Example 60. Sutherland Sonata, mm 237-240 (implied cresc.) ......................................68





1

INTRODUCTION

The Australian saxophonist in the early 21st Century has a great deal of choice

when it comes to repertoire selection for recitals, exams and juries during university level

study. There is a great deal of French repertoire, much of it written for the succession of

saxophone professors at the Conservatoire National Supérieur de Musique et de Danse de

Paris (Sax, Mule, Deffayet and Delangle),1 the emerging Dutch and Japanese repertoire

(for Arno Bornkamp and Nobuya Sugawa, among others) and the large amount of

American saxophone music (with a pedigree too widespread to mention, but containing

works written for the great masters Rousseau, Sinta and Hemke,2 and the young stars

such as McAllister, Murphy and Tse).3 But what of the saxophone heritage in Australia?

Where are the great virtuosi who have inspired great and long lasting art? Unfortunately

the history of classical saxophone in Australia is not as proud or illustrious as in the other

nations, but there are indeed some works for the instrument that have been created by

major figures in the history of Australian music.

Three of these works, Sonatas for Alto Saxophone and Piano by Margaret

Sutherland (composed in 1942), Dulcie Holland (1954) and William Lovelock (1974),

are of an extremely high quality and are certainly worthy of consideration for the concert

platform. They are also works that have excellent pedagogical value for the university

level saxophonist.

1 The instrument’s inventor, Adolphe Sax, was also the first professor or saxophone in Paris, followed by the legendary Marcel Mule, Daniel Deffayet and the incumbent Claude Delangle. 2 Eugene Rousseau is closely linked to Indiana University, Donald Sinta to the University of Michigan and Frederick Hemke to Northwestern University. They are all distinguished artists and teachers, having contributed an extraordinary amount to the promotion of the classical saxophone in North America. 3 McAllister was a student of Sinta, while Murphy and Tse studied with Rousseau.

2

It is a great pity that at the time of writing none of these pieces exists in a

published form, each available only in a photocopy of the Composer’s Autograph score

from the library charged with preserving Australian music, the Australian Music Centre

(AMC). It is the goal of this document to present typeset editions of all three works in the

hope that it will facilitate an increased frequency of performance both in Australia and

overseas. Furthermore, the accompanying performance guide is designed to assist the

musicians by outlining thematic material and formal structure, and providing suggestions

for how best to combine the saxophone and piano parts, as these works are in reality duos,

requiring not only a good deal of technical and musical skill from both players, but more

importantly an excellent sense of ensemble.

As the works have until this point scarcely been performed or recorded compared

to repertoire from outside of Australia (there is currently one commercially available

recording of each sonata), there has been no evolution of an accepted interpretive style

with them as has been the case with often performed and recorded works such as Paul

Creston’s Sonata for Alto Saxophone and Piano. The interested performer cannot

purchase from a selection of dozens of recordings that together establish a common

performance practice, as may be done with a work like the Creston Sonata, and so must

return to the score as the only manner in which to gain a full and deep interpretive

knowledge of the pieces.

It is hoped that the new performance edition will be able to replace the

composers’ own autograph scores, which pose particular problems of their own:

• For the Lovelock only a score is provided. There is no separate saxophone

part.

3

• There are places in the scores that are somewhat illegible due to poor

copying; this requires an unreasonable amount of study to determine

exactly which pitches and rhythms should be played, especially in the

piano part.

• The printing is unusually small in places, mostly in the piano parts.

• Because the scores are photocopies of the originals, there are many

instances where the darkness of the print alters, sometimes rendering the

score unreadable for its lightness or grainy texture.

It is hoped that the saxophonist’s task will be made somewhat easier by reading

this guide, but it is also noted that it is designed only as an introduction to studying these

works for performance. Ultimately the interpretive decisions must be made by the

performer with the benefit of having practiced and rehearsed the works thoroughly.

Through this document it is hoped that these fine works of musical art will

become more familiar to saxophonists and audiences alike, and will be shared on the

concert stages of the world.

4

CHAPTER I

DULCIE HOLLAND

SONATA FOR ALTO SAXOPHONE AND PIANO (1945):

A GUIDE FOR PERFORMANCE

Dulcie Holland – A brief biography

One of Australia’s most respected musical figures, Dulcie Holland was born in

Sydney on January 5th, 1913. She trained as a music teacher, graduating from the New

South Wales State Conservatorium of Music in 1933, a schooling that included

composition lessons with Alfred Hill. After three years in the profession she moved to

London to study composition with John Ireland at the Royal College of Music, where she

was the recipient of the Blumenthal Scholarship and the Cobbett Prize for Chamber

Music Composition. The Blumenthal Scholarship enabled her to remain at the RCM for

three years, after which the outbreak of World War Two forced her return to Melbourne,

where she began her career as a freelance composer. She returned to London briefly in

1950 and studied composition with the serialist Matyas Seiber. One of her most

successful compositions, the Trio for Violin, Cello and Piano, was written in 1944, which

is regarded as “one of the greatest treasures of Australian music.4”

The large post-war intake of migrants into Australia prompted the Department of

the Interior to commission a series of more than forty films during the 1950s

documenting Australian society, for which she provided the music. Her composition

career continued for decades to come, garnering many awards during the 1950s and

4 Australian Music Centre, “Holland, Dulcie” (Accessed 22 October 2007)

http://www.amcoz.com.au/composers/composer.asp?id=3397

5

1960s, but it was not until 1973 that Holland published what was to become a series of

books about music, especially focusing on the teaching and learning of music theory. Her

Master Your Theory series (8 volumes) is still in use today in schools and by the

independent Australian Music Examinations Board, for whom she was an examiner. Her

output also contains texts on general musicianship. Dulcie Holland passed away in

Sydney on the 21st of May, 2000.

The Australian Music Centre in Sydney holds 167 musical scores by Holland,

including five works for saxophone. The AMC Library’s catalogue demonstrates that she

was both prolific and flexible, offering chamber music in various combinations, works

for children, in addition to pieces for carillon, saxophone, and organ.5

Table 1. List of Awards and Honours _____________________________________________________

• ABC/APRA Awards, 1933, 1944, 1951, 1955

• Blumenthal Scholarship, 1936

• Cobbett Prize for Chamber Composition, 1936

• ANZAC Festival Awards, 1954, 1955, 1956

• General Motors Theatre Award, 1963

• Member of the Order of Australia (AM), 1977

• Honorary Doctorate of Letters, Macquarie University, 19936 ____________________________________________________

5 Australian Music Centre, “Holland, Dulcie” (Accessed 22 October 2007) http://www.amcoz.com.au/composers/composer.asp?id=3397 6 N. Saintilan, A. Schutz and P. Stanhope, Biographical Directory of Australian Composers (Sydney: Australian Music Centre, 1996), 113.

6

Overview of the Form

The Sonata is composed in four movements. The first movement (con moto),

utilizes a fanfare-like 1st theme and a lyrical counter-subject, and contains the most

serious emotional content of the entire work. The second movement maintains a similar

tempo to the first, this time in a playful scherzando style, using two contrasting themes in

counterpoint to create interest. The andante third movement slowly develops a simple

two measure rising and falling motive to a rich climax, and the final movement briefly

restates the first and second movement themes before the light-hearted main allegro takes

over. Holland’s Sonata is concise and unaffected, and as such should be performed in a

simple, charming manner.

