| Content |
| Larsson's Adoption of Early Concerto Forms |
| Classical Influences |
| The Soloist |
| Thematic Metamorphosis |
| There is Virtue in Moderation |
Larsson's
Adoption of Early Concerto Forms.
As noted in
the previous discussion of Larsson's compositional styles, it is obvious that
Larsson was drawn as much to the past as he was to the present. In The Nordic
Sound John Yoell makes an analogy between Larsson and the common Swedish
praxis of always taking the middle course[1].
As the Swedish economy is featured as being a mixture of capitalism and
socialism, and Sweden itself aspires to be neutral, Larsson appeared to act as
the middle course of Swedish art music, in the first half of the twentieth
century. Even though Larsson went through many contrasting styles of
composition, he always approached them with modesty. Larsson's neo-classical
style was always affected by atonal elements, and, on the contrary, Larsson's
dodecaphonic writings, because of his own designed twelve tone techniques, are
somewhat triadic and therefore more tonal sounding than Schänberg's twelve tone
music.
First of all,
I will clarify that I have never felt obligated to follow the strict rules of
dodecaphonic procedures, but instead
made a more liberal use of the resources available within such a system.....
Again, I want to stress the fact that I wish not to be viewed as a follower of
dodecaphonic writing......I have in my own way made use of all twelve pitches
and tried to make as beautiful sonorities as possible. My highest goal has
always been to have the music match the
clarity, transparency, and sonorous beauty expected in conventional music.[2]
By referring
to the biographical article "Hur jag bärjade" discussed in chapter I,
Larsson seems to have had a mild interest towards expressing his musical ideas
and inspiration verbally, in the form of program notes. On the contrary,
Larsson, together with Hjalmar Gullberg and Pontus Boman, created a the new
type of radio program, the "lyrical suite", consisting of poetry
readings interspersed with musical interlude. In the article Den svenske
tons”ttarens situation, discussed above, Larsson said that he had not been
influenced by the new trends of expressing musical ideal nor by any new methods
of creating sound,, such as electronic music. Meanwhile, Larsson himself was
the first Swedish composer to write a solo concerto for a non-orchestral instrument
such as the saxophone. In other words, he commonly presented himself as being
conservatively traditional and a newly liberated thinker at the same time. His Saxophone
Concerto also preceded such major concertos written for the instrument such
as Alexander Glasonouv's Saxophone Concerto and the Concertino da
Camera by Jacque Ibert. Therefore, Larsson had not any other concertos for
the instrument, which he could apply as a model for his own composition.
Considering his admiration for Mozart and his frequent return to neo-classical
style throughout his career, it is obvious that Larsson was inspired by the
past. Not only was he inspired by the classical period but also by the Baroque
period, as heard in his Sinfonietta (1932), which made its debut in
Florence, Italy in the year 1934.
In the middle
of the 1930s, a row of pieces emerged, all with a new color, dominated by
Mozart's mildness, light texture and with a entertaining and pleasing approach;
The Saxophone concerto, so often performed, Divertimento, Serenade
for strings and if not foremost, the first Sonatine for piano op.16,
where eighteenth century and twentieth century melts together in the first
movement, in an extremely elegant synthesis. In the third movement a new nuance
emerges through the pastel of neo-classicism: A lyrical and controlled romantic
expression - Larsson is not playing, nor bantering, he is singing.[3]
The purpose of
the following is to determine how many of various influences from the history
of the concerto genre came prevailed composing the Saxofon Konsert, op.14.
The concerto
genre may be viewed as a counterpart of the opera. Its structure is similar to
that of the dacapo aria, which is in ABA form with surrounding ritornello, and
an embellished solo line in the recapitulation. Generally speaking, Larsson
kept his form close to the ABA structure. As the sonata form is in a sense an
ABA structure, it makes it easy to place all three movements of Larsson's
Saxophone concerto under the ABA format. The fact that one solo part is the
main focus of the composition makes the concerto genre even more similar to
that of the aria. Along with the development of the concerto the virtuoso
became a new phenomenon. Similar to Larsson's concerto, written in dedication to the virtuoso saxophonist
Sigurd Rascher, earlier compositions of the concerto genre were already
established as being a solo part with an embellished melody line and a cadenza,
accompanied by an ensemble - all of which are features derived from the opera aria. As the concerto
developed it came to be a common musical form in four different areas:
1) During the
beginning of the eighteenth century the concerto became a public event
performed by professional musicians. Paris was a major center for concertos and
the Concert spirituel society was
organizing concerts with sacred music. These concertos were later secularized
and the publishers in Paris became the leading distributors of concerto music.
2) Private
concerts among the educated class exploited the concerto media.
3) The
concerto was used as an intermission entertainment in the theater.
4) The
concerto was used in church to separate different portions of the service.
Early on,
especially with Italian composers the exposure of a soloist started to emerge.
Two major composers, Corelli (1653-1713) and Torelli (1658-1709), became models
for the concerto. Specific influences from these composers is not evident in
the Saxophone Concerto itself, but both Corelli and Torelli are responsible for
the standard format of each movement and the overall ritornello form for the
concerto genre. Larsson's awareness of these composers contributions to the
concerto genre is most obviously determined by his concertino series (1953-7),
consisting of twelve concertinos. Larsson's idea of a concertino series most
likely found its origin in Corelli's op.6, which consist of twelve concerti
grossi and Torelli's op.8, also a series of twelve concertos. Being that
Larsson's series was clearly designed for intermediate musicians, it resembles
Hindemith's Kammermusik series as well, even though this series includes
a variation in solistic texture more closely resembling that of Bach's
Brandenburg Concertos. Not only did Larsson depend strongly on the tradition of
the past when composing, but also when teaching. He was always concerned with
his studentsí awareness of traditional forms. Larsson's student Jan Carlstedt
recalls:
Larsson always
managed to capture the quality of each student's personal characteristics,
still integrating it with an awareness and dedication to the past.[4]
Corelliís Concerti
grossi (Op.6) contains works in both concerto da chiesa style and concerto
da camera style. They follow the style developed in his sonatas, and consist,
therefore, of four movements. The concertino and ripieno usually deal with the
same styles and themes. Often the ripieno only doubles the parts of the
concertino. As in his sonatas, the dance suite stands as a basic element for
his concerti grossi. Larsson followed up on this dance influenced finale in the
Saxophone Concerto.
The finale is
a playful rondo, a dialogue between two themes, both with a graceful dance
character. The first one consist of an energetic forte-phrase in the strings,
followed by a contrasting smooth, floating phrase in the solo part. The second
theme is more jocular in its character. Larsson was during those years
especially fond of this second thematic idea, which he subsequently used, in a
modified format, for his Serenade fär strÅkorkester.[5]
Torelli, on
the other hand became the model for the three movement concerto which also
developed into a basic form for Vivaldi. The way in which Torelli used
ritornello form, by having the first and last ritornello in the tonic and
internal ritornellos in related keys, also became a standard for Vivaldiís
works. There is also a clear difference in the motivic material between the
solo part and the accompaniment in Torelli's concertos. Typical examples,
bearing the above described features, are found in Torelli's op.8.
The last movement
in Larsson's concerto is the movement in which the ritornello structure is most
applicable. The thematic material in the first tutti theme is to a certain
extent differentiated from the motivic material in the solo episode, therefore
reflecting the Torelli model. However, as the movement progresses the motivic
relation between soloist and accompaniment becomes more united. In bar 33 the
motive of the second tutti theme is passed to the soloist, which leads to a
unison statement between soloist and first violin. In the B, or development
section, the thematic unification between soloist and accompaniment is complete
and thus resembles the idea of united thematic material - as established by the
Corelli model, though by itself this section does not belong to the true
ritornello form. Harmonically, there are difficulties associated with the
determination of the relation between Larsson's finale and the Torelli model.
Since Larsson did not use a clearly established ritornello form, but instead
made use of two different tutti themes, there is harmonically not an arch
shaped presentation of the tuttis, as in the Torelli model. On a smaller level
however, the second tutti theme is presented in G-D-G, giving a sense of
Torelli's tonal scheme. In Viewing the two tutti themes as one unit of the
ritornello form, the presentation of the first which is in D and the second
tutti theme in G, the movement is given, harmonically, a rounded form, which is
amplified by the shift to triple meter for the second tutti theme area. Thus,
the finale can be associated with the Torelli model.
In an
interview by Hebert Connor, Larsson himself expressed the value of autodidact
composing by copying old masters:
........van
Gohg copied old masters, Bach copied Vivaldi's, Buxtehude's and other master's
works. They learned the craft by imitation.[6]
Vivaldi
(1678-1741) composed his concertos according to the Torelli model. However,
Vivaldi himself is very flexible within his own style. Even so, in Vivaldiís
concertos the three movement form, fast-slow-fast, are clearly established. As
in Larsson's concerto, Vivaldi's middle movements often appear in a texture
resembling that of chamber music. For Vivaldi, the ritornello form is used in
the outer movements. Each ritornello appears in a different key, and the solo
line contains motives independent from the tutti. The number of tutti is
normally four. Even though Larsson's finale is in the form of a sonata form
with two different tutti themes, the exposition remains within Vivaldi's standardization
by having four tutti sections. After the opening ritornello in the tonic,
Vivaldi generally places the entrance of the first solo section in the
dominant. More than an analogy of the relationship between primary and
secondary theme of the sonata form, this stands as a predecessor to the type of
double exposition, discussed in the analysis of the first movement's
exposition, in chapter III of this
document.
As previously
noted, Larsson's tutti statement of the opening theme in the first movement begins
on the fourth scale degree, and therefore creates a contrast in tonal area,
resembling common praxis in the Vivaldi concertos. In Vivaldi's music, the
following harmonic progression may progress to such closely related key as
relative minor, subdominant, or mediant by means of any route. In the finale
of Larsson's concerto a modulation of
the tutti is located in the exposition and is limited to the subdominant of
which is G. In both Vivaldi and Larsson ritornello sections are clearly
harmonically stable and clear melody lines. The solo part is longer and
modulating. In Vivaldi both tutti and solo sections are normally harmonically
open-ended and cannot stand by themselves. In Larsson this applies only to the
tutti sections, which are open ended. The solo episodes, on the other hand, are
by Larsson brought to a close by a resolving cadence. As the finales of
Vivaldi's concertos often borrow their character from the dance suite - the
gigue - and are often in binary form, the same features are to be found in
Larsson's finale.
For the
purpose of providing a concrete example of a typical Vivaldi concerto, the Concerto for two violins in A minor Op.3
no.8 has been examined. As one would expect, the opening allegro is in the
typical ritornello form with four tutti sections. the tutti and solo themes of
this movement are harmonically independent. Also illustrated is Vivaldi's
flexibility beyond a theoretically strict ritornello form. In the first solo
section the tutti closing theme is inserted and in the second tutti and solo
section more interaction between the two appears. The key scheme is simple and
modulates to the relative major and the minor subdominant. The finale begins
with a tutti in unison. The same unison texture is found in the very first beats
of the tutti in Larsson's finale. Furthermore, the Vivaldi's tutti has a
rhythmic character which reflects seriousness and dignity, while the solo
progresses through sections of cantabile melody. A similar relationship between
tutti and solo appears in Larssonís finale, even though Larsson's solo part is
highly virtuoso and figurated.
Vivaldi later
became a model for the future composers, Locatelli and Tartini. In Locatelliís
(1695-1764) Concerto for Violin op. 3 no 1 one may find features,
standardized by his predecessor. For example, there are four tutti in the first
movement and three tutti in the second movement. The solo part borrows material
from the tutti and develops it. The tutti and solo sections both become shorter
and shorter as the movement goes along. Before the final tutti there is a long
cadenza that can be viewed as an inserted capriccio, which remains in the
dominant. Tartiniís (1692-1770) Violin Concerto in A minor D.115 has a
simple key scheme. The first movement is divided into solo parts that are
rhythmically free with cantabile melody and tutti sections that are
rhythmically unified. The middle movement is similar to chamber music with a
more refined conversation between the instruments. The solo part has an aria
like melody in binary form. The third movement resembles the first in the way
the tutti and solo alternate with more or less rhythmically unified sections.
It is,
therefore, possible to determine that Larsson has not traveled extensively from
the Italian creators of the ritornello form in the concerto genre. Even though
his ritornello format is transformed into a sonata form, the finale presents
the above described features of early Italian ritornello writing.
By the overall
influences of Italian composers throughout Europe at the turn of the century
(1700), the Italian style of concerto writing was naturally exported. Not even
Bach could resist the format of the Italian concerto. Similar, Larsson states
his respect for Bach.
One always
returns to Bach - it is the need of formal clarity and concentration that force
both me and my contemporary colleagues to do so.[7]
Bach went
further than Vivaldi in terms of a more varied texture of the accompaniment and
a closer motivic relationship between solo and tutti. In Concerto for Violin
in E major, BWV 1042, both of these features are obvious. Even though there
are no literary sources that mention Vivaldi or other contemporary Italian
composers as being an influence on Bach's concerto writing, the characteristics
of his style point towards the Italian traditions of concerto writing. Bach's
interest for Vivaldi and his contemporaries was probably due to the wide range
of the Italian repertoire which became available to the Weimar court orchestra
in 1712-1713. From Vivaldi, Bach adapted the clear melodic contours, the
distinct outlines of the outer parts, the motorious rhythm, and the clear
modulation scheme[8]. Bach,
perhaps encouraged by Johann Gottfried Walter ( a keen student of Italian music
in concertante style), transcribed six concertos to organ and sixteen concertos
to keyboard, from various Italian composers. Nine of these twenty-two concertos
were originally written by Vivaldi[9].
