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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
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 8. Holland Sonata, mvt 2, mm 28-30................................................................14
Example 9. Holland Sonata, mvt 2, mm 58-60................................................................15
Example 10. Holland Sonata, mvt 2, mm 46-57..............................................................16
Example 11. Holland Sonata, mvt 3, mm 1-14................................................................17
Example 12. Holland Sonata, mvt 3, mm 27-35..............................................................18
Example 13. Holland Sonata, mvt 3, mm 36-55..............................................................19
Example 14. Holland Sonata, mvt 3, mm 56-62..............................................................20
Example 15. Holland Sonata, mvt 3, mm 67-70..............................................................21
Example 16. Holland Sonata, mvt 4, mm 1-4..................................................................21
Example 17. Holland Sonata, mvt 4, mm 62-65..............................................................22
Example 18. Holland Sonata, mvt 1, mm 89-91..............................................................22
Example 19. Holland Sonata, mvt 4, mm 84-88..............................................................23
Example 20. Holland Sonata, mvt 4, mm 5-8..................................................................23
Example 21. Holland Sonata, mvt 4, mm 41-44..............................................................24
Example 22. Holland Sonata, mvt 4, mm 76-77..............................................................24
x
Example 23. Holland Sonata, mvt 4, mm 80-86..............................................................25
Example 24. Lovelock Sonata, mvt 1, mm 1-3................................................................28
Example 25. Lovelock Sonata, mvt 1, mm 22-23............................................................29
Example 26. Lovelock Sonata, mvt 1, mm 36-37............................................................30
Example 27. Lovelock Sonata, mvt 1, mm 36.................................................................30
Example 28. Lovelock Sonata, mvt 1, mm 54-64............................................................32
Example 29. Lovelock Sonata, mvt 1, mm 68-73............................................................34
Example 30. Lovelock Sonata, mvt 1, mm 74-77............................................................35
Example 31. Lovelock Sonata, mvt 1, mm 103-108........................................................36
Example 32. Lovelock Sonata, mvt 1, mm 148-150........................................................37
Example 33. Lovelock Sonata, mvt 2, mm 1-11..............................................................38
Example 34. Lovelock Sonata, mvt 2, mm 1-24..............................................................39
Example 35. Lovelock Sonata, mvt 2, mm 16-18............................................................40
Example 36. Lovelock Sonata, mvt 2, mm 31-32............................................................40
Example 37. Lovelock Sonata, mvt 2, mm 32-39.............................................................41
Example 38. Lovelock Sonata, mvt 2, mm 85-88............................................................41
Example 39. Lovelock Sonata, mvt 2, mm 132-140.........................................................42
Example 40. Lovelock Sonata, mvt 2, mm 199-207........................................................43
Example 41. Lovelock Sonata, mvt 3, mm 223...............................................................44
Example 42. Lovelock Sonata, mvt 3, mm 234-239........................................................45
Example 43. Lovelock Sonata, mvt 3, mm 252-255........................................................46
Example 44. Lovelock Sonata, mvt 3, mm 272-278........................................................48
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 49. Sutherland Sonata, mm 31-32.....................................................................58
Example 50. Sutherland Sonata, mm 50-55......................................................................58
Example 51. Sutherland Sonata, mm 63-71.....................................................................60
Example 52. Sutherland Sonata, mm 74-82.....................................................................61
Example 53. Sutherland Sonata, mm 87-95.....................................................................63
Example 54. Sutherland Sonata, mm 152-154.................................................................63
Example 55. Sutherland Sonata, mm 106-108.................................................................64
Example 56. Sutherland Sonata, mm 137-144.................................................................64
Example 57. Sutherland Sonata, mm 198-101.................................................................65
Example 58. Sutherland Sonata, mm 201-219.................................................................67
Example 59. Sutherland Sonata, mm 237-243.................................................................68
Example 60. Sutherland Sonata, mm 237-240 (implied cresc.) ......................................68
Example 61. Sutherland Sonata, mm 298-305.................................................................70
Example 62. Sutherland Sonata, mm 306-311.................................................................70
Example 63. Sutherland Sonata, mm 324-328.................................................................71
Example 64. Sutherland Sonata, mm 329-335.................................................................72
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.