Movement I – Con moto

From the opening measure it is important that both players come to an agreement

on the meaning of the con moto indication. As Holland marks Allegro in the final

movement, it may be assumed that the first movement should be slower than allegro. In

order for the counterpoint to be heard clearly a tempo of roughly 116 beats per minute is

appropriate. This tempo gives both parties time to articulate the numerous sixteenth-note

triplets and 32nd note figures in the movement, as well as creating the opportunity for a

high degree of rubato at cadence points, emphasizing the romantic-expressive nature of

the music.

Measures 1-22 constitute the first episode, or A section. The fanfare theme is

heard alternating between the saxophone and piano parts, and should be played somewhat

broadly, helping the music to sound grand and to avoid hurrying the tempo. The fanfare

theme in example 1 occurs throughout the movement and should be played in the same

7

fashion at each restatement. During measure 11 a more lyrical idea is introduced that is

accompanied more sparsely (example 2).

This idea requires excellent sostenuto playing. The saxophonist will find it helpful

to concentrate on giving full value and depth of tone to the sixteenth-notes to create a

feeling of the music being relaxed in comparison with the fanfare theme. From measure

15 until the end of the section (measure 22) the ideas of fanfare and lyricism interact

freely, eventually leading peacefully into the slower B section (measures 23-52).

Example 1. Holland Sonata, mvt1, m.1-6

8

Example 2. Holland Sonata, mvt 1, m.11- 14

During this section a new theme is introduced that can be thought of as the

‘sighing’ motive. It consists of a quarter-eighth pattern and is usually, but not always,

descending. It is also characterized by a diminuendo under each ‘sigh.’ Example 3 shows

this theme clearly in the piano part.


Substantial weight should be given to the quarter-note each time, but care must be

taken to avoid an accent. The saxophonist must be aware that time must be given for the

pianist to play the figure delicately, and so must endeavor to maintain a steady tempo that

is slightly slower than the fanfare theme (approximately 100-104 beats per minute).

Example 3 also shows the rhythmic accuracy required of the saxophonist.

Combinations of triplets and dotted rhythms must be performed correctly, as the dotted

9

rhythm following the triplet (measures 29 and 30) has the effect of slowing the

momentum of the phrase, leading to a reflective mood to contrast the forward moving

opening section. This rhythmic idea characterizes the middle section of the movement, so

care must be taken to maintain the accuracy for the entire 29 measures. A transition

passage brings the return of the fanfare theme in measures 50-52, followed by a tempo

increase that creates a renewed sense of energy and forward movement (tempo poco piu

vivo). This marks the beginning of the C section of the movement, where the A and B

section themes unite to create the final musical argument. The juxtaposition of the themes

requires both parties to understand the role of the music in their part, whether it is a

principal theme, secondary theme or accompaniment.

The saxophonist accompanies the pianist for three measures (53-55) before taking

over the fanfare theme once more. This builds in intensity to a false climax in measure 63

before transitioning into the ‘sigh’ motive (Example 4). From measure 73 a tempo until

the true climax at measure 85 both parts gradually transform from fragmented statements

of the themes (fanfare, lyrical and sighing) into a marvelous and rich amalgam of the

three (Example 5).

From measure 89 the B section mood is prominent, bringing the movement to a

quiet and reflective ending, signaling to the listener that this is not a true end point for the

music. The poco sostenuto and very tenderly indications should not therefore be taken to

mean slow, as the energy must not be allowed to reduce so much that the scherzando

second movement is a shock.

The final piano dynamic is continued into the next movement, and the link

between the movements is also strengthened by the final F major chord of movement one

10

being transformed into the F Dorian mode in the first measure of movement two. This

link must be preserved through not over-romanticizing measures 89-95 and observing a

minimum of time between movements.


11


12

Movement II – Scherzando

Constructed in three parts, this movement contrasts a scurrying semi-arpeggiated

figure with a melody that could pass as a traditional Scottish bagpipe tune. There are very

few difficulties present here and the musical ideas are straight-forward and easily

understandable. If there is to be any difficulty in the rehearsal and performance of the

movement it will emanate from the occasional use of eighth-note rests on the downbeat,

causing a slight instability of pulse. However, this difficulty can be overcome by writing

piano cues in the saxophone part for the measures in question.

The tempo to be taken in this movement depends on the performers’ conception

of the two main themes. The first is a piano, sotto voce theme that moves in constant

eighth-notes and moves in an arpeggiated fashion (example 6). The second (m. 18) is the

‘Scottish’ theme, which is a rollicking descending melody (example 7).

The first theme should be played separated, with the degree of staccato dependent

on the tempo. Lightness of style may be achieved by performing the movement quickly

and very staccato (144-152 beats per minute), but it must be remembered that scherzando

does not necessarily imply quickness of tempo. A playful style can be achieved equally

as well at slower speeds (116-120 beats per minute), especially if the sotto voce direction

is achieved via a whispering tone and a less severe staccato.

The second theme therefore assumes a more important function when choosing

tempo. The slower tempo above emphasizes the rollicking, raucous character of the

melody in addition to keeping a dance-like quality, allowing a rustic flavor to permeate

the mood. The faster tempo reduces these characters severely without the benefit of

creating any other style or mood in their place, resulting in the music sounding dull,

13

characterless and redundant. Because the character of the second theme is more tempo-

dependent than the first theme, its tempo must be the tempo of the whole movement.

Example 6. Holland Sonata, mvt 2, m.1-3


Care must be taken to maintain the soft dynamic until the first crescendo in

measure 15. Holding back any gathering of intensity or volume will allow the mf

dynamic at the beginning of the second theme to be dramatic without needing to be too

loud. (This movement is the only one without an ff dynamic, and should be understated

14

accordingly.) Upon arrival at the second theme (measure 18) the dynamic is again

maintained without change until measure 36, the return to the first theme, whereupon a

further 17 measures are played without a change to the dynamic level. From measure 53

until the end contrast is achieved through a gradually changing dynamic, making the

importance of the initial fixed dynamics clear. As the dynamics form a pivotal element of

the form of the movement, failure to observe these markings correctly will result in a

characterless performance.

From measure 28 (example 8) the first theme is fragmented (piano) and combined

with a new phrase in the style of the second theme (saxophone). The saxophonist should

continue to play in the second theme style and not allow the music to become a two-in-a-

bar emphasis that will make the theme more legato, as Holland clearly marks legato for a

similar theme at measure 58 (example 9).


15


A small development section occurs between measures 44 and 53 in the lead up

to the climax at measure 54. The fragmented first theme is presented in the piano part

while the saxophone part presents the second theme in piano dynamic, then joins the

piano in a playful, witty interaction with the fragmented first theme (example 10).

Example 10 also shows the climax of the movement and the subsequent relaxation

of intensity in the ensuing measures (54-57), leading to the aforementioned legato theme

in the piano part and a short coda to end the movement.

Movement III – Andante

This is the longest movement of the work in terms of performance time. The

structure is A-B-transition-Coda, where B functions as a development section and the

coda restates the two themes before a three measure broken chord on the tonic ends the

movement.

The A section presents two themes, each being four measures in length and each

associated with one instrument. The pianist presents a minor 3rd theme on F over an E

major chord, followed by the saxophonist playing a theme in the natural form of the

(concert) A flat minor scale (example 11).

The harmony is altered for the second statement of the minor 3rd theme (D major

16


17


instead of E major), and the saxophonist’s theme into (concert) E major. The two

instruments come together as the piano part harmonizes the third statement of the

saxophone theme leading into the B section development. Because of the sparse scoring

this section should be performed in a simple fashion that is not too slow.