The first
allegro of the Violin Concerto in E Major, BWV 1042 is in dacapo form
with the middle section modulating to the relative minor, the subdominant's
relative minor and the dominant relative minor. The A section only touches the
dominant. It is unclear as to whether or not this movement has clear solo
episodes and tutti sections. In the A section the intense interaction between
solo and orchestra, the use of the same thematic material, and the shift
between solistic embellishment over the tutti theme and sections with soloist
and orchestra in homophonic texture, suggest that the ritornello design has
been taken under consideration but is
strongly modified into a more elaborate texture.
In the
accompanying chart three tutti sections have been determined (in the A section)
at bar 1-12, 25-31 and 43-49. In other words, the sequential second phrase of
the opening theme becomes the returning ritornello for the A section.
Harmonically, this distinction can be verified by the turn to the dominant at
25 and the establishment of the same thematic material presented in the tonic
again at 43 (the actual return to the
tonic key area appears already in bar 35). By considering the return of the
very first opening triad in E major, at 12 and 35, it might be appropriate to
divide this section into a statement of the theme(s), followed by two variations
of it; thus, main statement 1-12, first variation 12-34 and second variation
35-52. The nature of the variation is created by a continuous presentation of
the main idea, alternated back and forth between soloist and orchestra. In
combination to this texture the soloist inserts elaborate figurative passages,
altered with homophonic statements of the thematic material. Even though the A
section is developmental by its texture and the continuously partial return of
the thematic material in varied form, it could in the context of a sonata form
be defined as the exposition. However, due to the lack of a second theme area
it is by no means equal to the sonata form as we know it in the classic period
despite the modulation to the dominant. Still, this movement brings along
association with the sonata form and thereby the finale of Larsson's concerto.
In contrast to Bach, the two different tutti themes in Larsson's finale can be
representative of two different theme groups. Although the second tutti theme
appears in the subdominant it still suggests the design of the sonata form. The
elaboration of the ritornello form found in Larsson harkens back to Bach's
adoption of the same elements.
The B section
in Bach, on the other hand, is clearly developmental. Supported by the second
violin and viola in contrapuntal texture, the new lyrical melody introduced by
the first violin in bar 57 strengthens the definition of this as a development.
This element of a new theme is lacking in the development of Larsson's finale,
which makes it less similar to a standard development. As the association with
the sonata form was represented by two different themes in Larsson's
exposition, Bach presents more elements of a standard development by the
introduction of a new theme. In addition, the harmonic progression in the Bach
from c# minor through A major and f# minor to g# minor, and the progression g
minor, A major and B major, strongly illustrate a development section. Both
composers have approached the standard way of writing, in their own time, with
modification; Bach being less conservative than his contemporaries, while
Larsson emerges to be less progressive than even his predecessors. Larsson
confirms that:
The one who is
serious with his writing always returns to Bach.[10]
BWV 1042, 1st
movement:
|
Sec. |
A |
|
|
|
|
|
B |
|
|
|
|
|
|
|
Exp. |
|
|
|
|
|
Dev. |
|
|
|
|
Cad. |
|
Rit. |
T1 |
S1 |
T2 |
S2 |
|
T3 |
S3 |
T4 |
|
S4 |
|
|
|
Solo |
|
P |
|
|
|
|
N |
|
|
|
|
|
|
Tut. |
P |
|
Pí |
|
|
P |
(N) |
Pí |
|
|
|
|
|
Key |
I |
|
V |
|
I |
|
vi |
|
IV |
ii |
iii |
|
|
Bar |
1 |
12 |
25 |
31 |
35 |
43 |
53 |
70 |
76 |
95 |
108 |
121 |
|
Var. |
|
|
1 |
|
2 |
|
|
|
|
|
|
|
Larsson,
Finale.
Exp.
A. B.
|
Solo |
|
1Sa |
|
1Sb |
|
2Sa |
(2T) |
2Sb |
|
Tutti |
1T |
|
1T |
|
2T |
|
2T |
|
|
Key |
G |
|
|
G-D |
G |
|
D |
|
|
Bar |
1 |
4 |
12 |
15 |
26 |
30 |
36 |
39 |
Dev.
A. B.
|
Solo |
|
2Sc |
|
(1Sb) |
|
(1Sb) |
|
|
|
Tutti |
2T |
|
(1S2T) |
|
(1S2T) |
|
|
(2T) |
|
Key |
G |
|
Gm |
|
A |
|
B |
D |
|
Bar |
43 |
47 |
51 |
54 |
57 |
59 |
62 |
73 |
Recap.
A. B.
|
Solo |
|
1Sa |
|
1Sb |
|
2Sa |
(2T) |
2Sb |
|
Tutti |
|
|
1T |
|
2T |
|
2T |
|
|
Key |
F |
D |
|
G-D |
G |
|
D |
|
|
Bar |
80 |
94 |
102 |
105 |
116 |
120 |
126 |
129 |
Coda
|
Solo |
|
2Sc |
|
CAD. |
|
(1S) |
|
|
|
Tutti |
2T |
|
1T |
|
1T |
|
|
|
|
Key |
G |
|
|
|
|
|
(1S) |
|
|
Bar |
133 |
137 |
141 |
149 |
150 |
153 |
157 |
|
In Bach, the
Italian model is blurred by a lesser distinction between tutti and solo
sections, the use of the same thematic material in solo and tutti and an
overall extended variation in the texture of the accompaniment. Even so, the
driving rhythm, the melodic contours, the outlines of the outer part and the
predictable modulation scheme amplify the Italian influences in this movement,
as clearly as those elements appear in Larsson's finale.
Bachís second
movement, in the relative minor, has also the design of ABA, but the return of
the A is slightly modified and emerges out of the preceding B section, which
partly uses and develops the same thematic material as the A section. The
movement is framed by a tutti statement of the theme. By that, the two
movements (I and II of Bach) are
unified by the similarities in the overall form, but in the second movement the
development (of the A material in the B section) is less apparent and the
return of the A section can not be defined as a dacapo, due to the modified
repeat.
Similarly, the
same feature applies to the second movement of Larsson. He employs the
structure of ABA. The B section partly develops motivic material from the A
section and the returning A section is modified by changed roles between
soloist and accompaniment. Even the similarities between the Bach first and
second movement apply to Larsson as well. As a contrast to from Larsson's
second movement, Bach's second movement makes clear distinction between
thematic material in the orchestra and in the solo part. The soloist never
states the thematic idea and only deals with a continuous figuration above the
orchestra, which carries on the thematic material throughout. In this respect,
this movement is closer to Striking similarities exist between Vivaldiís and
Bachís themes through the use of sequential structure and rhythmical patterns that are used. In
contrast to Vivaldi, Bach makes use of the thematic idea as accompaniment
material during the solo episode. In this way Bach illustrates more of a
chamber music style by having the soloist appear in dialogue and contrapuntal
texture with the continuo (bars 31-35, 42-45) alternating with a section where
the entire tutti is played against the soloist. Common to Vivaldi and his
contemporaries was the use of a simple solo line for the middle movement, a
line to be decorated by improvised embellishment. In Bach this simple line
stands as a point of departure for the figurative embellishment, which Bach
decided to write out and which therefore, appears in the score as the solo part.
Larsson, being
"the man of the middle course" (according to the unique Swedish
philosophy, described earlier), carefully balances his way between Bach and
Vivaldi. Larsson's movement is, according to Vivaldi, illustration of chamber
music by the use of conversational texture. Particularly significant is the
canonical writing in the A section. Lacking is the characteristic opening and
concluding tutti. Larsson has instead adopted the thinner opening texture of
Bach. That resembles however the opening of the Vivaldi movement. In the style
of Bach, Larsson has also maintained the full orchestration for the major part
of the movement. Concerning the embellishment of the solo part in the returning
A section, Larsson, is in contrast to both the common practice of improvisation
and Bach's written out embellishment. The embellishment of the solo line is
here substituted by a elaborate accompaniment, prior to the soloist and
orchestra change roles.
In Bach's
finale, the Vivaldian expectation of ending with a dance movement is fulfilled
by a gigue. In Larsson, only the second tutti theme in triple meter, has a
convincing dance like character. Bach has clear divisions between solo and
tutti section, all in eight bar units, except for the final solo episode which
is extended to sixteen bars. The thematic material in the solo and the tutti is
also, similar to Vivaldi, of a different nature. In contrast to Vivaldi, all ritornellos appear in their full
length and in the tonic, which make it possible to define this movement to be
more a rondo, than a ritornello movement of Vivaldi's design. Even in this
regard does Larsson appear as a middle course between Bach and Vivaldi: 1)
Larsson provides a clear division between the solo and tutti section, but of
various length, with the solo episodes extensively longer than the tutti
sections. 2) The concept of differentiated material between solo and tutti
applies, as discussed above, to a certain degree. 3) Finally, and as previously
determined, the movement can not be classified as pure ritornello, nor a rondo.
Harmonically,
Bach's only harmonic changes involve the modulation to c# minor for the second
solo episode, and in the final solo episode the progression of A major, c#
minor, f# minor and g# minor harmonically resemble the B section of the first
movement. The solo episodes progress in virtuosity through episode and thereby
creates a climax towards the end together with the more elaborate key scheme
and the extension in length.
Similarly, a
very simple key scheme is found in Larsson. This alternates between D and G,
except for a more remote modulation in the development. Virtuosity is already
present in the first solo episode of Larsson. Instead, the extension in length
of each preceding episode, becomes the element of progression from one episode
to the next. Each episode creates a goal directed progression through the means
of allowing each subsequent solo episode to enter on a higher pitch; in other
words, D in bar 4, F in bar 15 and G in 32 (G in bar 47). Each entire episode
also focus around gradually reaching a higher register. Even the development
progresses through an ascension through the range.
Characteristic
of and unifying to the whole Bach concerto is the use of sequences. The
rhythmical division is unified by the use of only eighth- and sixteenth notes
(except for figurative passages in the second movement and in the final solo
episode of the last movement, which both extend the basic rhythmical element by
subdivision into thirty-second notes). Completely abandoned, with a few rare
exceptions, is the use of dotted rhythms. Apparently Bach did not adopt to
Vivaldiís frequent use of lombardic rhythms in this composition. On the other
hand, Vivaldiís characteristic use of syncopation[11]
as found, for example, in his Concerto grosso in G minor Op.3, No.2:
Allegro (second movement), appears in the B section of the first movement. Even
though, Bachís syncopation does not, in contrast to Vivaldi, become one of the
main characteristics for the movement, it creates in terms of texture the same
contrast towards the repetitive sixteenth notes.
Concerning the
same elements and summarizing the Larsson concerto, one can determine a level
of neo-classicism set in contrast to this baroque model. Diversity of
rhythmical pattern is found in both movements. Even though, as with Vivaldi,
both lombardic rhythms (in the first movement, closing theme) and instances of
syncopations (in the finale) are present. Combined rhythms in the first and
second movement, illustrate a more classical approach to rhythmical variety.
Larsson's concerto, however, stands in close relation to Bach in the use of
sequences, especially the finale and in the developments of the two preceding
movements.
Furthermore, a
unifying and characteristic element for Bach (compare first movement of the Brandenburg
Concerto No.1) is the systematic modulation scheme found in the first and
third movement. Bach modulates only to scale degrees that are members of the
tonic scale of the piece (i.e. in E major: c# minor, f# minor, g# minor and A
major). In Vivaldi such systematic modulation through almost all of the scale
degrees is not likely to be found to the same extent. Viewing the Bach concerto with the Vivaldi model as background, the
characteristic of this model becomes more clear as the piece progresses. This
is examplified by larger differences between solo and tutti material in the
second and third movement than in the first movement, and by a more clear
distinction between solo and tutti section in the third movement than in the
first movement. Thematically, the triadic opening theme and the repetitive
sixteenth notes in the first movement are both elements that must be determined
as influences of Vivaldi and the Italian concerto tradition. Bach's
transcriptions of Italian concertos during his time in Weimar (1708-1717)
contributed Italian element to his own compositions as seen in this Violin
Concerto in E major. The same influences can be seen throughout his career.
The Six Brandenburg Concertos completed during his time in Cäthen
(1717-1723) show a variety of
concertante textures and manipulation of the Concerto grosso genre. In
Leipzig (1723-1750) Bach again referred to his Italian model in Clavier-Ðbung,
part II "Concerto in Italian style", where the harpsichord by alternating
texture illustrates and resembles the ritornello form, generated from Vivaldi
and his contemporaries.
Larsson's
concerto, which overall is classified as a neo-classical composition, contains,
as discussed, baroque elements, especially in the finale. Not surprisingly does
Larsson's Sinfonietta (1932), preceding the Saxophone concerto, contain
influences from the baroque era as well.
Along with
Larsson's use of standard forms and practices and his modification thereof,
other offspring of the same style appeared already in the next generation of
the Bach family. Establishing a new solo instrument for the concerto genre,
C.P.E. Bach (1714-1788) contributed a major part of his repertoire to the
keyboard. One of the main features in his compositions was the empfindsamer stil. The source of this
style was developed among poets in northern Europe, through their efforts to
connect music and literature. Especially influential were those poets of the
Sturm and Drang genre. The empfindsamer styleís basic goal is to illustrate the
natural pattern of speech. Fantasy like compositions with sudden remote
modulations, major shifts in terms of mode and tempo are all significant
elements of this style. The developmental sections of the first and second
movement of Larsson's concerto have their early predecessors within this style,
using improvisatory elements, such as runs and arpeggiations.