Example 3. Holland Sonata, mvt 1, m.29- 32
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.
Example 4. Holland Sonata, mvt 1, m.60- 72
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
Example 7. Holland Sonata, mvt 2, m.16-21
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).
Example 8. Holland Sonata, mvt 2, m.28-30
15
Example 9. Holland Sonata, mvt 2, m.58-60
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
17
Example 11. Holland Sonata, mvt 3, m.1-14
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.
Example 12. Holland Sonata, mvt 3, m.27-35
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
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).
Example 14. Holland Sonata, mvt 3, m.56-62
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
Example 15. Holland Sonata, mvt 3, m.67-70
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.
Example 16. Holland Sonata, mvt 4, m.1-4
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
Example 17. Holland Sonata, mvt 4, m.62-65
Example 18. Holland Sonata, mvt 1, m.89-91
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.
Example 19. Holland Sonata, mvt 4, m.84-88
Example 20. Holland Sonata, mvt 4, m.5-8
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).
Example 21. Holland Sonata, mvt 4, m.41-44
Example 22. Holland Sonata, mvt 4, m.76-77
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.
26
CHAPTER II
WILLIAM LOVELOCK
SONATA FOR ALTO SAXOPHONE AND PIANO (1974):
A GUIDE FOR PERFORMANCE
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.
Overview of the Form
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.
Example 25. Lovelock Sonata, mvt 1, m.22-23
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 26. Lovelock Sonata, mvt 1, m.36-37
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.
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.
Example 29. Lovelock Sonata, mvt 1, m.68-73
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.
Example 30. Lovelock Sonata, mvt 1, m.74-77
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.
Example 31. Lovelock Sonata, mvt 1, m.103-108
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
Example 32. Lovelock Sonata, mvt 1, m.148-150
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).
Example 33. Lovelock Sonata, mvt 2, m.1-11
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.
Example 34. Lovelock Sonata, mvt 2, m.1-24
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.
Example 35. Lovelock Sonata, mvt 2, m.16-18
Example 36. Lovelock Sonata, mvt 2, m.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.
Example 37. Lovelock Sonata, mvt 2, m.32-39
Example 38. Lovelock Sonata, mvt 2, m.85-88
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.
Example 39. Lovelock Sonata, mvt 2, m.132-140
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.
Example 40. Lovelock Sonata, mvt 2, m.199-207
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).
Example 42. Lovelock Sonata, mvt 3, m.234-239
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).
Example 43. Lovelock Sonata, mvt 3, m.252-255
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
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
SONATA FOR ALTO SAXOPHONE AND PIANO (1942):
A GUIDE FOR PERFORMANCE
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§ion=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.
Overview of the Form
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
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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.
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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
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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.
Example 47. Sutherland Sonata, m.17-23
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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).
Example 48. Sutherland Sonata, m.24-26
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.
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Example 49. Sutherland Sonata, m.31-32
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).
Example 50. Sutherland Sonata, m.50-55
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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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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Example 53. Sutherland Sonata, m.87-95
Example 54. Sutherland Sonata, m.152-154
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.
Example 55. Sutherland Sonata, m.106-108
Example 56. Sutherland Sonata, m.137-144
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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).
Example 57. Sutherland Sonata, m.198-101
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.
Example 58. Sutherland Sonata, m.201-219
68
Example 59. Sutherland Sonata, m.237-243
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
Example 61. Sutherland Sonata, m.298-305
Example 62. Sutherland Sonata, m.306-311
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
71
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.
Example 63. Sutherland Sonata, m.324-328
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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Example 64. Sutherland Sonata, m.329-335
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.
154
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“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.
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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.
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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.
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“Lovelock, William.” Canon 10 (1957): 296-8.
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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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