The B section, beginning at measure 25, has more forward momentum owing to

the rolling triplet figures in the piano left hand (example 12), and this section may be

performed poco piu mosso for added effect. The saxophonist must lead the tempo here, as

the piano part does not play on the downbeat for the first four measures.

The half and dotted-half notes in the saxophone part (example 12) should be

played with increasing intensity without being so loud as to cover the more important

piano part. In measure 33 this should include a diminuendo after the beginning of the

written C# followed by a crescendo to allow the piano part to sound through clearly but

also increase the intensity with the phrase towards the breath mark at the end of measure

18

34. The saxophone written A above the stave should be also be played forte so that full

energy is maintained until the breath. This will necessitate a substantial gap in sound

before measure 35 in order to allow the strong dynamic to dissipate before recommencing

softly (the exact amount to be determined by the acoustic, with a longer gap for a more

resonant acoustic space). The pianist must be careful to release the final quarter-note of

measure 34 with the saxophonist.


A brief interlude follows from measures 36-41 where the piano part contains a

double-time version of its melody from measure 31 before a con calore passage leads to

the movement’s climax at measure 48 (example 13). The double-time melody should be

performed legato and with a feeling of calm, rather than letting the music become

suddenly vigorous. The ensuing unaccompanied strepitoso passage should maintain the ff

19


20

dynamic until the marked diminuendo in measure 52 and proceed to soften very

gradually, as the four measures of diminuendo lead only to mp. Thus the arrival at the

written low E in measure 51 (tonic) should be very strong and continue without a breath

through to the eighth-note rest on beat three of measure 52.

The transition from the climax to the coda begins with the diminuendo in measure

52, and the performers should use the molto rit to establish a stillness of mood before

progressing to the coda. The return to Tempo I at measure 56 signals the final statement

of the two original themes, this time more closely together. The performers should

endeavor to dovetail their melodies with each other, the saxophonist in particular using a

relaxed tone and minimal vibrato during the tied dotted-half notes (example 14).


The movement ends with the three-measure arpeggiated chord (Ex.15), where the

saxophonist must match the natural decay of the piano with a subtle diminuendo

(example 15). The piano sempre indication does not preclude a diminuendo, but suggests

that the saxophonist should not place an expressive crescendo/diminuendo on the final

note (the note must not become louder).

21


Movement IV – Tempo Scherzando (II) – A Tempo Allegro

Whilst this movement has new themes of its own, it also restates fragments of

themes from the three previous movements. Measures one and two bring back the second

movement scherzando theme (piano) and measures three and four recap on the fanfare

theme from movement one.


The fanfare theme returns repeatedly throughout the movement in the piano part,

while the saxophone part echoes the third movement’s rising minor 3rd theme in measures

62-65 (example17). Measures 84 to 89 contain a subtle variation of the coda from

22

movement one, used as shown in example 18, to begin a short coda for the final

movement



The performers should play these recurrences of previous themes in the same

style as when they first appeared, even though they may need to be played at a faster

tempo. The exception is the example in example 19, as a rit is indicated immediately

prior, in measure 83.

Measures 1-4 (example 16) shows the tempo relationship between the first two

movements, as both themes appear side by side. Holland’s marking of A Tempo Allegro

in measure 5 (example 20) clearly sets a different, faster tempo, showing the performers

that the scherzando tempo should not be a fast one. The form after the four measure

23

introduction is loosely through-composed, with the initial theme (example 17) being

almost exclusive in terms of new material, always subtly varied in register, tempo, key or

rhythm. During these passages there should be no difficulties of ensemble or technique,

with the music sounding clearly without the need for effect.



The only other new theme in the movement functions as a brief interlude in

measures 41-44 (example 21), and again in measures 76 and 77 (example 22) in rhythmic

imitation.

Unlike the other movements, the final one does not make use of a false climax.

Example 23 shows the climax occurring ff at measure 80, and continues until measure 83,

24

where a dim et rit leads into the coda section. The ff dynamic should be maintained until

the ascending saxophone scale in measure 83 (Example 23).



Dulcie Holland’s Sonata is in many ways a very straight-forward work that can be

performed to a very high level by the student saxophonist in their first year of university

study. It is musically understated and does not require executive levels of technique, but

is also compositionally challenging when examining the inter-relationships of tempi

between movements. As the level of ensemble difficulty is low the student saxophonist

may focus on fundamental techniques such as tone production, hand position, vibrato,

dynamics and articulations, making this piece an excellent pedagogical tool.

25


26

CHAPTER II

WILLIAM LOVELOCK



William Lovelock – a brief biography

Born in London on March 13th 1899, William Lovelock moved to Brisbane,

Australia in 1957 to become the founding director of the Queensland Conservatorium,

working there for an apparently unhappy tenure of three years, where his traditional

approach to music teaching met with significant resistance7. He remained in Brisbane

until his wife’s death in 1981. The intervening years produced a great deal of orchestral,

piano and chamber music, and more than twenty books, the most important of which are

A Concise History of Music (London, 1953; London, 2/1966) and Rudiments of Music

(London, 1957). He also held the role of music critic for the Brisbane Courier Mail, a

position he held for twenty years while also examining for the Australian Music

Examinations Board and Trinity College.

His style of composition is certainly conservative and in the romantic tradition,

with a significant contribution to the concerto repertoire (flute, saxophone, trumpet,

trombone, violin, harp, organ and piano – a total of fourteen works). Other important

works include his Cello Sonata (1976), Divertimento for Strings (1965), Sinfonietta

(1968), and Sinfonia Concertante for Organ and Orchestra (1968). His numerous solo,

7 Warren Bebbington: 'Lovelock, William', Grove Music Online ed. L. Macy (Accessed 22 October 2007), <http://www.grovemusic.com.proxy.lib.uiowa.edu>

27

chamber and orchestral works range from teaching pieces for children to full-scale

orchestral, choral, brass and military band works.8

Lovelock received his musical training at Trinity College of Music in London,

studying with C.W. Pearce and Henry Geehl. Upon graduation he became a faculty

member (1919-1956), and from 1939 to 1956 was an examiner in music at London

University where he was also Dean of the Faculty of Music (1954-1956).9 Prior to

leaving England he was private organist to Viscountess Cowdray (1923–6), organist at St.

Clement, Eastcheap, and achieved a doctorate in composition at the University of London

in 1932. He passed away on June 26th, 1986 at Shipston on Stour, Warwickshire, England.

Written for the Australian virtuoso Dr. Peter Clinch, Lovelock’s Sonata displays

many of the characteristics for which Dr. Clinch was best known: lyrical expression

through the full regular range of the instrument, executive levels of technical ability and

an overall formal structure requiring excellent interpretive and musical skills. Although a

recording of the work played by Clinch and pianist Trevor Barnard has recently become

available via re-issue, the saxophonist interested in performing this work should take the

time to study the work carefully away from the recording, especially the tempo markings

stipulated by Lovelock. Once a thorough understanding of the work is established the

performer will gain new insights upon hearing the Clinch/Barnard performance.


The Sonata is composed in three separate movements, each with a clear and

concise structure. The first movement uses a lyrical major key adagio to frame two

8 Saintilan, p.153 9 Australian Music Centre: 'Lovelock, William', (Accessed 22 October 2007) http://www.amcoz.com.au/composers/composer.asp?id=225

28

sparsely developed, contrasting themes in an allegro tempo. Movement two is in A-B-A

ternary form with a short coda, and the final movement reprises the adagio of the first

movement in a minor key before presenting a spirited allegro in arch form (A-B-C-B-A)

with an extended coda. Lovelock’s Sonata does not present any difficult formal, melodic

or harmonic structures, and as such should be easily understandable for the performer and

the audience alike.