C.P.E Bachís
keyboard works remain normally in three movements, Fast-Slow-Fast. Slow
movements are usually through composed, while the outer movements falls into
binary form with recapitulation, foreshadowing sonata form. An example of such
concerto is Op. Wq. 43, a collection of six concertos for harpsichord, strings,
two horns and two flutes, composed in Hamburg 1771-1772[12].
A first glance at the Keyboard concerto in D major Wq. 43/2, gives a
fairly normal concerto form based on the Vivaldi model.
The concerto
is in three movements, all in ritornello form. The first movement has four
tutti, the second has three and the finale has five tutti. The second movement
falls into binary form, while the third has the structure of a Concerto
Sonata-Rondo form with repeated exposition as in a typical first movement of a
symphony. The concerto follows, in various ways, Quantzís definition concerning
major features of a typical concerto with one concertante instrument[13]:
1) The outer
movements are in the same key; D major, while the middle movement is presented
in the contrasting key, E minor.
2) The andante
( 2nd mov.) is also distinguished from the first movement by the contrast in
meter. The first movement is mainly in 3/4 with two andante sections in 2/4,
while the second movement is in common time. However, the rhythmic structure of
the tutti section resembles the first movement in terms of syncopation.
3) The finale
differs from the first by being in 3/8 with dotted rhythms, which gives it a
jocular character. While the opening allegro represents a more noble style with
its syncopated rhythms.
4)All three
movements start on different pitch levels. The upper part (violin 1) starts on
the tonic (D) in the first movement, on the third (G) in the second movement
and finally on the fifth (A) in the finale.
Several of
these conditions apply to the Larsson concerto. Even though his two outer
movements cannot be determined as being exclusively in the same key, the keys
of D and G featured in the finale are, undoubtedly, significant key areas in
the opening movement. As defined by Quantz's definition, the middle movement is
presented in a contrasting key, F and the second movement differs from the
first in terms of meter. The finale, with meter changes within the movement,
stand in contrast to the slow alla breve meter of the first movement.
Considering the harmonic ambiguity in the opening of the first movement and the
fact that the first phrase of the second movement is in Bb major, even the
Quantz's final condition (4) applies to all three movements; D (second in C
minor) in the first movement, F (fifth in Bb) in the second movement, and D
(tonic in D) in the finale.
In the first
movement of the Keyboard concerto in D major Wq. 43/, the tradition of
Torelli and Vivaldi is clear. Only the first and last ritornello appear in the
tonic, and are separated by a complete difference in character between the solo
and tutti material. The influence of empfindsamer style is prominent in the two
andante sections in the first and third solo section. Those two andante
sections also create an arch shape over the entire movement. The same is true for
the short incipit of thematic material in the accompaniment and in the first
and third solo episodes. The second solo episode becomes similar to the
development in sonata form, due to a more elaborate harmonic progression. This
movement stands in closer relation to the structure of Larssonís finale, than
the ritornello movements which have been discussed earlier.
The second
movement is as in the Vivaldi practice, described above, surrounded by tuttis
in the tonic, while the solo part is simply a solo aria in binary form. The
solo episode (the aria) is stated twice; once in E major and once in G major.
Other than the use of an aria in the solo part, associations with the second
movement of Larsson are not applicable. However, Larssonís manner of ending the
second movement with an unresolved modulation, preparing for the change of key
to the finale, undoubtedly finds a predecessor in this movement with its
modulation to D major in the coda.
The Allegretto
has the form of a Concerto Sonata-Rondo with a double bar and repeat sign for
both the exposition and the development-recapitulation. Because of the repeat
of the exposition, it appears as an early model of the so called double
exposition, commonly used in Mozartís first movement concerto form, and which
is applied with modification by Larsson in the first movement of his concerto.
In C.P.E. Bach, the soloist enters unexpectedly with transitional material
rather than a real theme and brings the movement to the dominant. This relates,
as discussed in the analysis of Larssonís concerto in chapter III of this
document, to the concept of presenting the solo and tutti statement of the
theme in different keys.
C.P.E.Bach, Keyboard
Concerto in D major, Wq. 43/2, first movement.
T1 S1 T2 S2
|
Solo |
|
Intro., S1 |
|
S2 |
|
Tutti |
Ta Tb |
Ta |
Ta |
Ta |
|
Key |
I |
I |
V |
V |
T3 S3 T4
|
Solo |
|
|
Intro,S1' |
Cadenza |
|
|
Tutti |
Tb |
Ta' Tb' |
Ta |
|
Ta Tb |
|
key |
IV |
IV |
I |
|
I |
A progressive
version of double exposition is found in C.P.E. Bachís Double Keyboard
Concerto in Eb, Wq. 47. There is a short but significant modulation to the
dominant in a flute passage before the soloists enter with the opening motive
in the tonic. It appears as if the soloists enter with the transition, but the
first actual solo episode does not begin until bar 50, in the dominant. Hereby
an early model for Larssoní first movement exposition can be found. With a
reversed order of soloist and tutti statement in the Larsson, the analogy is already
clear by the tutti's appearance of the theme at bar 10, before the actual tutti
statement begins at bar 18.
The
standardization of a double exposition in concerto movements following the
sonata form can be verified by other composers as well. By examining the first
movement of Carl Stamitz's (1746-1801) Violoncello Concerto in A major no. 2,
one will find that the three tutti and two solo episodes are shaped into sonata
form with a double exposition. As in C.P.E. Bach's Double Keyboard Concerto
Wq. 47, the tutti moves to the dominant (secondary theme) and back before
the soloist enters. The soloist restates the primary theme and has a secondary
theme that relates back to the secondary theme in the tutti. The second tutti
functions as the closing to the exposition. The second solo episode, starting
in the dominant, becomes the development. Going through an E minor treating of
the primary theme. This solo episode ends by restating the secondary theme in
the tonic and thereby introduces the recapitulation. The final tutti uses the
closing theme and is interrupted by the cadenza. In that way the ritornello
form, established for the concerto genre along the Italian tradition, has been
integrated with the sonata form. A new standard form for opening movements
started to emerged, and remained as a significant element in concerto writing,
especially for Larsson in 1934.
Larsson's
adoption to the Italian model, as compared to J.S. Bach's modification of the
same, was determined to be in certain aspects more conservative than Bach. As
the man of the middle way, Larsson created a good blend of progressivism and
conservatism by integrating traditional elements into his own harmonic
language.
Classical
Influences.
As in Mozart
one can characterize the music to be "cantabile allegro"(first
movement of the Saxophone Concerto), with spots of elegiac-lyrical nuances. It
is primarily the soloist who represent the cantabile elements. It curls its
runs around a ensemble of strings, which is almost invisible, but still
sonorous.[14]
The above
statement requires a closer examination and a more detailed exemplification.
W. A. Mozart's
(1756-1791) contribution to and development of the solo concerto repertoire
features a sharing of themes between tutti and solo, more intense dialogue
between the two, sections where soloist and orchestra overlap each other at
entrance points and a repeat of sections where they trade roles as
accompaniment and soloist. There is also a more refined use of the orchestra,
dividing it into groups of solo and accompaniment, an element, which has its
origin in the sinfonia concertante genre. An example of this is illustrated in
J.S. Bachís Sinfonia Concertante in C for 4 instruments. In contrast to
Vivaldi, Mozartís solo episodes are more thematic and share the main ideas of
the piece with the orchestra. Mozart also standardizes, as did Carl Stamitz,
the Sonata Concerto Form in the first movement. This form features a double
exposition. The second tutti becomes the closing of the exposition and the
third tutti functions as a re-transition to the recapitulation. The opening
movement of Larsson's concerto stands in close relation to such classical
features.
A strophe of
Hjalmar Gullberg's poem Färkl”dd gud(God in disguise), which was the
text for Larsson's cantata of the same title, is a poetic description, more
than anything else, of the way in which Larsson preferred to compose.
Vem spelar pÅ
en pipa
en lÅt av
gryningsluft
fär himmelsk
att begripa,
häjd äver allt
färstÅnd?
(Who is
playing on a flute
a song of aurora
too celestial to be understood,
beyond all comprehensive thoughts?)
"Light
and soaring, never dragging, not unclear. It should take of, fly above the
ground, like the music by Mozart."
People have
compared me with Mozart, and I hope that is the case - that I have managed to
reach the clarity of his music, this lightness, if not comprehension.
Many are those
who desperately try to find "new" forms, make it as complicated as
possible. Through the years I have learned one thing; it is a simple task to
write something complicated, but very hard to compose something simple.[15]
As the
development of any form of art or genre within an specific art form, the
development of features in the concerto genre is not isolated from the
progression in other genres. One of the most striking influences on the
concerto genre appears to be the features of the opera. In the first movement
of Mozart's Piano Concerto in C major, K.503 the general features of the
concerto form, described above, are combined with influences from Opera Buffa,
in several ways:
1) Contrasting
character roles which become unified in the finale (compare with; different
themes return in the recapitulation in the same key).
2) A
rhetorical climax is built up through the drama which resolves closer to the
end rather than resolving at the middle portion of the plot (compare with; the
development becomes more and more intense towards the end by using shorter and
shorter phrases, and the recapitulation is almost half the length of the
exposition).
3) The
transition always appears in a modified form gives the movement a drive
forward, which also has its roots in the opera plot.
At least the
second of the above conditions applies to the first movement of Larsson's
concerto. The development does increase towards the end in various ways:
1) After the
first section of the development, measures 108-130 with soloist and
accompaniment thematically separated, a contrapuntal dialogue takes its point
of departure at bar 130.
2) From
measures 139-144 an actual duet takes place between the soloist and the viola.
3) the use of
stretto in the accompaniment, measures 146-150 and the ascending line of the
solo part resolve into the most dramatic part of the development (156-),
signaled by a characteristic trill.
4) By
intensified strettos, the last and the most intense section, measures 156-175
of the development, reaches its climax at measures 166 through 173,
The third
condition, concerning the transitions, applies to the transition in the
recapitulation, which is twisted towards the end and therefore modulates to
another key than in the exposition.
Mozartís
attraction to the opera world is obvious even in the second movement. The
movement takes the form of a dacapo aria. However, the harmonic progression,
I-V-I, might suggest a binary form, which together with the theme scheme falls
into an exposition-recapitulation form. The recapitulation, though, is not an
exact repeat of the exposition, and therefore resembles the way in which the
opera aria normally was performed. In the same way does the second movement of
Larsson's concerto resemble the Dacapo Aria.
In the third
movement of Mozart's Piano Concerto a more mature integration appears
between the ritornello form and the
sonata form - previously discussed in the finale of C.P.E. Bach's Keyboard
concerto in D major Wq. 43/2. This finale,therefore is closer related to
Larsson's finale. However, all of Mozartís ritornellos are stated in the tonic,
which results in a Concerto-sonata-rondo form, A B Aí C A B Aí. The solo part
moves to the dominant in the first episode, modulates to the relative minor and
the subdominant in the second episode and finally returns to the tonic in the
recapitulation. The orchestra supports the solo episodes by quoting its
material; supporting the second theme during the outer episodes and the new
material during the development. Both soloist and orchestra participate in the
third and the final tutti. Hence, the movement has both the structure of the
ritornello concerto form and the sonata form, which creates a 7-part rondo with
exposition, development and recapitulation. The only elaboration of this format
in Larsson's finale is his use of two different ritornello themes and their
appearance in different keys.
If Larsson had
a specific concerto in mind as a model, it was likely Mozart's Clarinet
Concerto in A major, KV. 622. This concerto is an excellent example of
gallant style, with short phrases, light and varied texture, use of concertante
style, simple harmony and variety in rhythmical figuration. The same summary
applies to the Larsson concerto with exception of a partly more complex
tonality.
As a standard
feature of Mozart's concertos, the opening movement follows the First-movement-sonata-form
with a double exposition. Both the form of the opening movement, the following
Adagio in ABA and the rondo in the finale are all structures adopted by
Larsson. Comparing the proportions between the exposition, development,
recapitulation and coda in the first movements of Mozart's to Larsson's
concerto, Mozart maintained the standard form of his concertos, with the
recapitulation reduced to half of the length of the exposition. Larsson, on the
other hand, has decreased the difference in length between the exposition and
the recapitulation. The total proportion of developmental material is exactly
the same for both composers when the proportions of the development and the
coda are added.
Exposition Development Recapitulation Coda
Mozart 48% 21%
20% 11%
Larsson 39% 25%
29% 7%
For both
composers the solo part is characterized by the use of a wide range and
extensive leaps. These features are prominent in the first and second movements
and especially in the developments. In so doing, Mozart exploited the
clarinet's valuable capacity in range and tone color, thereby providing the
solo part with a dialogue within itself. An example of this appears already in
the exposition, bar 65, while the violins are imitating the closing material
underneath. This idea of a dialogue within the solo part is adopted by Larsson,
especially in the cadenza of the first movement.
Other means of
expression in Mozart are expressed the ways energy is built up through
intensive runs in the solo part, an element significant in Larsson as well.
Additionally, tremolo, intense syncopated notes and syncopated accompaniment,
all which resembles Sturm und Drang influences, appears in Mozart (bars 154-161
closing of exposition and bars 227-249 at the end of development), for the same
purpose. The equivalence of the same means of expression (syncopations) is
featured in the second half of Larsson's development (measures 150-173, first
movement). Overall, the developments in Larsson and in Mozart are basically
extended dialogues between the soloist and the accompaniment. As is often found
in Mozart, the development in the Clarinet Concerto is fairly short. The
proportions have been adopted by Larsson.