Movement I – Adagio sempre liberamente e rubato – Allegro

The opening adagio, 40 measures in length, presents the principal theme of the

work. This initial theme (example 24) provides the motivic germ for much of the melodic

content of the sonata, the intervallic relationship of B-F#-G becoming a vital building

block. The combination of a perfect or diminished 4th-minor 2nd reappears frequently,

sometimes in retrograde and/or inversion, with the 4th sometimes occurring on its own as

an important structural device.

Example 24. Lovelock Sonata, mvt 1, m.1-3

It is important that this opening phrase be performed with an appreciation of how

it will be transformed in later themes, and a method of performance found that

emphasizes the group of three notes within the broader phrase. Perhaps by lingering over

each group of three before moving on to the next group will emphasize the primacy of

this melodic cell, but the performer will need to maintain the integrity of the entire 5 bar

phrase.

29

In rehearsing the adagio introduction, care must be taken to link together the

rhythmic counterpoint between the saxophone and the two hands of the piano. The

saxophonist should take the time to study the score so that the judgments made in regard

to the liberamente e rubato taken in this section may be accurate and musical, always

being certain to give the pianist enough time to arrive at the down beat during phrases

containing a different rhythmic pattern to the saxophone. Example 25 (measure 22 into

23) shows such an example, and example 26 (m.36-37) illustrates the importance of the

saxophonist understanding the rhythms preceding the quintuplet on beat 3, as it should

link smoothly with the quintuplets already played by the pianist on beats one and two.


One can clearly see from example 25 that the saxophonist must wait for the

pianist to complete the triplet figure in the right hand before playing the final sixteenth-

note of the bar, Db. It is advisable that the saxophonist writes rhythmic cues from the

piano score into the saxophone part to help direct the ear to the complex rhythmic

interplay that must be executed.

30


Example 27 shows how the rhythms occurring within a measure of the piano

score must also be considered when deciding upon an interpretation of the saxophone

part. Not only must the players pass the quintuplets smoothly between each other, but

they must also realize that the intervallic relationships of the quintuplets repeat

themselves when transferred to the saxophone. The first three notes of each quintuplet

contain the opening intervallic cell (modified in beat one) of 4th-2nd, heard in retrograde.

Example 27. Lovelock Sonata, mvt 1, m.36

In the above example the saxophonist should consider seriously the importance of

the piano quintuplets in relation to the saxophone eighth-notes, and not assume that the

saxophone part always holds primacy over the piano “accompaniment.”

31

The examples above serve to illustrate the importance of both saxophonist and

pianist understanding not only the interaction and thematic relationship of the two parts,

but also how that knowledge may be enacted in interpretation and performance. The 40

measures of the introductory adagio are a rich tapestry of interlocking and mutually

supporting melodies that will only be heard in their complete contrapuntal splendor when

the performers have taken the time to recognize, dissect and understand their

relationships. When this material reappears at the conclusion of the first movement and

the opening of the last movement, the process must be re-examined, as the alterations of

harmony and counterpoint are subtle yet vital tools of contrast.

The allegro middle section displays great concision, with the two new themes

being subjected to a minimum of development. The first theme (example 28) is a rapid

sixteenth-note figure which displays an arch shape, first rising through two octaves then

descending again. The melodic shape of the theme is partly constructed from the opening

intervallic cell, with minor 2nds dominating the ascending patterns (m.54, 56-58), and

perfect 4ths prominent in the descending ones (m.55 & 62). A disjointed feeling is

achieved via constantly changing time signatures, sometimes divided asymmetrically to

create alternating eighth-note groups of two and three, with the effect being increased by

the piano often playing off-beats with rests on the beat. Despite the unevenness of the

rhythmic patterns, there is a jaunty dance-rhythm created which manages to permeate the

theme’s accompaniment. Care must be taken to observe the composer’s tempo marking

( ), as a tempo too much faster than this will make the dance feel difficult to

maintain.

32


33

In rehearsal the ensemble should endeavor to emphasize the dance-like qualities

by playing very quietly and lightly, never accenting in a heavy fashion. Instead, the

natural accents present in rolling time signatures such as 6/8 should be employed, using a

strong-medium-weak emphasis in groups of three 8th notes, and a strong-weak emphasis

in groups of two. The de-emphasis of notes occurring off of the beat will aid the on-beat

notes in sounding accented but light.

Answering sixteenth-note passages between the instruments should be rehearsed

in much the same way as the cross rhythms in the opening adagio, so that both players

know when a line of sixteenth-notes passes to, or is received from, the other player. An

example of this can be seen in example 28 above (m.62-64), where an unbroken chain of

sixteenth-notes is created between the saxophone and piano. This interplay should be

emphasized in rehearsal so that a seamless transition is achieved in performance. De-

emphasis of non-sixteenth-notes will again be a good tool to make the connection

between parts clear to the audience.

The second allegro theme (example 29) demonstrates a cantabile style and a

constant 6/8 meter that should be played in a contrasting fashion to the previous theme.

This theme is lighter and more playful, with a clearly defined melodic shape.

The staccato should be interpreted as slightly longer than in the previous theme,

being careful not to allow the note to become dry. To achieve this, the saxophonist should

use an air-stopped note rather than the tongue-stop required for the sixteenth-note

staccato passages.

The saxophonist can emphasize the cantabile style by maintain a two-in-a-bar feel

throughout this theme, especially during bars that could be interpreted as three-in-a-bar.

34

An example of this can be seen in measure 72 (example 29), where the rhythmic pattern

is clearly groups of two eighth-notes, but the beaming underneath groups the notes into

three eighths. Thus the emphasis should be on the first and fourth eighth-notes of the bar,

not the first, third and fifth. Further evidence of this phrasing may be seen in the

underlying piano part, where the rhythmic pattern retains a constant emphasis on the first

and fourth eighth-notes.


In measures 74-77 (example 30) the piano takes over the theme at an mf dynamic,

and the saxophone part should be an accompanying p dynamic. The saxophonist may use

rubato to continue the first-fourth eighth-note emphasis, but care must be taken to remain

underneath the pianist’s dynamic. From measures 78-103 the music combines the two

allegro themes in various ways, with all three lines of music containing an important

35

theme. This is the most complex passage in the movement in terms of counterpoint and

must therefore be given careful rehearsal so that all of the themes will be heard

appropriately. The performers should apply the same methods to this passage that were

applied in the interpretation and rehearsal of measures 41-71.


The main function of mm. 78-103 is to build steadily towards the

movement’s climax in measure 104 (example 31).

The first allegro theme appears in the piano left hand and in the accented

sixteenth-notes of the piano right hand, so the saxophonist should be careful to balance

the marked ff dynamic underneath the piano left hand. The pianist can assist by ensuring

that a soloistic ff dynamic is used. Lovelock’s writing here is further evidence that this

work is indeed a duo, not a pianist accompanying a saxophonist.

The first theme is recapitulated from measure 118 (a Perfect 5th higher) and the

music gradually relaxes in character as it approaches the modified restatement of the

opening adagio section. There is a constant slowing of tempo between measures 128 and

140, achieved by gradually lengthening note values and rit poco a poco and rall

indications. The tempo del adagio indication in measure 135 returns the music to the

opening tempo, but is further slowed before the saxophone begins a literal repeat of the

36

first statement of the adagio theme. From measure 148 Lovelock has interspersed

fragments of the first allegro theme into the adagio, which should be played in the same

style.