In other
instances Mozart can appear less predicable in terms of strict treatment of the
sonata from. In the first movement of Mozart's Violin Concerto no,4, in D
major, K.218 (1775) the first phrase of the primary theme does not return
in the recapitulation and the primary is not at all treated in the development.
This can be explained by the fact that Mozart had a concerto by Boccherini (D
major) as a model. According to Friederich Blume, Mozart came in contact with
Boccherini through Baron de Bagge and therefore the Mozartean writing is
clothed in the garment of a strange model[16].
Scholars agree that a strict (theoretically) definition of sonata form is not
to be found with the same consistency in the 18th century, as it has been used
by as a model by contemporary composers. Larssonís strict use of the form in
the first movement with main themes treated in the development followed by a
complete recapitulation, which restates all material earlier heard in the
exposition, can therefore be interpreted more as a theoretical product, lacking
spontaneity in terms of form. It reveals a too strong respect for the
tradition, for the theoretically background earned through studies at the
Academy. Paradoxically, Hindemith, who had inspired Larsson with his own
application of neo-classical elements, expressed as early as 1917 his
opposition against too strict boundaries.
I want to
write music, not song forms and sonata forms....I can not talk seriously with
any one because none of them [ conservatory teachers] has any ideals left.
Their whole art has become far too much craft.[17]
Larsson's use
of Alberti accompaniment can not be mistaken for anything but being influenced
by the Mozart ideal. For each movement, Larsson has even captured the same
atmosphere as found in Mozart. The opening movements both display dignity and
correctness through a maestoso like character, with well-refined themes over a
light and clear accompaniment. The slow movements are both designed with a
lyrical theme surrounding a more virtuous B section full of embroidered
embellishments, recalling fantasy influences from. C.P.E. Bach's Empfindsamer
style. As expected in a Scandinavian composer, Larsson's second movement
reflects melancholic color. In Mozart the same character gives the second
movement a deeply expressive quality, which probably reflects Mozart's
emotional state during the next to last month of his life and some weeks after
an unsuccessful performance of La Clemenza di Tito in Prague. Both
concertos are brought to a close by joyful finales, exclaiming triumph and
relief.
Mozart,
clarinet Concerto in A major KV 622, first movement:
EXP.T1
S1
|
Solo |
|
|
|
|
|
|
|
|
|
PaPb |
|
Tut. |
PaPb |
PaPb |
2P |
T |
Pa' |
T(P) |
K |
2K |
2Kb |
|
|
Key |
I |
|
|
I-V |
I |
I-IV |
|
I |
|
|
|
Bar |
1 |
8 |
16 |
20 |
25 |
31 |
37 |
49 |
54 |
57 |
|
Solo |
|
|
|
2Ta |
2Tb |
2Tc |
S |
|
2T ' |
Pa' |
|
Tut. |
K |
P' |
2Kb |
|
|
|
|
T |
|
|
|
Key |
I |
|
|
i |
|
|
V |
|
|
|
|
Bar |
64 |
65 |
73 |
78 |
86 |
95 |
100 |
108 |
116 |
128 |
DEV.
|
Solo |
|
|
|
|
|
|
P' |
N |
2Tb |
N' |
|
Tut. |
K |
3K |
3T |
2P |
T |
2K |
P' |
N |
|
|
|
Key |
V |
|
|
|
|
|
|
(vi) |
IV |
|
|
Bar |
134 |
138 |
143 |
154 |
158 |
164 |
173 |
180 |
200 |
210 |
RECAP. CODA
|
Solo |
2N |
2P |
T |
P |
|
2Ta |
2Tc |
S' |
P' |
|
|
Tut. |
|
|
|
|
K |
|
|
|
|
K |
|
Key |
|
|
IV-I |
I |
|
i |
|
V |
i |
|
|
Bar |
229 |
239 |
244 |
251 |
258 |
272 |
284 |
288 |
316 |
322 |
Larsson first
movement:
Exposition
|
Solo |
P |
2P |
- |
T(2P) |
|
T |
S |
2S |
- |
|
Tutti |
|
p |
P |
|
T(2P) |
|
|
S |
K |
|
Key |
Dm-Cm |
|
Gm-Cm |
|
|
D |
Gm |
|
D |
|
Bar |
1 |
10 |
18 |
26 |
34 |
38 |
48 |
64 |
80 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Solo |
- |
K |
|
|
|
|
|
|
|
|
Tutti |
2K |
|
2K |
|
|
|
|
|
|
|
Key |
|
|
|
|
|
|
|
|
|
|
Bar |
88 |
94 |
102 |
|
|
|
|
|
|
Development
|
Solo |
|
|
|
|
|
|
|
Tutti |
|
(S) |
(S,P) |
(P) |
(2K) |
(K,P) |
|
Key |
|
|
|
|
|
|
|
Bar |
108 |
110 |
124 |
130 |
146 |
166 |
Recapitulation
|
Solo |
|
T(2P) |
|
T |
S |
2S |
- |
- |
Cad. |
|
Tutti |
P |
|
T(2P) |
|
|
S |
K |
2K |
|
|
Key |
Gm-Cm |
|
|
(A7) |
Dm |
|
A |
|
|
|
Bar |
176 |
184 |
192 |
196 |
206 |
220 |
238 |
246 |
255 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Coda |
|
|
|
|
|
|
|
Solo |
K |
|
|
|
|
|
|
|
|
|
Tutti |
|
2K |
|
|
|
|
|
|
|
|
Key |
|
|
G |
|
|
|
|
|
|
|
Bar |
256 |
264 |
269 |
|
|
|
|
|
|
By
spotlighting the clarinet, a modern instrument at the time, Mozart designed a
model for woodwind solo repertoire.
Nineteenth-century composers such, as C.M. von Weber and J. Brahms,
continued this genre by dedicating masterpieces to the clarinet. The Saxophone
Concerto by Larsson is just one composition among others that is based upon the
format which Mozart established. The unique quality and beauty with which
Mozart introduced the solo part as well as the texture has maintained itself as
model throughout centuries, and is still influencing and providing inspiration
to composers, performers, and audience.
Composers such
as Larsson who did not follow the contemporary trends of development, but
instead resembled older styles and practices rather than creating new have
existed in each period of the history. During the nineteenth century, when
romanticism was approaching its high peak, Johannes Brahms (1833-1897) appeared
similar to Larsson in the twentieth century, by utilizing neo-classical
features.
As with
Larsson, Brahms' style of writing was integrated with features and influences
of his own time. Because of the Hungarian uprising in the summer 1848,
suppressed by the Austrians and the Russians, a stream of insurgents passed
through Hamburg on their flight to North America. Thus, Brahms, who was born in
Hamburg and by that time 14 years old, came in contact with the c·rd·s and
the zingarese. Characteristic features of those styles such as irregular
rhythms and triplet figuration became significant in his late style.
The Violin
Concerto in D major, op.77 was written in Pärtschach in 1878 in the spirit
of the second symphony of the same key. It was premiered in Leipzig on the 1st
of January, 1879, with Joseph Joachim as soloist, to whom it was dedicated.
Prior to the performance, Brahms had reduced the four movement work to three
movements. The two middle movements, adagio and scherzo, had been cut and
replaced with a new adagio. The scherzo later became the scherzo of the second Piano
Concerto in Bb major (1878-81). The Violin Concerto ends with a finale of
Hungarian touch, in honor to Joseph Joachim's origin[18].
Influenced by
the past, Brahms provided a three movement work, in conventional form such as
sonata concerto, ternary ABA, and a rondo in the finale. The second movement,
in F major with the middle section in the contrasting key of F# minor, has more
the character of a fantasia because the primary theme is only stated once in
its original appearance. This opening presentation is contributed by the oboe,
after which the violin enters with an elaborate embellishment of the same
there. The movement's thematic presentation
resembles J.S. Bach's second movement of the Violin Concerto in E
Major BWV 1042, where the main theme never appears in its original version
in the soloist. By so doing, Brahms departs from classical practice. In various
ways even the finale contains features not particular common for the classic
period. The Hungarian idiom becomes the point of departure for the finale, with
dotted rhythms and sfortzatos on weak beats occurring throughout. There is also
a sense of thematic transformation, in the way in which themes borrow rhythms
and characteristic intervals from each other. For example: 1) the first and
second themes both have an ascending second of the end of each bar, 2) the
extensive coda uses the primary theme, but with the sixteenth notes smoothed to
triplets, set in a higher tempo. This application of transformational
procedures implies that Brahms was working with tools similar to his
contemporary, Franz Liszt. Such an integration of the romantic idiom into the
classical model has been pointed out in Larsson's Concerto. The application of
such elements will be discussed further, under "Thematic
Metamorphosis.
According to
Tovey, Bronislaw Huberman - a Polish violinist (1882-1947) who in 1886
performed Brahmsí violin concerto in the presence of the composer[19],
summarizes the violin concerto by correcting a famous epigram of B¸low's (
B¸low was the intendant in Meiningen and provided Brahms with the Meiningen
orchestra as a rehearsal orchestra11
). B¸low said that Max Bruch had written a concerto for the violin and Brahms a concerto against the violin. Huberman corrects this by saying that "
Brahms concerto is neither against
the violin, nor for the violin with
orchestra; but it is a concerto for
violin against orchestra - and the
violin wins[20]." If
Huberman ever had had an opportunity to listen to Larsson's Saxophone Concerto,
he may have also stated that Larsson wrote a neo-classical Saxophone Concerto for the saxophonist and against
those musicians who do not believe that the saxophone is suitable for classical
music - and the saxophonist wins.
Huberman's
statement about Brahms' Violin Concerto is actually a description that is of
significant importance. From the first solo episode and on, the soloist is
ahead of the orchestra in terms of highlighting the themes; the soloist
introduces the 2S at 206, 2Kab at 246, 1k at 304, N at 340, Pa at 361, 2S at
445, 2Kab at 487, and these presentations are all followed by a answer in the
orchestra. The same structure is found in the first movement of Larsson's concerto,
where the saxophone presents all the thematic material (except for closing
theme), followed by a tutti statement.
The soloist in
the Brahms Concerto takes up the major portion of the movement. In terms of
presenting the themes, the division is fairly equal between the soloist and
orchestra, but the soloist has continuous figurations throughout all three solo
episodes. Only one exception is made in the development. After presenting the
new material, the soloist gives way to the orchestraís answer, as if this high
peak of the movement exhausted the soloist. Whether or not this opportunity for
rest was applied upon recommendation from Joachim must remain speculative. In
the Larsson concerto, each instance where the altissimo register has been used
in the first and last movements is followed by rest for the soloist. This
suggests that Rascher's insistence on using the altissimo register also
included recommendations concerning necessary pauses for the soloistís
embouchure. Significantly there a is the lack of such an application in the
second movement, where the use of the altissimo register is immediately
followed with lyrical lines, deleting any opportunity of rest for the soloist.
This suspiciously provides indications that the second movement was not originally
intended for the saxophone concerto.
Larsson
borrowed the overall form and harmonic framework from Mozart. Larsson
integrated into this model a strident harmonic and tonal language as with
Brahms' use of more remote modulations, and he was influenced by his
contemporaries, such as Hindemith and Berg. Still, Larsson's refined balance
between tradition and progressive elements resulted in a work maintaining the
weightless characteristics of the gallant style and featured flowing lyricism.
The Swedish music critic Leif Aare describes Larsson as the "Mozart of
Sweden", by referring to Larsson's light and airy textures, a character
which stand in contrast to his gastronomic tastes. Larsson's close friend and
contemporary colleague, Gunnar de Frumerie recalled a delicious lunch ý la
Larsson, which means a menu according to skÅnsk tradition. SkÅnsk" stands
for the province SkÅne, where Larsson was born and grew up. Traditionally, a
true meal composed by a skÅnsk chef, consists of a row of heavy and very filling
dishes made out of potato, sausage, beans and so forth. De Frumerie said that
for his own part, the excellent meal resulted in a Chaconne, which remains one
of the most heavy and monumental forms. Larsson, on the contrary, transformed
the nourishment into one of his lyrical and playfully weightless compositions.
In other words, even after eating SkÅnsk Kalops (spiced beef stew), Larsson is
still a tremendous lyrical composer.[21]
Johannes
Brahms, Violin Concerto in D major, op.77.
First
movement:
EXP. T1 S1
|
Solo |
|
|
|
|
|
|
|
|
Intr |
(Pa) |
|
|
Tut. |
Pa |
Pb |
T |
Pa |
Sa |
Sb |
1K |
2Kab |
ton. |
ped. |
|
|
Key |
D |
G |
|
D |
|
|
|
d |
|
D |
V/D |
|
Bar |
1 |
9 |
17 |
27 |
41 |
61 |
69 |
78 |
90 |
120 |
128 |
|
Solo |
Pa |
|
|
|
|
|
Sb2S |
|
ped. |
2Kab |
|
|
Tut. |
|
Pb |
|
T |
Sa |
Sb |
|
2S |
1K |
|
2Kb |
|
Key |
D |
G |
D |
a |
A |
|
|
|
a |
|
|
|
Bar |
136 |
152 |
156 |
164 |
178 |
198 |
206 |
214 |
236 |
246 |
260 |
DEV. T2 S2 REC T3 S3
|
Solo |
|
|
1K |
N |
|
|
Pa2K |
|
Pb |
|
|
|
Tut. |
Pa2K |
2S1K |
|
1K |
N |
T |
ped. |
Pa |
Pb |
T |
Sa |
|
Key |
a |
|
c |
|
|
A |
V/D |
D |
C |
A |
D |
|
Bar |
272 |
292 |
304 |
312 |
340 |
347 |
361 |
381 |
393 |
405 |
419 |
CODA.
|
Solo |
|
2S |
|
ped. |
2Kab |
|
|
Cad. |
Pa |
|
|
|
Tut. |
Sb |
|
2S |
1K |
|
2Kb |
Pa |
|
|
|
|
|
Key |
|
F# |
|
d |
|
|
Bb |
|
D |
|
|
|
Bar |
437 |
445 |
453 |
479 |
487 |
501 |
513 |
526 |
527 |
|
|
W.A. Mozart,
Violin Concerto in D major, K 218.
First
movement:
EXP. T1 S1 DEVT2
|
Solo |
|
|
|
|
Int. |
P' |
T |
S' |
K(S) |
|
|
Tut. |
Int. |
P |
S |
K |
|
|
|
|
|
Int. |
|
Key |
D |
|
|
|
|
|
|
A |
|
|
|
Bar |
1 |
5 |
20 |
31 |
42 |
46 |
60 |
87 |
95 |
109 |
S2 Rec T3
S3 CODA T4
|
Solo |
N(S) |
|
|
|
P' |
S |
k |
|
Cad. |
|
|
Tut. |
|
|
|
P |
|
|
|
P' |
|
Int' |
|
Key |
|
b |
G |
D |
|
|
|
|
|
|
|
Bar |
115 |
121 |
137 |
153 |
155 |
181 |
189 |
208 |
212 |
213 |
Larsson, first
movement:
Exposition
|
Solo |
P |
2P |
- |
T(2P) |
|
T |
S |
2S |
- |
|
Tutti |
|
p |
P |
|
T(2P) |
|
|
S |
K |
|
Key |
Dm-Cm |
|
Gm-Cm |
|
|
D |
Gm |
|
D |
|
Bar |
1 |
10 |
18 |
26 |
34 |
38 |
48 |
64 |
80 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Solo |
- |
K |
|
|
|
|
|
|
|
|
Tutti |
2K |
|
2K |
|
|
|
|
|
|
|
Key |
|
|
|
|
|
|
|
|
|
|
Bar |
88 |
94 |
102 |
|
|
|
|
|
|
Development
|
Solo |
|
|
|
|
|
|
|
Tutti |
|
(S) |
(S,P) |
(P) |
(2K) |
(K,P) |
|
Key |
|
|
|
|
|
|
|
Bar |
108 |
110 |
124 |
130 |
146 |
166 |
Recapitulation
|
Solo |
|
T(2P) |
|
T |
S |
2S |
- |
- |
Cad. |
|
Tutti |
P |
|
T(2P) |
|
|
S |
K |
2K |
|
|
Key |
Gm-Cm |
|
|
(A7) |
Dm |
|
A |
|
|
|
Bar |
176 |
184 |
192 |
196 |
206 |
220 |
238 |
246 |
255 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Coda |
|
|
|
|
|
|
|
Solo |
K |
|
|
|
|
|
|
|
|
|
Tutti |
|
2K |
|
|
|
|
|
|
|
|
Key |
|
|
G |
|
|
|
|
|
|
|
Bar |
256 |
264 |
269 |
|
|
|
|
|
|
The Soloist.
Looking back
in history, we can conclude that it takes a lot of time and effort to convince
a skeptical world about the validity of new theories. This is also true for all
kinds of art and their development. Unlike persuasive advertising, so common to
contemporary society, which tries to manipulate and dictate our convictions and
opinions, art has to depend on its own intrinsic value and honesty for
survival. New genres of music have to be provided with good performers. New
types of ensembles or instruments need music of good quality to establish their
own audience. The establishment of the saxophone into the concert hall has not
proceeded with extraordinary speed, but due to composersí contributions to the
saxophone repertoire, such as the concerto studied in this paper, the
instrument has been given a chance to express itself in a genre from which it
has been long excluded. Analogies of this phenomenon are frequent.
What would
Jazz have been without Charlie Parker - a man who contributed his whole life to
the style of music that he created and believed in, a belief which left him
buried in a pauper's grave at the age of thirty-five, forgotten by his
contemporaries. Mozart dedicated some of his most magnificent pieces to the
clarinet and provided a promising beginning of a new woodwind repertoire. He
finished his Clarinet Concerto (KV 622) in November 1791[22],
less than a month before he died at the age of thirty-five, poor and forgotten
by his contemporaries.
The clarinet
began to appear on a regular basis in Johann Stamitz's (1717 - 1757) Mannheim
orchestra in 1777[23].
Stamitz also composed a concerto for clarinet and orchestra., written for the
virtuoso Josef Beer whose performance so inspired Stamitz's younger brother
that he wrote a concerto himself.[24]
These concertos can be considered as the first works of the clarinet
repertoire. There is no doubt that Mozart received his inspiration for the
clarinet in Mannheim while he was there in 1777 - 78[25].
In Vienna, Mozart began to use the clarinet in his compositions and dedicated
them to his friend Anton Stadler (1753 - 1812) (Examples include both the
Clarinet Quintet (KV581) and the basset-clarinet obbligato in the aria
"Parto, Parto" from La Clemenza di Tito). Larsson can hardly
have been inspired by any other major saxophone concertos, since both the
Glazonouv's Saxophone concerto and Ibert's Concertino Da camera were not yet in
existence, or at least not premiered. As mentioned in the introduction of this
document, Glazonouv's Concerto was premiered two days before the premiere of
Larsson's concerto. According to Nicolas Slonimsky, the Glazonouv Concerto was
written during the spring of 1934.
25 November
1934 Concerto for Saxophone op. 109, by the venerable classicist of the Russian
National School Alexander Glazonouv, his last work, written in the spring of
1934, in E flat major, in a single movement articulated into three sections, an
Allegro, an Andante with a florid cadenza, and a concise Fugato, is performed
for the first time anywhere with a local orchestra in an old church in
Nykäping, Sweden by the Danish saxophone virtuoso Sigurd Rascher, to whom the
work is dedicated.[26]
Note that
Rascher is now, in Music Since 1900, 5th ed. published 1994, identified
by Slonimsky as a Danish saxophonist, after being identified as a
German-American Saxophonist in Slonimskyís 8th edition of the Bakerís
Biographical Dictionary of Musicians.[27]
In a letter to
Slonimsky, dated 29 December 1960, Rascher writes:
I met
Glazounov in Paris early in 1934 and went to visit him at his home...Alors,
jouez! he said. I played, soft, loud, cascades and ripples. Merveilleux!
Glazonouv exclaimed. I timidly explored the idea of his composing a saxophone
concerto for me. He looked benevolent, shook the ashes off his cigar and asked
me to come again. When I saw him next, the Concerto was almost ready. For a
whole wonderful afternoon, and late into the evening, we worked together on the
score, changing a note here and there, and fixing the cadenza. Thanks to his
patience I had the opportunity of receiving his instructions on every point in
the Concerto. It was one of the greatest lessons I had ever had.[28]
With a similar
inspired request from Sigurd Rascher, Larsson took the idea of composing a
concerto for saxophone under consideration, while shaking the ashes from his
pipe, with which he is frequently pictured with. Sigurd Rascher met Larsson at
the ISCM conference in Florence, April 5, 1934, when Larsson's Sinfonietta was
successfully performed in front of the international gathering of musicians and
composers.[29] At
midnight, after the performance of Larsson¥s Sinfonietta, a group of people,
including both Larsson and Rascher, went out to explore Florence by night. An
article by the music critic Sten Broman depicts the night in Florence.
Most
restaurants were just about to close down, but a few nightclubs were still
crowded. While most of us enjoyed the taste of various Italian wines, Rascher
restricted himself, as usual, to non-alcoholic juices, chewing on old and dry
pieces of bread in order to exercise his embouchure. He got very upset if
anyone happened to leave out the "M.", his middle initial, when
addressing him. He was otherwise in a humorous mood, putting himself in the
center of attention by frequently joking and laughing. No women had before
heard a man play the saxophone the way he did.[30]
Not only did
Rascher avoid alcohol, exercising his embouchure by chewing old bread, he was
also a devoted vegetarian, who had the habit of drinking cowberries mixed with
milk at every meal.[31]
A unique and fanatic personality inspired Larsson to write a concerto.
According to Bo Wallner, the saxophone concerto was then composed during the
summer of 1934.[32] It seems
relevant that Larsson began to work on the concerto soon after returning from
the festival in Florence, April 1934. Even
so, he procrastinated the completion of the concerto until the very last
minute. Six weeks before the premiere, which was scheduled for November 27,
Rascher had to call Larsson, reminding him that he had promised to have the
piece completed before then.[33]
The autograph of the score was signed by Larsson on November 16, 1934.[34]
Similarly,
Mozart's Clarinet Concerto in A Major (KV622), probably written between
28 September and 15 November 1791[35],
was composed through the inspiration of, and dedication to Stadler. Mozart
mentions in a letter to his wife Constanze, dated 7 October 1791, that he has
almost orchestrated the whole of "Stadler's Rondo"[36].
Since the autograph of the score is lost it is not known for sure if the
Concerto was meant to be played on basset-clarinet (clarinet with four
semitones extension) or a modern clarinet in A. In the existing version there
are several examples of sequences that are naturally broken in relation to the
orchestra and phrases that shift up a seventh in order to avoid an awkwardly
low register (Ex. 1 mov. bar 332 - 3 and 190). A review in Allgemeine
musikalische Zeitung (AmZ), Leipzig
1802, also talks about a concerto by Mozart for a clarinet going down to C[37].
However, the first movement is based on a basset horn movement, in G, which
consisted of a 199 bar sketch (KV584b), probably written as early as 1787[38].
In the case of
Larsson's concerto there is not much doubt about its original form or what kind
of saxophone it was to be performed on. However, Rascher's suggestions and
wishes concerning the use of the altissimo register on the alto saxophone
apparently had a major influence on Larsson's composing of the concerto. On the
other hand, the fact that Larsson was not a woodwind player is evident in the
solo part. Viewing some of the passages in the development of both the first
and second movement, it is apparent that the young Larsson was not completely
aware of the need for frequent breaths when employing a wider range on a wind
instrument. As an instrumentalist, Larsson had only professional expertise in
the art of organ and piano playing. Larsson does not favor too complex means of
composing or means of expressions, nor do his compositions in general demand
virtuosity. The Saxophone Concerto therefore comes an exception. At the time of
its premiere, Rascher was one of the few who could control the entire register,
which the composition asks for. Even so, the critics were still not convinced
about the saxophoneís role as a solo instrument in the concert hall.
Rascher, the
Danish saxophone virtuoso is by all means a phenomenal artist with excellent
sound and technique. Still, not even after his performance can the saxophone be
considered a solo instrument. He performed two concertos which were composed
for him. It would not have been a great loss if he kept the concerto by the
Swedish composer Lars-Erik Larsson to himself. In the concerto one can of
course trace some compositional talent and a few interesting details appeared,
especially in the second movement. In general, however, the concerto was
lacking good ideas and was quite inaffective. Neither was the other concerto a
masterpiece, written by the Russian composer Glazonouv. But this piece was at
least spiritual, festive and well suited for both soloist and orchestra.
Rascher received in due course applause and flowers.[39]
Even fourteen
months later, at a performance in Stockholm, conducted by Vaclav Talich,
Rascher¥s performance was criticized, not leaving the critics convinced about
the saxophoneís potential as a solo instrument.
It is not the
construction of the instrument that has brought the saxophone to be associated
with a sentimental and whining sound. By Rascher¥s demonstration it is proven
that the saxophone can produce a round and beautiful sound in certain spots,
especially in the adagio.
In addition,
the concerto gave a full presentation of various kinds of vibrato, runs and
transitions from the very smooth bass register to an extraordinary high
descant, not particular pleasant to listen to, but technically somewhat
impressive. The peculiar characteristics of the sound were a little tiring in
the long run, but the audience seemed to find some amusement in the piece and
gave Rascher enthusiastic applause.[40]
An early
recording with Rascher and the Stockholm Radio Orchestra shows that Rascher
also had some difficulties with intonation in the altissimo register,
especially in the second movement. The extremely challenging phrase in the
first movement, bar 118, is performed accurately. However, the tempo is slower
than expected and the smoothness and gentle touch, which the music asks for,
seem to be lacking in Rascherís playing.[41]
Later
recordings by other performers have continued to verify the difficulties of mastering
this piece. Both saxophone players and reviewers have, with sadness, listened
to the Finnish saxophonist Pekka Savijoki's
unsuccessfull struggle with the altissimo register throughout the
concerto. Knud Ketting pronounces Pekka Savijoki's failure in his review from
1985.
The Swedish
composer Lars-Erik Larsson is still active, but he wrote his saxophone concerto
as long ago as 1934 for the world famous virtuoso Sigurd Rascher. A few years
ago he revised the solo part, which had turned out to be too difficult for
almost all other players than Rascher himself - and it seems in places to be
too difficult for Pekka Savijoki, who has chosen to perform the original
version in this recording.[42]
The jacket
notes by Per Skans, on the back of the recording itself, indicate similar
criticism.