This closing section should be rehearsed with the same attention to detail in

regards to counterpoint as was given to the opening of the movement. Both players

should be aware of in which voice the thematic material is contained and of how

rhythmic motives are passed between voices. An important example is measures 148-149

(example 32), where the theme is passed from the piano right hand to the saxophone, and

similarly in measure 152, where the piano is marked mf, cantabile and the saxophone p,

as the piano right hand carries the main motif (a reversal of this motivic hierarchy can be

found in measure 161).

37


The movement concludes with a tonic chord in the piano, but the saxophone plays

the 5th rather than the tonic, producing an incomplete feeling. There is an implied perfect

cadence in the final three measures (the saxophone ‘D’ being the concert-F dominant

prior to the final tonic cadence) but the association is weak. Therefore the space between

the first and second movements should be kept short in order to preserve the anticipatory

mood created in the final measures.

Movement II – Molto vivo e leggiero

The second movement is far less complex than the first, but presents greater

challenges to both players’ technique due to the constantly moving moto perpetuo style

sextuple sixteenth-notes. There also are more difficult rhythmic challenges in

synchronization of parts, especially when four against six cross rhythms are written

between players, sometimes involving extreme syncopation. It is advisable that during

rehearsal the movement is played up to tempo as much as is practical so that an emphasis

on the broad beat values (rather than subdivisions) can be made. This allows the

musicians to focus on the rhythmic precision of the places where they play together. If

both parties are strongly aware of the pulse of the music the different subdivisions should

not present a problem.

38

During the introduction (measures 1-9) the pianist should emphasize the left hand

notes in order to establish a clear feeling of beat, while it will be the saxophonist’s

responsibility to understand that the piano moves from emphasizing each eighth-note to

emphasizing only the off-beat eighth (example 33).


39

When the saxophonist enters in measure 10, it is synchronized with the piano left

hand off beats, slightly stronger than the dynamic which has been established in the

introduction. The theme played by the saxophonist is simple in nature (example 34), but

must be rhythmically precise in order to maintain synchronicity with the piano part.


Measures 10-19 are straight forward in terms of ensemble precision, but the

statement immediately following this is much more difficult. The triplet motive in

measures 17 and 18 of the saxophone part is accompanied by staccato eighth-notes, but

upon its repeat in measures 31 and 32 the piano part contains only off-beat sixteenth-

notes (examples 35 and 36).

Measures 31 and 32 are examples of where a focus on the broad rhythmic

structure (beats) is more beneficial than a focus on the subdivision. This same rhythmic

40

problem occurs in measures 76-77, 79 (piano only) and measures 167-168 in a literal

repeat of measures 31-32.



From measure 33 the theme is contained in the piano left hand (example 37). The

poco marc indication ensures that the theme is heard clearly, however it is obvious that

the piano right hand should be played more quietly than the left hand.

The B section of the ternary form begins at measure 86, and is marked by a key

change (Bb minor to an ‘open’ key signature) and a change in style. The previous

dominance of the moto perpetuo idea gives way to a less flowing straight sixteenth-note

emphasis (example 38). The section is also characterized by more silences in the piano

part and an increase in the virtuosity of the saxophone part (which preserves the running

41

triplet sixteenth-notes as colorful flourishes). All of these elements combine to evoke a

march-style that contrasts with the free-flowing opening.



The military character of the B theme can be emphasized by making each staccato

eighth-note the same length as the staccato sixteenth-notes, and through the adoption of a

42

slightly pesante style, and perhaps also playing the section poco meno mosso. This will

be up to the performers, but is an option that will also clearly delineate the ternary

structure. It is worth noting that the B section contains the fastest music in the movement,

in the form of the 32nd notes and staccato sixteenth triplets in the saxophone part

(example 39). A slightly slower tempo here will allow these passages to be negotiated

with greater clarity, but will also make them less brilliant as a result. This is an

interpretive decision that will need careful thought if a balance is to be found between the

overall military style and the virtuosic flourishes of the saxophone part.


43

The A section returns at measure 141 (a return to Bb minor) and presents an

almost literal repeat of the first A section. A short coda is included which is composed of

elements of the theme, and should not present any difficulties in rehearsal. Harmonically

the movement ends with an implied I-V-I cadence in the relative major, hinted at by the

trill (interval of a tone) on the dominant long-note in measures 204-205 of the saxophone

part (example 40). This movement shares the weak ending of the first movement,

achieved in the same way (saxophone on the dominant with a weak cadence in the piano).

Thus there should again be a short gap between movements.


Movement III – Adagio liberamente – Allegro vigoroso

The five-part arch form of this movement is preceded by a return of the adagio

section from the first movement. Transformed into the tonic minor key (Bb minor), it

44

establishes a plaintive mood that forms a brief moment of respite from the energetic

surrounding material. Fifteen measures in length, it is substantially shorter than the two

occurrences that book-end the first movement (40 and 29 measures respectively). The

texture is less dense and there are fewer bars in which the melodic material is held in the

piano part (measures 218-219 only). The players should rehearse this movement in a

reflective, semplice style with less rubato than was needed in the first movement, as its

function is that of an interlude between two vigorous episodes.

The first A section begins at measure 223, returning to the original Bb major. The

motive in the piano is derived from the primary motivic germ (first movement) with the

interval of a major sixth replacing the perfect 4th of the original (example 41).

Example 41. Lovelock Sonata, mvt 3, m.223

The three-note motivic germ is seen throughout the A section, appearing

frequently in the saxophone part (imitating the piano theme from measure 223) and also

in the appearance of three-note motives (mm. 228, 230). The piano part is constructed

mostly from the measure 223 theme, but also recalls the flowing sixteenth-note triplets

from the previous movement. The occurrences of the theme from m. 223 should be

45

emphasised through the slight accenting of the first of each group of three notes. This will

provide rhythmic drive while also delineating the motivic cell.

Section B begins with the poco meno mosso at measure 234. The pianist

introduces the four measure theme, which is then repeated by the saxophonist (example

42).


46

This is musically straight-forward material that should pose no problems in

rehearsal, but the performers should ensure that each time the saxophone part answers a

statement from the piano part the style used is complimentary. The theme continues in

subtle variations until measure 252.

Measure 253 introduces a simple arpeggiated theme in the piano, in B major

(example 43).


In rehearsal the musicians must remember that there are constantly running

sixteenth-notes until the return of B (m. 268). This return of the moto perpetuo idea from

the second movement should be played in strict tempo as much as the cantabile direction

47

(saxophone, m. 257) will allow. The gradual step down in dynamics from mf to pp (mm.

261-265) facilitates the transition into B, and should be carefully observed.

The first four measures of section B are a simple restatement of the previous

material, but the remaining 6 measures form an interesting transition from B to A.

Example 44 shows these 6 measures, with the piano part containing the B theme and the

saxophone part containing a variation on the original A theme.

Because of the contrasting nature of the two themes present, the performers must

rehearse so that the tempo is strict in order for the constant sixteenth-note patterns in both

parts to be performed accurately.

The unambiguous return to A can be seen in the second half of measure 278,

whereupon an almost literal repeat occurs for 10 measures (measure 281 is slightly

different from measure 225). When the end of A is reached, a 14 measure coda is added

that contains the most densely packed fast tempo material of the entire sonata. Constant

four-against-six cross rhythms, rapidly changing dynamics and a final piu mosso (m. 298)

propel the movement to its end, where a repeat of the saxophone part’s final notes from

Movement I are present, but the tonic ‘G’ is added at the end. Only at the end of the final

movement has the saxophone part provided a tonic to create a convincingly strong ending.