The saxophone
concerto was composed for the famous soloist, Sigurd Rascher, and the music is
influenced to a certain extent by the collaboration between composer and
soloist. Rascher was a pioneering saxophone virtuoso and had introduced a
number of highly personal tricks and devices; some of these were included in
the concerto. Since these special effects were beyond the capacity of most
other saxophonists the unfortunate result was that the concerto was performed rather
rarely, a great pity in view of its general quality.
To make the
concerto more accessible for soloists Lars-Erik Larsson wrote a simplified
version at the beginning of the 1980ís. the present recording nevertheless
features the original version and thus includes Rascherís almost unplayable
special effects.[43]
According to
Knud Ketting, Larsson revised his concerto during the 1980s[44].
By examining the collection of Larsson¥s autographs and manuscripts at the
Kungliga Musikaliska Akademiens Bibliotek in Stockholm, the author can verify
that a supplementary critical commentary exists in Larsson¥s handwriting,
suggesting that all sections originally written in the altissimo register can
be performed an octave lower. The supplement is not dated and appears removed
and separate from any score or parts. If these alternations were the original
thoughts from the composer or came to his mind in later years is therefore
impossible to determine. Obviously, however, is the fact that Larsson was not
primarily concerned with the virtuoustic details and probably was influenced
more by the criticism of the first performances. A more responsible recording,
where the difficulties of the altissimo register have been taken into
consideration, has been made by the Swedish saxophonist Christer Johnsson.[45]
After Christer Johnsson's broadcast performance with the Radiosymfonikerna,
Larsson enthusiastically called up the studio and congratulated the soloist,
which again gives validity to the composerís authorization for a performance
without the altissimo register.[46]
With the
respect Larsson strived to achieve in simplicity and classicism, the concerto
has gained more respectful criticism. Subsequently, the saxophone has
convincingly received acceptance as a solo instrument. During the
Larsson-festival in 1988, the concerto was successfully performed by Christer
Johnsson and the Stockholm Sinfonietta, conducted by Gäran W. Nilsson.
Ulla-Britt Edberg gave the following report:
Lars-Erik
Larsson¥s Saxophone Concerto was commissioned by the well known Sigurd Rascher
and premiered in 1934. Fifty-four years later, last Wednesday, the concerto was
interpreted by the distinguished soloist Christer Johnsson. Through his
performance emerged all the beauty and sober tone which the saxophone has
inherent. Even through the virtuoso sections did he maintain the smoothness and
perfection of sound. The second movement, consisting of long soaring phrases,
faded out in a breathless calm. In the first movement it appeared as if the
soloist competes with the orchestra, which incessantly and obtrusively forces
through on its own.....The concert ended with the Sinfonietta which inspired
the German saxophonist Sigurd Rascher to commission the Saxophone Concerto.[47]
Ulla-Britt
Edberg's description of the first movement
depicts the finale more than any other section. Following this striving
for simplicity and beauty, the author
has had numerous opportunities to perform the concerto, in Sweden and in
the United States. After one of the authorís first performances with the
chamber orchestra Musica Vitae in 1991, the critics not only accepted the
saxophone as a solo instrument, but also praised the performance
....The
divertimento was followed by Lars-Erik Larsson¥s Konsert fär Saxofon och
StrÅkorkester. With a refined sound, a vibrato which embellished his tone
with the dimensions of the human voice, and of even more significance, with the
talent for subtle nuances, Anders LundegÅrd succeeded in seducing his audience.
Especially the elegiac atmosphere and deep poetry of the second movement,
brought tears to our eyes.[48]
Even though
the ambiguities concerning Larsson's intentions are few in comparison to
Mozart's Clarinet Concerto, it remains speculative if it was Larsson's
intention to compose a concerto, which could only be performed by a small
number of saxophonists. Larsson usually composed for a broad audience and for
the average performer. The author has performed the original version in the
altissimo register as well as the lower octave version. After a concert
performance, performed in the altissimo register, at the Swedish Museum in
Chicago, May 1994, the following review by Geoffrey Shaw Monmouth was given in The
Sun - USA News[49] and in Nordstjernan, June 30, 1994.
Anders
LundegÅrd, guest artist saxophonist from V”xjä, Sweden, completed his
undergraduate work at the Royal Academy of Music in Stockholm, and is now in
residence, as a Fulbright Scholar, at Northwestern University where he is
completing his Doctoral program. Opening the recital with the Concerto,
LundegÅrd, with Dennis Moffat at the piano, launched into the complexities of
the first movement with great energy and élan, making easy work of fast-moving
polyphony and syncopation. The Brahms-like second movement Adagio revealed why
Larsson can touch the man in the street. Richly harmonic, with a rise and fall
of the most satisfying classic proportions, this movement also displayed
LundegÅrd in his best light, requiring indisputable command of dynamics and
breath. An Allegro Scherzando finishes the Concerto in a mild and reflective
manner avoiding all the tricks of comedy and clowning usually associated with
the saxophone.[50]
Another
ambiguity about Larsson¥s original intentions rests in the use of special
effects such as slap tongue and flutter tongue. The published score of 1952
indicates the use of slap tongue in only the final six eight-notes of the last
movement. Flutter tongue does not appear at all in the concerto. Reading Alf
Thoor¥s commentaries in the Miniscore of 1953, one can learn that he
appreciated Larsson¥s way of introducing the saxophone to the concerto genre,
without applying tricks and clowneries, so commonly associated with the
instrument.
The three big
representative figures in Swedish music during the 1930ís are undoubtedly Dag
Wirén (b. 1905), Gunnar de Frumerie (b. 1908) and Lars-Erik Larsson (b.1908).
and one of the most representative compositions of this period is without
question the Saxophone Concerto of Lars-Erik Larsson. This was produced in 1934
- the year in which Lars-Erik Larssonís two-year old Sinfonietta for String
Orchestra was given at the World Music Festival in Florence, and where it was
one of the compositions that attached most attention. As far as is known the
Saxophone Concerto was the first composition he produced after this success.
Between the
two pieces there is a difference, which in retrospect is full of meaning.
Sinfoinetta is still pointedly modernistic, for Lars-Erik Larsson was not
unaware of what was happening on the continent. He had studied with Alban Berg
an others in Vienna and in the drawers of his desk were essays in both
twelve-tone technique and modern counterpoint. The Saxophone Concerto however
is both elegiac and lyric, and even the allegro scherzando of the last movement
has an undertone of reflection and mildness not specially associated with the
character of this solo instrument. The composer has entirely refrained from the
comedy and clowning which are part of the technical tricks of the saxophone[51]
Reading one of
the reviews from Rascher¥s performances in Stockholm 1936, it is evident that
such tricks were originally present.
The last
movement contained an interesting cadenza where the soloist went through the
most complicated figurations. Even special effects such as the slap tongue
technique reappeared, now for the third or fourth time. Such tricks seemed too
vulgar, due to its frequent reappearance throughout the concerto. It could have
been enough applying this kind of trick only to the very last phrase of the concerto,
where such humorous effect really sounded motivated.[52]
The 1935
recording of Rascher and the Stockholm Radioorkestern conducted by the composer
gives additional proof of the extensive use of both slap tongue as well as
flutter tongue. At the end of the closing section, bar 101, the entire
descending line on beat three and four is executed with slap tongue. The
following trills in bar 102 and 103, are performed as flutter tongue. The
equivalent section of the recapitulation is interpreted in the same way.[53]
Such interpretation corresponds to the above quoted review from 1936, but does
not relate to the published version from 1952. By examining Larsson¥s
autograph, dated in November 1934, the author has discovered that the entire
closing section, bar 94-102, is marked with slap tongue. The half-notes in bar
102-103 are marked with the abbreviation fl. (flutter), followed by a wavy
line. This notation appears in both the exposition and recapitulation. The
interpretation of "tr" or "fl", however, can be disputed
due to Larssonís unclear handwriting. The first movement of the autograph is in
pencil; the following pages are written in ink. A bound fair copy of the score
in ink clearly verifies the notation as "fl". The entire closing section
is marked with slap tongue as in the autograph. These primary sources of the
music are located at Kungliga Musikaliska Akademiens Bibliotek in Stockholm. By
these facts the author draws the conclusion that the idea of using slap tongue
throughout the entire closing section might have been abandoned at an early
stage, if it ever was performed that way. Due to the adverse criticism given in
1936, Larsson probably decided to follow the criticís suggestion of limiting
tricks and special effects to the final phrase of the last movement. At that
performance where a critic had indicated "special effects such as the slap
tongue technique reappeared, now for the third or fourth time," Rascher
may have performed the additional twenty-eight measures of the cadenza in the
first movement, those which appeared in the autograph, and which contained slap
tongue. Larsson, however, decided to revise the cadenza. Similarly, the
half-notes marked with flutter tongue in the primary sources were replaced with
trills (tr.) in the published version of 1952. The slap tongue was completely
removed as well from the first movementís closing sections.
By the above
described ambiguities concerning Larssonís original intentions, it is only a
question of time until new edition of Larssonís concerto will appear in various
publisherís catalogue. Even though the manuscript is still intact, with
exception for unclear handwriting, a completely accurate version may never be
completed.
As noted in
both Larsson, Brahms, and even in Mozart's Clarinet Concerto, the
soloist has developed into the main attraction of the composition.
Simultaneously, the performer, whom the composer had in mind when composing the
work, has been influential by either technical suggestions or only as a source
of inspiration. It has been clearly stated that some critics disliked some
aspects of Rascher¥s performance as well as the use of too many special
effects. Even so, the opposite was enthusiastically expressed among other
reviewers, who thought that the composition and the soloist became indivisible.
Rascher is not
only a splendid virtuoso, but an interpreter who deserves great respect. Not
only does he know how to depict Larsson¥s playfulness and sometime witty humor,
he also knows how to express passion in the adagio, resembling the music of
Brahms, all in contrast to the Haydnesque character of the flanking movements.[54]
Compositions
such as Larsson's Saxophone Concerto (and Mozart's Clarinet Concerto)
have also contributed to a world-wide promotion of this new solo instrument. In
the Danish journal Dansk musiktidsskrift, Aksel Agerby gave the
following report:
.....Larsson's
Saxophone Concerto, written for the famous virtuoso Sigurd Rascher. During 1935
Rascher gave almost twenty performances of the Concerto, in various countries.
Rascher performed the Concerto at the D U T's concert in November, 1935,
conducted by Ebbe Hamerik.[55]
In Sweden, a
1935 promotion piece about the concerto reported on broadcast performances
throughout Europe, within the first few months after the premiere.
The concerto
has been performed in Switzerland (twice broadcast in radio), and broadcast by
the English Radio. Next Sunday, June 16, at 10:00 PM, the Swedish Radio will
broadcast a performance with Sigurd Rascher and the Radio Orchestra, conducted
by Adolf Wiklund. Rascher has also performed the concerto with G”vleborgs
Symfoniorkester, conducted by Sten Frykberg.[56]
Throughout
music history the soloist's role has developed from being only another member
of Corelli's Concerti Grosso ensemble, through C.P.E. Bach's keyboard
concertos, to unlike the soloist appears in front of the orchestra, as in
Mozart's piano concertos. The solo part gained in compositional statue and
purity above general orchestral writing. The focus on the soloist can be
illustrated in various ways.
The
significance of the Violoncello Concerto in C major by Franz Joseph
Haydn (1732-1809) is the very strict treatment of the ritornello form in the
first movement. There are no interruptions of either tutti sections or solo
episodes. The solo part uses basic material presented by the tutti. The second
solo episode, which one would expect to be developmental, does not move further
than to the secondary dominant and even touches the tonic before the return of
the primary theme in the third solo episode. By leaving out the harmonic
climax, expected in the classic style, the focus of the piece turns to the
virtuosity of the solo part.
The Trumpet
Concerto in Eb, composed for demonstrating the newly invented keyed
trumpet, also focuses on showing off the possibilities of the soloist. However,
because of the technical nature of the instrument, Haydnís writing might appear
to be simpler than was usual for him. The trumpet participates in the first
tutti with simple triads before entering with the theme. Perhaps this was a way
of maintaining the audienceís curiosity about what was possible on this new
instrument, or merely to give the soloist a chance to "warm up",
before beginning the more virtuostic display. Similarly, Larsson remains in the
normal, comfortable range of the saxophone through most of the exposition,
until the end of the second theme. This method of not challenging the altissimo
register until the soloist is warmed up, is in contrast, for example, to
Richard Strauss's expectation of his opera voices to attempt extremely high
register's just after their entrances. Throughout the development, Larsson
continually extends the range up into the altissimo register, where the major
difficulties appear to concern the range. At this point the soloist is warmed
up enough and still fresh to approach them with full control. In the second
movement the soloist is challenged one last the (written) high E. Thereafter,
in the finale, Larsson becomes more modest in his requests, due to the
consideration that two movements have already proceeded it. The expansion of
the range throughout the two first movements may also be merely a device to
build up tension and drama through the composition.
In contrast to
Beethovenís Concertos with symphonic texture, which feature the orchestra as
much as the soloist, NicolÚ Paganini (1782-1840) gives no major attention to
the orchestra. In the first movement of Violin Concerto in D major op.6,
no.1, the three tutti sections,(94, 33, and 27 bars long respectively) make
up only 39% of the first movement. Other than that, the orchestra does not
contribute anything more than support for the harmony. On the other hand, the
solo part presents, an extraordinary virtuosity, with parallel thirds,
capriccio-like runs and inserted fermatas, which provide room for artistic
display. This focus on the soloist is obvious throughout the piece, while less
effort is made to create anything of interest in terms of harmonic progression.