These final three measures should be the strongest of the whole sonata, so the performers

must reserve their loudest dynamic for this moment.

Whilst this work poses general problems of ensemble precision it is clear that the

major difficulty facing a duo that wishes to perform this work is the extreme difficulty of

the piano part. If the pianist and saxophonist are of equal musicianship and skill the

saxophonist should have little trouble in executing the most difficult passages, but must

48


49

always be aware of and sympathetic to the challenges presented to the performance

partner. It is essential that the marked tempo of each movement be generally observed not

only for the musical structure of the work but also for the sake of clarity and precision

within the piano score.

Lovelock’s Sonata is a masterwork of the Australian saxophone repertoire, and

sits comfortably next to the major sonatas and concert works for saxophone by Paul

Creston, Bernard Heiden, Alfred Desenclos and Jacques Ibert when judged on quality of

composition and musical worth.

50

CHAPTER III

MARGARET SUTHERLAND



Margaret Sutherland – a brief biography

Margaret Sutherland’s career as a freelance composer and performer was vital to

the acceptance of women in the arts in Australia. This contribution was recognized in

1969 when she was awarded an honorary Doctor of Music from the University of

Melbourne, and again in 1970 when she was made an Order of the British Empire (OBE).

She also received the Queen's Jubilee medal in 1977 and was made an Officer of the

Order of Australia (AO) in 1981.

Born into an extended family of musicians and artists10 in the South Australian

capital of Adelaide on November 20th 1897, she moved to Melbourne for studies at the

then Marshall Hall (now Melba) Conservatorium and later at the University of Melbourne

Conservatorium of Music majoring in piano and composition. At the age of 19 she

appeared as a concerto soloist with the New South Wales State Orchestra, supplementing

her busy program of solo recitals and piano teaching. It was at this time that she first

composed pedagogical works for her piano students.

In 1923 she traveled to Vienna and London for a two year study of composition,

orchestration and conducting, becoming a pupil of Arnold Bax. Bax became her greatest

supporter at this time, and under his tutelage she began to publish her first works. Much

10 David Symons: 'Sutherland, Margaret', Grove Music Online ed. L. Macy (Accessed 22 October 2007), <http://www.grovemusic.com.proxy.lib.uiowa.edu/shared/views/article.html?from=search&section=music.27160>

51

of her output of this period shows the influence of the English pastoral idiom,11 but upon

her return to Melbourne she developed a style “comparable with that of her generation in

Europe”.12 Her most important works date from after this time, being the romatic Violin

Concerto (1960), Concerto Grosso (1958) and the tone-poem Haunted Hills (1950).

Sutherland was a passionate advocate of new music by Australian composers and

did a great deal to develop arts infrastructure in the country, being instrumental in the

creation of the current Victorian Arts Centre. She was also a believer in helping young

musicians, composers and other artists and helped to legitimize Australian music in

Australia.

Due to a stroke in 1974 she was unable to continue her activities, and she passed

away in Melbourne on August 12th, 1984.

It was Margaret Sutherland who pioneered new music in the first half of this century in Australia, at a time when Australian composers experienced public indifference and a profound sense of isolation. Also she laboured under the extreme disadvantage in Australia, of being a woman. But for her example, it is unlikely that Australia would have produced such a proliferation of woman composers.13

Editorial Note

Originally titled Sonata for Cello or Saxophone and Piano, this work has been

edited taking into account the differences between the two solo instrument parts. It is

clear that the saxophone part is a simplified version of the cello part, and this edition

replaces the simplified saxophone writing with the more difficult cello lines. Generally

11 Ibid 12 Ibid 13 Australian Music Centre, “Sutherland, Margaret” (Accessed 22 October 2007) http://www.amcoz.com.au/composers/composer.asp?id=3434

52

this does not complicate the task of the saxophonist, except for an altissimo passage at

rehearsal Letter F (measures 74-78). The only musical decision required during editing

was the octave displacement that is unavoidable when comparing alto and tenor/bass

instruments. Where possible the saxophone matches the cello writing unless otherwise

specified by the composer (where matching the cello octave changes was possible), or

where the required altissimo would make the work impractical for student performance.

The most significant discrepancy between the cello and saxophone parts occurs at

Letter E (example 45), where the cello has triplet figures containing large leaps, and the

saxophone part plays a simple quarter-note line.

Example 45. Sutherland Sonata Manuscript, m.64-65

The present edition uses the cello line above (Example 45) instead of the

Manuscript’s written saxophone line, as the author believes the saxophonist should be

able to perform the triplet passage while maintaining the separation of the melodic upper

notes and the accompanying lower notes (easily achievable on the separate strings of the

cello). Where articulations differed between parts the cello writing was assumed to

contain the preferable style, and an articulation was decided upon that would produce a

similar effect on the saxophone.

It is difficult to tell if both solo parts were conceived simultaneously, as the

composer’s autograph contains both instruments with no indication of date of

53

composition or dedicatee. The modern saxophonist should not find the newly added large,

rapid interval leaps problematic, and the altissimo passage encompasses only the lower

fourth of that register.


The Sonata is composed in one continuous movement, loosely broken into three

episodes and a coda: measures 1-87 (beginning – rehearsal letter G) contain the most

serious musical argument and in-depth thematic development; measures 88-196 (G-N)

function as a slow middle episode in a reflective style; measures 197-287 (N-V)

introduce a very fast, aggressive music; while measures 288-335 (V-end) form an

extensive coda. The first section contains no less than five separate themes divided

amongst two sub-sections, while the middle episode uses rolling bass lines and recitative-

style passages to create a dream-like, introspective atmosphere that balances the rigorous

first section. The final allegro is an unrelenting march that becomes ever more powerful

through a gradual broadening of tempo and thickening of texture, finally releasing into

the serenity of an ever slower coda. Sutherland’s Sonata is painted on a broad canvas,

requiring the performers to balance the various moods created by the juxtaposition of

eleven separate themes, occurring in various combinations and in various tempi. The

work evolves slowly and subtly rather than demonstrating clear formal sections, and has a

heroic character trait that lends the work a rhapsodic bent that would perhaps be a more

appropriate title.

Section I – Allegro, with considerable breadth

Despite the allegro indication, the quarter-note = 116 metronome mark sets a

tempo that is more compatible with the considerable breadth request, adding to the

54

general style of the two-in-a-bar feeling of the cut-common time signature (Example 46,

measures 1-4). In this context, allegro should be interpreted as lively rather than

inherently fast.

Example 46. Sutherland Sonata, m.1-4

Measure 1 above is also a fine example of the duo nature of the work,

demonstrating that the saxophone is not always the principal voice, requiring the

saxophonist to make a detailed study of the score to determine where the part is the main

or accompanying voice.

The opening 16 measures contain almost the complete dynamic range of the entire

sonata (pp-ff) and should be performed with these dynamics made perfectly clear. While

the effect is somewhat startling at first it soon becomes clear to the audience that this

fundamental nature of the work is extreme, and that these dynamic contrasts are entirely

appropriate to the robust, almost epic qualities present throughout. In order to make the

differences clear, it is beneficial for the performers to spend some amount of time

practicing where the dynamics ‘sit’ if time allows. The following table (Table 2) is one

method (designed by the author) to establish the various levels of strength and intensity.

55

It begins with the principle that mf and mp should be clearly separated, the former having

an obvious strength of tone and the latter an obvious feeling of quietness. Each increase

in dynamic above mf brings with it a renewed effort at increasing the strength of tone,

with fff requiring a fourth level of physical and mental effort. The same is true as the

dynamic decreases below mp, with a greater mental effort required for the physical

realization of each successive drop in volume/intensity. Thus, ppp requires more effort

that mp.

Table 2. Author's Suggested Approach to Dynamics

_______________________________________________

fff fourth effort at playing with strength

ff third effort at playing with strength

f second effort at playing with strength

mf first effort at playing with strength

mp first effort at playing quietly

p second effort at playing quietly

pp third effort at playing quietly

ppp fourth effort at playing quietly

After the initial theme is played by both pianist and saxophonist a succession of

new themes is presented that are used to varying degrees of restatement throughout the

sonata. Measures 17-23 (example 47) contain three new themes, only one of which

(m.22-23) becomes an important musical element. The piano right-hand in 17 and 18

plays a jaunty theme that appears to serve harmonic and rhythmic purposes only, and

56

does not occur again in the piece. The saxophone theme in measures 19-20 (example 47)

presents the first occurrence of what could be notated as a 12/8 time signature, creating a

duplet against triplet counterpoint that recurs throughout the first and middle sections,

and again during the coda. The performers must be certain to make a clear difference

between the two implied time signatures, especially maintaining the dotted rhythm

clearly, perhaps erring towards double-dotting to ensure clarity. The third theme is

introduced in measures 22 and 23 where the saxophone continues the 12/8 implication in

a rhythm that requires lightness of articulation. This is the main theme of the section, and

returns, sometimes slightly varied, at each climax.


57

Rehearsal letter B presents a varied form of the saxophone theme from measures

19 and 20 (example 48) in the piano left-hand, and should stand out above the

accompanying figures in the other voices.

Note that the crescendo in measure 24 culminates at the downbeat of measure 25,

requiring the saxophonist to play that downbeat (D natural) as the peak of the phrase

followed by a rapid diminuendo to p, being careful not to begin the new measure at the p

dynamic. Measure 26 shows the rhythmic variation of the main theme that marks each

climax (saxophone and piano right-hand).


That the main theme of this section is the fourth theme introduced warrants

mention, as does the entry of the second major theme only 9 measures later. Letter C

(m.31) restates the 1st theme softly as the upper voice in the piano, but introduces what

becomes the 2nd theme as an accompanying figure in the inner voices (example 49). The

technique of introducing many themes without making clear the importance of each one

to the large scale form is a common one throughout Sutherland’s Sonata, requiring the

musicians to develop a thorough knowledge of all of the thematic material.

58


The alto and tenor voices (ascending E and G major scales) become steadily more

prominent, emerging from their initial secondary role. This two measure passage returns

in measures 46-47 and 49 before its first statement as a stand-alone theme in measure 50,

and as a triplet-embellished restatement in measures 54-55 (example 50).


59

Example 50 also demonstrates an occurrence of the question-and-answer style of

writing that becomes a prominent feature of the slow middle section of the sonata. This

style is first seen in measures 46-49. Each solo phrase should be performed poco rubato

to create a slightly held-back feeling, as if the music is momentarily pausing for

reflection.

The development of the 2nd theme continues until the climax of measure 78, being

subjected to rhythmic elaboration that uses triplet figures to move the theme between the

4/4 and 12/8 implications discovered earlier (example 51).

The measures leading into the climax (Letter F, m.74-77) produce a swirling mass

of sound by way of cross rhythms and an ascending saxophone line that reaches into the

altissimo register. Once the high-point is reached the saxophone gives way to an ff,

pesante statement of the 2nd theme in the piano, to which the saxophone part replies with

its own version of the theme (example 52). During this passage the piano left-hand

reproduces the syncopated 12/8 style first introduced by the saxophone in measures 19

and 20 (example 47). This is followed by a short transition into the slow middle section

of the piece, bringing the first episode to a close.

The first episode introduces the idea that the work will be somewhat enigmatic in

its construction, using many themes that may or may not return at a later point in the

piece. The saxophonist should be aware of the role and relative importance of each theme

so that the interpretation may focus on tracing the thread of a particular theme or idea

throughout the sonata. This knowledge will also help the performers decide on musical

issues such as balance (which voice holds the more important theme) and phrasing

(should the theme be performed the same way on each presentation).

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61


62

Section II – tempo parlando – Appassionata –

freely – poco meno mosso, rubato

This part of the sonata functions as a slow movement would in a traditional three

movement form, providing the listener with an easy lyricism and natural beauty that

provides respite from the rigor of the first 87 measures. Two new themes are presented by

the saxophone in measures 88 and 152 respectively (example 53 {first theme} and

example 54 {second theme}), each having an equal role within the section.

The parlando14 style requested will require the saxophonist to experiment with

timbre, articulation and vibrato in order to achieve the desired effect. The saxophonist

should attempt to play in a style that is not purely instrumental (i.e. not focusing on the

essential qualities of the saxophone), but rather shape the individual notes within the

phrase to give the effect of speech, perhaps using a senza vibrato and slightly muted tone

to reduce the singing qualities inherent in the nature of the saxophone.

The first complete statement of the theme (m.88-105) is accompanied by

harmonic punctuations in the piano that obstruct the meter, adding to the free and

spacious style. The colla voce marking in the piano at measure 88 is further evidence that

the saxophonist should play in a very free recitative style.

The appassionata passage begins in measure 106 and is the second presentation

of the theme, the saxophone part adding embellishment at the ends of the piano phrases.

Regular rhythm is restored at this point by continuous arpeggiated figures in the

piano left-hand (example 55).

14 Parlando refers to “a style of singing, found particularly in opera, in which the tone approximates to that of speech” – Collins Encyclopedia of Music

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Various settings of the theme are presented in the piano, embellished with

saxophone counter-melodies, until measure 138, where the main climax theme from the

first section returns briefly, building to the only fff dynamic in the sonata (example 56).

The passage from measures 148 to 179 reflect the general shape of those from 88

to 138, with an initial free presentation of the theme followed by an expressive version in

the piano and further embellishment from the saxophone part. The musicians should

endeavor to present the two passages in the same style, giving continuity and balance to

the performance. It is through this type of attention to detail that the form of the work

becomes clear for an audience on a first hearing, increasing not only their enjoyment but

64

their understanding. If the work is to become standard repertoire it must be performed in

away that will demonstrate its compositional value.



65

Letter M (m.180) begins a small coda to the middle section of the sonata. The 2nd

theme is used in increasingly softer and sparser settings that are in keeping with the free

style of the previous measures, mostly in solo piano. The music gradually dies away to a

ppp dynamic in measure 197, where the music is left hanging without an ending cadence.

This is the quietest section in the sonata, balancing the strongest music in the sonata from

the climax in measure 144. Thus the middle section, which contains the most tender and

free music of the sonata, also contains the expressive high and low points, making it the

emotional centre point of the structure. The performers must therefore give adequate

rehearsal time to balancing the structure and pacing of the section in order that it does not

become an unfocused and superficial meandering through the themes.

Section III – Allegro – poco meno mosso – meno mosso – freely

This section begins as a march. The theme first heard in measure 1 is transformed

into the piano ostinato and the saxophone plays an “uncouth” and heavily accented trill

(example 57).