The first movementís most remote modulations are to two B major sections, which
appear at the end of the second tutti and in the middle of the second solo
episode, respectively. The second movement is written in the relative minor,
and the middle episode of the rondo in the finale, in the subdominant.
Therefore, the piece has been written more as an opportunity to show of
artistic skills than actually communicate a musical message.
This phenomena
became a general trend for early romantic concertos. Johann Nepomuk Hummel
(1778-1837) concertos contain rich embellished melodies while the orchestra
solely acts as background. In Hummel's Piano Concerto in A minor, the
soloist enters with an embellishment of the orchestral cadence similar to the
Beethoven Violin Concerto. The subordinate role of the orchestra in Hummel's
concertos became a model for Chopin's concertos. Other composers who had an
influence on Chopin's writings were Ignaz Moscheles (1794-1870 and Friedrich
Kalkbrenner (1785-1849).
At the same
time, and as an on going influence on
the development of the concerto, the opera continued to be a point of
departure. Paganini's violin concerto resembles Italian operas by shifting
between bravura and lyricism. Especially noticeable is the lyrical second
movement of the Violin Concerto in D
major no.1, op.6[57].
A similar blend of both virtuostic passages and lyrical themes is to be found
in Larsson's first movement. This is a combination that can lead to ambiguity
in the ultimate choice of tempo, which is one of the problems the soloist
faces, when approaching the score of the Konsert fär Saxofon och
StrÅkorkester.
Larsson
himself expressed his concerns about the ultimate tempo of his compositions.
I remember a
recording of one of the sonatines for piano. In one of the movement the pianist
had a slightly different interpretation concerning the tempo. The somewhat too
slow tempo did not optimally bring out the characteristics of the movement.
However, the pianist took my suggestion too literally, and as a result the
final outcome on the recording was too fast. To find the perfect tempo for a
particular movement can sometime be extremely challenging. I prefer it slightly
faster - it appeared somewhat boring at first - but maybe I should not have
said anything at all.
It is of
course impossible to expect all performers to choose exactly the same tempo.
People have different pulse and perceive the text of the music differently,
which results in small variants. An
interpretation should not turn into something mechanical, but I have the
opinion that one should not interpret the music too freely. Then, it might turn
out as a completely different piece. What is written in the music should be
respected. However, when I was young, I did not pay enough attention to
expressing my self in detail, for example concerning phrasing.[58]
Concerning the
tempo in the first movement of the Saxophone Concerto, a conflict occurs
between the secondary theme and the movement in general. Notated in alla breve,
Larsson gives the tempo indication as half-note equals 88. This tempo is quite
applicable for the opening measures as well as for the secondary theme. On the
contrary, much of the passagework in the solo part, containing runs and octave
leaps, is challenged by such a tempo. The Rascher recording, conducted by the composer,[59]
is performed fairly slowly compared to the tempo indication, which causes the
entire movement to become lifeless. This choice of tempo gives Rascher a
comfortable speed for the tricky phrase in bar 118.
Larsson stated
that in his youth he was not too concerned in his notation of phrasing. The
passage of octave leaps in the solo part 41-46 provides an example of this. In
combination with Larsson's lack of knowledge about performance problems on the
saxophone, it is worthy to question whether or not these leaps can be
articulated one way or the other. A change in articulation might increase the
chances for a more crisp outcome of this passage without it being in conflict
with the rather fast tempo that Larsson indicates and which, indeed, is very acceptable
for the lyrical sections of the movement. In this recording, Rascher does
articulate these octaves, even at the slower tempo. Such articulation does not
stand in conflict with the general style of the movement, and was obviously
approved by the composer.
For the
finale, marked "Allegro scherzando," Rascher and Larsson agree on an
average marching tempo, but the soloist is technically challenged by the end of
the first phrase. As in the first movement, Rascher takes liberty in adding his
articulation to the first phrase.[60]
Even if
Larsson expected performers of his music to follow his tempo indications as
literally as possible, he intended to keep all such indications as economical
as possible, in order to avoid exaggeration.
I am also,
concerning tempo, very afraid to write, for example, a ritardando. Nine times
out of ten it becomes exaggerated in performance. That is why I only indicate
ritardando where it should be a very large ritardando. It can otherwise be
misunderstood - I am actually extremely scared of giving directives.
Even though it
is not written in the music, there are always places when it is appropriate for
a more free interpretation. It is like with Mozart and Haydn - it can sound
like a musical box.[61]
In this
regard, and considering that Larsson uses a classical model for the concerto,
much of the notation is very conservative, in contrast to other composers of
the time. The second movement must be interpreted through additional
suggestions from the performer, especially in regard to the phrasing and
application of, for example, ritardandos. Marked Adagio, the fundamental tempo
of the second movement is left open for a freer interpretation. As in the first
movement, however, performers will often struggle with a conflict between an
opening with slow quarter notes, and the faster technical work, which thwarts
them from finding an ideal tempo that suites both elements.
The earlier
tendency towards extolling the soloist, as seen in Paganini and Chopin, is
continued by Felix Bartholdy Mendelssohn (1809-1847) in the Violin Concerto
in E minor, written in 1844. Here, the concept of ritornello is almost
eliminated, leaving only one tutti section between the first and second solo
section and with the beginning of the recapitulation left to the orchestra.
Even the opening section leaves out an expected introduction by the orchestra,
allowing the soloist to introduce the primary theme. This is then reversed in
the recapitulation, where the soloist becomes the accompanist to the orchestra.
The lack of an opening tutti places the piece in contrast to earlier concertos,
such as Beethovenís Violin Concerto with its extensive double
exposition. It also becomes an idiom for concertos to come.
Not only has
Larsson adopted the idea of excluding the tutti exposition, but the very first
bar of Larsson's concerto is almost identical to Mendelssohn's opening. In both
concertos the accompaniment consists of arpeggiated thirds in eight notes,
above a bass line in pizzicato strings (Mendelssohn adding clarinet, bassoon
and timpani for color). In both, the soloist enters on the second half of the
bar, with a lyrical line in an alla breve pulse. In so doing, both composers
have optimally elevated the prominence of the solo line and the very entrance for
the soloist. The non-distinct ending of the cadenza in Larssonís first
movement, which avoids the classical trill, has been mentioned in previous the
chapter. By examining the equivalent section of Mendelssohn's first movement,
it is evident that Mendelssohnís way of deleting the standard ending of the
cadenza, appears as a possible model for Larsson. By observing these various
similarities, it seems clear that Larsson has given prominence to the soloist
by the application of similar devices used by his romantic predecessors. In
other words, it is possible to conclude that Larsson had later models other
than the classical concerto form in mind when composing his Saxophone Concerto.
Because of the
genre of solo concertos which places emphasis on the soloist and displays
his/her virtuosity, Larsson naturally had found a model that fitted his
purpose. He was able to present a new solo instrument to the concerto genre in
general, and to Swedish art music in particular. With very little attention to
any grandiose orchestration (string orchestra) of the accompaniment, Larsson
created an even greater focus on the soloist and the timbre of the saxophone.
Although Mozart omitted the oboe, his scoring for the clarinet concerto
embodies much greater orchestrational tecture. With inspiration from Sigurd
Rascher and with Rascher's capacity to control the instrument, a concerto for
saxophone came into existence, which followed the trend of virtuosity developed
by the compositions discussed above. Without Rascher in mind, a less
virtuoustic concerto might have been the result, since Larsson himself did not
play the instrument, and usually, by the nature of his general output, his
style of composition did not favor virtuosity. Even in his private life,
Larsson does not appear to have been a "solistic" person who enjoyed
standing out in the crowd.
Concerts? ( A
relieved sigh), "that belongs to the past." Gatherings, big
receptions, cameras and microphones - that kind of life had never appealed to
Larsson in the first place.[62]
Luckily,
Larsson did not dedicate the concerto to a less accomplished saxophonist, for
this might have led to the same complication as occurred with Tschaikovsky's Piano
Concerto in Bb,no.1, op23. Peter
Tschaikovsky (1840-1893) was, unlike composers such as Mozart and
Brahms, not a virtuoso pianist. He admitted that his most prominent feature was
lyrical melody writing while he saw himself weak in form. He used Ukrainian
folk melodies in his writing, and in this concerto, a French melody, which
referred to a previous French engagement of his. Initially, the Piano
Concerto in Bb, no.1, op. 23 was dedicated to Nikolay Rubenstein, who,
after playing through it, ripped its non-pianistic writing and lack of form. It
was finally dedicated to Hans von B¸low and premiered by him in the Boston
Music Hall on October 25, 1875.[63]
Attempts to
meet a better understanding between soloist and composer were taken under
consideration in the process of Brahms' Violin Concerto. By reading the
correspondence between Brahms and his close friend Joseph Joachim, it is
obvious that the Violin Concerto underwent advising from the soloist. Although,
it seems as if Brahms did not adopt to Joachim's suggestion concerning the solo
part, but only responded to advice given about the composition in general.[64]
On the
contrary, some romantic concertos which did not elevate any virtuosos or
promote any new instruments for the solo stage, followed an opposite trend.
Beethoven's (1770-1827) Violin Concerto in D written in 1806 shows
similarities with contemporary French violin, which utilized a march-like
character and heroic motives. The length of the first movement, 535 measures,
also indicates a revolutionary era. The length and the use of only a few short
motives might place the piece in the category of a symphonic concerto rather
than a solo concerto. This is true in the way motives are presented as much in
the orchestra as in the solo part. The interaction between soloist and
orchestra occurs throughout, and the soloist is only embellishes the material
in the orchestra periodically. Virtuosity in the solo part is a rarity. This
type of writing does not appear as a possible source of inspiration for
Larssonís concerto. Nevertheless, other characteristics of the romantic period
can been found in Larssonís writing, and will discussed in the following
chapter.
Thematic Metamorphosis
Larsson's
respect for the past is evident by his adoption of fairly major trends in the
history of the concerto. It is evident that at the stage in his career when he
wrote the saxophone concerto, he was not concerned about contributing to
revolutionary ideas or experimenting with contemporary elements. However, it is
obvious that parts of his harmonic approach belong in the twentieth century, as
well as traces of elements that were viewed as progressive devices during the
post classical era.
I do not
believe in revolution but in evolution. Music of good quality will always
remain through the future. It belongs to eternity.[65]
By such a
statement it is possible to accept the fact that Larsson had a strong affection
for music of quality, from any historical period or style. What then is good
music for Larsson?
If anyone had
an answer for that...! Maybe it is the music that remains loved by many, for a
long period of time. It is often light and clear, "kleinkunst";
"twinkle, twinkle little star" by Mozart, F¸r Elise by Beethoven,
Schubert's lieders, "lullaby" by Brahms, Tr”umerie by Schumann....But
we should not forget music written today which is perceived as being
complicated, but might be viewed differently by coming generations.[66]
The first
qoute, "I do not believe in revolution but in evolution" reflects
something fundamental in Larsson's philosophical thinking that can be
associated with his adoption of thematic transformation. To what extent did
Larsson identify himself with other romantic traits?
Along with the
nineteenth-century concept of expressing individual feelings, the idea of the
artist as someone struggling with strong longings and a serious intention to
dedicate himself to art was elevated. Carl Maria von Weber's Konzertst¸ck in
F minor for piano, op,79, (1821) shows such romantic idioms by having all
movements (or sections) connected to each other and the underlying story in
prose (this, however, was never published with the music). This idea, described
in one of Weber's letters already in 1815, foreshadows a new era to come.
However, Weber's intentions were probably more similar to Beethoven's titles in
the Pastoral symphony, which try to evoke certain feelings from the
listener rather than actually telling a story. Similar reflections of this are
found in the second movement of Dvorakís Cello Concerto in B minor,op.104,
(1895). The song quoted in the middle episode was associated with Dvorakís
sister-in-law, with whom he was secretly in love. Large contrasts between
lyricism and drama are created by alternations of texture, shifting between use
of only a few winds and the cello and the full orchestra.
The romantic
notation of underlying programmatic elements, goes beyond what Larsson found
applicable to his compositions. As stated in his biography, Larsson was not in
favor of submitting programmatic descriptions along with his works. Was he
attracted to romanticism and fantasy in fiction? What books did he read?
Only
non-fiction. As a youngster I dreamed about the day when I became rich enough
to buy the collected works by August Stringberg. And now, there it is(pointing
toward the bookshelf).[67]
The Swedish
writer from turn of the century, August Strindberg, can hardly be conceived of
as a romantic influence on Larsson. In contrast to the fairy tales and poetic
sources influencing Larsson's colleagues of the nineteenth century,
Stringberg's style of writing, even though fiction, has strong biographical
references, depicted in combination with strong political sarcasm toward
contemporary society. Larsson's music stayed within the boundaries of absolute
music, remaining within the waters which, according to Wagner, Beethoven explored
completely:
Beethoven...
sailed the wide shoreless sea of absolute music to its limits"[68].
Nor did Larssonís personal outlook resemble the stereotypical picture of a
romantic composer - at least according to journalist Bo Lidénís
description.
At first,
Larsson does not appear as the stereotypical character of a composer. No big
,fluffy hair, waving arms, nor any spontaneous attempt on the keyboard,
improvising a new "allegro vivace". He more likely resembles a bank
clerk or an owner of a barber shop.[69]
Instead,
Larsson inherited only compositional techniques such as thematic transformation
and thematic unification from his romantic predecessors. For Larsson these
devices were labeled as thematic metamorphosis. Larsson's contemporary, Dag Wirén,
thought he was the first one to make use of such techniques in his fourth
symphony (1952); but he soon learned that other composers had made use of them
previously. During the 1950ís, the term grew common, especially among Danish
composers, including Vagn Holmboe.[70] What does thematic metamorphosis represent?