66

Although the tempo is about equal to the first section, the underlying half-note

pulse leads to the music feeling much faster. The constantly moving eighth-note leaps in

the saxophone’s theme from measure 202 present considerable technical difficulties at

this fast tempo and the performer must ensure that the rhythm is extremely accurate in

order to keep the ensemble together. The tempo also must not be allowed to slow down,

as the piano writing moves in one bar units both harmonically and rhythmically (m.212).

The rhythmic drive that creates the march style will be lost if the tempo becomes

slackened. Example 58 demonstrates both of these problems.

Letter Q (m.237) introduces the second theme for the section, a light staccato

figure combined with the leaping eighth-note idea in the saxophone part (example 59).

This theme features prominently for the remainder of the sonata, growing in intensity and

moving towards extremes of register upon each restatement, while the gradual slackening

of tempo throughout the section also adds extra weight to the music. The performers must

be certain to balance the dynamics and intensities of tone for each successive statement,

with measure 237 beginning very lightly and softly. The accent should not be too

prominent, and should be interpreted as an indication of general direction of the phrase,

performed thus: From Letter R (m.250) until the end of the sonata the tempo gradually

slows. Because this takes place across a very long expanse of music (85 measures) the

decrease must be well regulated. The performers should use the poco meno mosso and

meno mosso indications, as well as the return of the tempo parlando theme as regular

markers along the way to prevent the changes being excessive. The first slowing is

marked by the broader indication in measure 254, is emphasised by a rallentando and

decreasing speed, and has as its arrival point the poco meno mosso at Letter S (m.263).

67

The interpretation should aim for a tempo of roughly half note = 92, ensuring the music

does not slow too quickly (poco meno mosso). If the speed here is any slower the

continued relaxing of tempo required between this point and measure 298 would result in

a tempo that is far too slow to sustain the rhythmic drive of the music.


68


Example 60. Sutherland Sonata, m.237-240 (implied cresc.)

69

The meno mosso at Letter V (m.298) is the next slowing of tempo, prepared only

by a three measure rit from measure 295. It is also the climax of the third section of the

sonata. This passage brings the return of the tempo parlando theme (piano) scored against

the section’s 2nd theme (saxophone). The ff dynamic and heavy piano scoring increases

the intensity of the music, so the tempo chosen at this point (example 61) should not be

so slow as to halt the forward momentum: this is still march music in a 2/2 time signature.

A tempo of half note = 76-80 provides a balance between the two themes.

This passage leads directly from the climax to the coda that begins at measure 306.

The piano right-hand introduces a minor 3rd motive based on the opening theme in

measure one (example 62). This motive occurs until the final measures, relaxing with

each restatement. The saxophonist should play the same accompanying dynamic as the

piano left-hand rather than playing in a soloistic manner. The saxophone plays the tempo

parlando theme at Letter W (m.313), but should adopt a different tempo than that used at

Letter G (m.88).

70



If the performers have successfully regulated the gradual slowing of tempo, the speed at

this point should appear to flow seamlessly out of the preceding music. The half note

should slow to around 60 beats per minute through the poco rit in measure 312, giving

the theme a slightly different appearance and allowing the music to continue slowing

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gradually. As the parlando theme still has one restatement to come (m.332) the quicker

version heard here will still find resolution. Through further slackening (m.321-324) the

tempo should reach approximately half note = 52 by Letter X (m.325). The saxophone re-

introduces a theme (example 63, m.324) first heard in the transition between the first and

second sections of the sonata, appearing immediately prior to the parlando theme at

measure 88. The order is reversed here, but the theme functions in the same way, aiding

the relaxation of tempo and intensity.


The still slackening of measures 329-331 (example 64) then leads to the final

statement of the parlando theme (with renewed energy, m.332), which should be as close

as possible to the tempo heard at its first statement at Letter G (m.88). The saxophonist

must remember that the piano part takes over the theme in measure 333, and that the

flourish in the saxophone part (m.334-335) should be equal to the piano volume, not

more. The increase in energy and volume carries the final musical statement to

conclusion, fittingly heard as the theme that first introduced the most emotionally

expressive music of the entire work.

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Margaret Sutherland’s Sonata is a complex work requiring musical maturity from

both performers. All of the above-mentioned problems of tempo and style must be

addressed and solutions found if the performance is to be any more than a perfunctory

reading. As the work is an important part of an emerging repertoire by a major figure in

Australia’s musical heritage and culture, the responsibility of the performers is significant,

requiring a commitment to mastering the complexities of form and expression presented

throughout. Technically the work can be classed as being of moderate difficulty (with the

exception of the altissimo passage), commensurate with the sonatas by Paul Creston and

Bernard Heiden, making it performable by a university student in their first or second

year of study. It is musically rewarding and compositionally challenging when examining

the inter-relationships of tempi and thematic materials and the role of each performer

73

within the ensemble. The students or professionals who choose to perform this work will

give themselves and their audience a wonderful musical gem.

74

APPENDIX A

NEW EDITION OF HOLLAND SONATA

95

APPENDIX B

NEW EDITION OF LOVELOCK SONATA

132

APPENDIX C

NEW EDITION OF SUTHERLAND SONATA

154

BIBLIOGRAPHY

Altmeier-Mort, Peter. “Enriching Life with Music: Dulcie Holland.” AMT 1.2 (1991).

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Bebbington, Warren: 'Lovelock, William', Grove Music Online ed. L. Macy (Accessed 22 October 2007), <http://www.grovemusic.com.proxy.lib.uiowa.edu>

“Birthday Greetings to Bill Lovelock.” ABC Radio Guide. 6 March, 1979: 6.

Callaway, Frank and David Tunley, Eds. Australian Composition in the Twentieth Century. Melbourne: Oxford University Press, 1978.

Cohen, Aaron. International Encyclopedia of Women Composers. New York: Bowker, 1981.

Covell, Roger. Australia’s Music: Themes of a New Society. Melbourne: Sun, 1967.

Garretty, J.D. “Three Australian Composers.” MA Thesis, University of Melbourne, 1963.

Gifford, Helen. “Recalling a Lost Voice: Margaret Sutherland’s Sonata for Violin and Piano (1925).” One Hand on the Manuscript. Canberra: Humanities Research Centre, Australian National University, 1995. 107-121.

Holland, Dulcie. “Sonata for Saxophone and Piano.” (Autograph Manuscript) Sydney: Australian Music Centre, 1954.

Keogh, Max. “Two People of the Spirit.” 2MBS Program Guide March 1994.

Le Page, Jane. Women Composers, Conductors and Musicians in the Twentieth Century. Vol. 3. Metuchen, New Jersey: Scarecrow, 1998.

Lim, Anne. “Tributes Break the Silence for Grand Dames of Music.” The Australian 15 October 1993.

Lovelock, William. “How the Composer Works.” Quarterly Review 1959: 35.

Lovelock, William. “Sonata for Alto Saxophone and Piano.” (Autograph Manuscript) Sydney: Australian Music Centre, 1974.

“Lovelock, William.” Canon 10 (1957): 296-8.

“Lovelock, William.” Canon 14 (1961): 182.

McCredie, Andrew D. Catalogue of 46 Australian Composers. Canberra: Australian Government, 1969.

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Murdoch, James. Australia’s Contemporary Composers. Melbourne: Macmillan, 1972.

Sutherland, Margaret. “Sonata for Cello or Saxophone and Piano.” (Autograph Manuscript) Sydney: Australian Music Centre, 1942.

Sutherland, Margaret. “The Composer’s Loadstone” Canon 11. 9 (May 1958): 328.

Symons, David. “Sutherland, Margaret (Ada).” The New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 6th Ed. Vol. 18. London, Macmillan, 1980. 385-86.

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