According to critic Bo Wallner, Vagn
Holmboe gave the following explanation.
The desire to
go through changes, to become someone else and still maintain one's identity is
obviously something that is deeply rooted in mankind. Development through
metamorphosis, whether it happens through sections, or appears in an unbroken
context, is governed by strong logical forces. Therefore, each step in the
process appears as a necessity, which increases step by step, pointing toward
an endless transformation.[71]
Vagn Holmboe's
colleague Niels Viggo Bentzon even went so far far as to describe thematic
metamorphosis as "the form of our century", being a parallel to the
fugue of the baroque, the sonata form of the classical and romantic period, as
well as a successor of the variation techniques used during the romantic
period. Calling thematic metamorphosis the most significant form of present
time might be an exaggeration, but its emergence from the past can hardly be
denied.[72]
Viewed as a
romantic composer, over time Beethoven
became less formal, using recitative, as in the slow movement of the Piano
Sonata op.110. He wrote out his cadenzas, the phrase structure became
harmonically more open ended and he applied the use of thematic quotations from
the preceding movement as a unifying factor, as in the finale of the Ninth
Symphony. Similar thematic integration is found in the first movement of
Robert Schumann's (1810-1856) Piano Concerto in A minor, op.54, written
in 1841, four years before the succeeding movements first existed as a fantasia
for piano.
New features
of instrumentation are heard in the Piano Concerto by giving the wind
instrument greater significance than the strings. Because of the close relation
of the themes, the more prominent progression of the movement is the variation
of texture and character. Still though, the movement follows a classical format
in sonata concerto form with a double exposition and the use of closely related
keys. The finale is monothematic, resembling the first movement. To label this
movement as a rondo might be ambiguous since the theme does not return in the
tonic each time, thereby reflecting upon the concept of transformation.
In the works
of Antonio Dvorak (1841-1904) one can see motivic integration with the
transformation providing with both unity and dramatic images. By using one
motivic idea transformed into different characters, unity is gained and in the
same time different faces of the same theme are presented. Parallels to this
are found in the development of the nineteenth-century opera, where it probably
originated. In the traditional opera buffa all characters had a specific and
unchangeable image. In the romantic opera, characters became more realistic,
showing different modes and feelings, making them more separate individuals
than representatives of a stock character. In Dvorakís Cello Concerto in B
minor, this is illustrated by having the primary theme presented by
different instruments and appearing in transformed fashions.
The primary
theme itself, divided into small motives, later appears separately. It also
appears as a rhythmic element in the transition. It occurs in augmentation and
is used sequentially. The fact that the primary theme first is presented by the
tutti in B minor and then is repeated by the soloist in B major creates a
significant change of mode within the same theme (= persona, character). The
changes of tempi throughout also contribute to the different dramatic images,
which give the piece a character associated with the symphonic poem. The third movement gives this otherwise ever
changeable piece a rounded form by quoting both the primary theme from the
first movement and the song from the second movement, obviously resembling
Beethovenís Ninth Symphony.
Unifying
characteristics for these composition are the trends toward thematic
unification. One main idea becomes the fundamental point of departure for the
composition, a procedure which would be labeled by Franz Liszt (1811-1886) as thematic transformation. This
compositional device utilizes motives derived from each other and contains long
transitional sections with unresolved harmony. Therefore, as Niels Viggo
Bentzon indicates, the concept of metamorphosis is by no means new. In the
chapter on Lars-Erik Larsson och "30-talisterna" in Svensk
musik 2., Herbert Connor talks about the influences that had a strong
impact on Larsson's compositions, from 1930-1970[73].
Connor mentions Larsson's use of thematic metamorphosis as a compositional
tool. As seen in Larsson's own article "Missa brevis", Larsson
illustrates the normal progress in his compositional procedures.
As an
illustrative example, Larsson reconstructed the composition of his mass Missa
brevis. The text is provided with incipits of sketches, as well as of the
final score. This documentation, as discussed in the chapter Analysis of Op.
14, gives an extraordinary detailed and interesting illustration of how
Larsson himself thinks about the process of composing in his own works. Larsson
emphasizes the fact that he is not aware of many of the relations between
preceding sketches and the final outcome until subsequently reviewing his
material[74].
Nevertheless, the consciousness of thematic relations is obvious. By making use
of thematic metamorphosis in order to explore possibilities for the
continuation of the compositional process, Larsson naturally ends up with a
style of composing which provides his compositions with a more or less thematic unification and a
continuously thematic transformation.
Even though
Larsson referred, in his discussion, to a composition from the 1950ís, it does
not mean that the nature of Larsson's creative instinct was much different
twenty years earlier. Similar thematic unification and development, therefore,
should be possible to be traced in the Saxophone Concerto. With the same
incorrectness by which Dag Wirén thought himself to be the pioneer of thematic
metamorphosis, it is inaccurate to determine that the application of such
elements is only to be found in Larsson's later works.
As outlined in
the formal analysis of the Saxophone Concerto, the fundamental use of
ascending and descending sequential thirds in the accompaniment of the first
movement is transformed into the arpeggiation of minor thirds in the solo part
of the finale. By examining the first five pitches of the solo part in the
first movement, the transformation of this motive can be found in the beginning
of the secondary theme (bar 47-48). This concept of leading tones is integrated
in many of the virtuosic passages that appear in the solo part. Furthermore,
these virtuostic passages (ex. bar 14-18, 38-40), consisting of arpeggiated
triads with upper and/or lower neighbors of each triadic pitch reappears in
transmutation as the closing theme. Even the inner parts of the closing section
in the first movement have an independent descending line of thirds (82-87),
which comprise the major unifying element of the whole work. Again, it is
possible to determine influences from styles of composing, deriving from the
pre-classical era. Further, Niels Viggo Bentzon's viewpoint which associates
thematic metamorphosis with the baroque fugue, has to be emphasized. By
examining Bach's Wohltemperiertes Klavier the similarities are evident.[75]
Subsequently,
the new terminology, "thematic metamorphosis", which reached
acceptance through Danish composersí use of the term during the 1950's, did not
constitute anything new.
The concept of
thematic transformation did not leave Larsson's arsenal of composition tools.
The last of his twelve concertinos Op.45, from the middle of 1950ís, is one
significant example. Here, the finale of the Concertino for Piano has
reminiscences from all previous works in the series.[76]
Even among his latest works, such as the Musica permutatio, 1980 (music
of permutation), the concept, even the title, remains clear. Bergendal
associated the concept of transformation, continuous changes, with Larsson's
continuous search for new styles in general throughout his composing career.
Further, Bergendal states that even though the Musica permutatio does
not contain a single fugue, it does bring forth associations with Bach's later
achievements, Kunst der fuge, where the title fuge, similar to the title
"music of permutation", represents flight and continuous spiraling.[77]
This again, defines the fact that Larsson's techniques of thematic metamorphosis had ancestors in the
baroque period.
Larsson's own
description, in the article Missa brevis, of the use of such tools, consciously
used or not, which allows him to move beyond stagnation in the processes of
composing, is an honest and up front declaration of his own frustration in
composition.[78]
Contrastingly, and in addition to such modesty, Larsson expresses his
admiration for one of his own student's ability to never be caught up by such
stagnation. This student was Bo Linde, who died at the early age, of
thirty-seven.
I often found
myself being extraordinary curious about his arrival to his lessons. It never
happened that Bo Linde came to his lessons in a bad mood, mumbling something
like having a bad week or have gotten completely stuck in his work. No, he
always tempestuously entered the room, threw his coat on a chair and the
manuscript on the piano. It often happened that he immediately took a pencil
and made some corrections, that he had thought of on his way to the Academy.[79]
There is virtue
in moderation.
Considering
the definition of Larsson as the composer who takes the middle course, Larsson
has sailed the wide shoreless sea of the concerto genre to its limits - without
finding any island where he felt comfortable enough to stay. In other words,
Larsson has adopted the various features of different periods. Consciously,
Larsson approached all foreign elements with respect and honesty, resulting in
a very pure and clear mixture of traditional styles.
Larsson's
intent was to write music which even a non-professional listener could
comprehend, perceive and appreciate in the old fashion way.[80]
When Larsson
was nominated and given the 1957 Cultural Award by Sydsvenska Dagbladet,
Sten Broman stressed these characteristics of Larsson, which represent clarity
and comprehension.
His refined
artistic integrity is as impressive as his technical and formal clarity. The
same wording describes his personality.[81]
Generally
speaking, the concept of ritornello seems to be a characteristic trait
throughout the history of the concerto. The same is true of the three movement
plan, with sonata form in the first movement, an ABA form resembling the dacapo
aria, for the second movement and a rondo or sonata rondo for the finale.
Larsson applies these without exceptions.
With Mozart,
the first-movement-form was standardized, with a double exposition and with the
following tutti serving as either a transition or as closing elements. Larsson,
however, modifies the concept of double exposition by reversing the order of
the tutti and solo statements of the primary theme. In Mozart, interaction
between the orchestra and the soloist becomes characteristic. This is
illustrated especially in Larsson's development sections. On the contrary, the
development of the exposed soloist emerges, coming to its full bloom with Chopin and Paganini, where the
orchestra only functions as accompaniment.
In Larssonís
concerto, virtoustic display is applied by permitting the saxophone to soar
into the altissimo register above the string accompaniment and by omitting the
accompaniment during technical passages in the solo part. In the writing of
Beethoven, the length of the piece starts to increase. The first movement of
the Brahms' Violin Concerto (571 bars) is more than twice as long as the
first movement of Mozart's Violin Concerto in D, K218 (220 bars). In
this regard Larsson stays, in contrast to his neo-classical predecessor Brahms,
within the classical norms by presenting a first movement of 273 bars.
In Robert
Schumann's Piano Concerto, new features of instrumentations began to
take place, which give greater significance to the wind instruments 2 flutes, 2
oboes, 2 bassons, 2 horns, and 2 trombones), especially in the exposition. The
same is true for Brahmsí Piano Concerto in Bb no2, op.83, (1881) where
an increase of interaction between different groups of instruments appears
throughtout, resembling the texture of the concertante. The nineteeth century
focused on the the philosophy of the individual. This is best illustrated in
opera where more realistic characters where created which presented different
sides of their personality. Likewise, the solo part in Brahms Piano Concerto
begins to show different characters. The concept of transformation developed
more in Dvor·k's Violoncello Concerto. As the opera developed from
number opera to scene opera the clear division between movements and tuttis and
solo sections began to disappear.
Larsson, however, retained a clear division of solo and tutti section, but the
concept of unifing the composition by thematic transformation was also
integrated in Larsson's Saxophone Concerto. In order to summarize
Larsson's path through the history of the concerto, the shortest and most
applicable definition would be, "go for the middle course - there is
virtue in moderation".
[1]John H. Yoell, The Nordic Sound. (Boston: Crescendo Publidhing Co., 1974), p.139.
[2]Herbert Connor, Samtal med tons”ttare, (Stockholm: Natur och kultur, 1971), p.22.
[3] Gäran Bergendal "Lars-Erik Larsson pÅ lyssnarens sida," Tonfallet (n4 1989):9-13.
[4]Herbert Connor, Samtal med tons”ttare. (Stockholm: Natur och Kultur, 1971), p.164.
[5]Bo Wallner, Lars-Erik Larsson och hans Concertinor. (Stockholm: Radiotj”nst, 1957),p.12.
[6]Herbert Connor, Samtal med tons”ttare, (Stockholm: Natur och kultur, 1971),p.20.
[7]Herbert Connor, Samtal med tons”ttare, (Stockholm: Natur och kultur, 1971),p.21.
[8]New Grove Dictionary of Music and Musicians. "Bach, Johann Sebastian," by Douglass Seaton.
[9]Walter Kolneder, New Oxford History of Music, vol. 6, Concert Music (1630-1750), (New York: Oxford University Press, 1986), p.357.
[10]Herbert Connor, Samtal med tons”ttare, (Stockholm: Natur och kultur, 1971),p.25.
[11]New Grove Dictionary of Music and Musicians. Vivaldi, Antonio, by Michael Talbot.
[12]New Grove Dictionary of Music and Musicians, "Bach, Carl Philip Emanuel," by Malcolm Boyd.
[13] Johann Joachim Quantz, On Playing the Flute, (New York: Macmillan Publishing Co., Inc., 1966), chapters 28-39.
[14]Bo Wallner, Lars-Erik Larsson och hans Concertinor. (Stockholm: Radiotj”nst, 1957),p.11.
[15]"Larsson i 6A." Aftonbladet, 8 April 1985.
[16] The Mozart Companion. (New York: Oxford University Press, 1956), The concertos by Friederich Blume, p.216.
[17]Hindemith Jahrbuch 1972, ed. by Paul Hindemith - Institute, (Mainz: B. Schottís Sähne, 1972), p.185.
[18] New Grove Dictionary of Music and Musicians, "Brahms, Johannes," by Heinz Becker.
[19] New Grove Dictionary of Music and Musicians, Huberman, Bronislaw, by Boris Schwarz.
11 New Grove Dictionary of Music and Musicians, "Brahms, Johannes," by Heinz Becker
[20] Donald Francis Tovey, Essays in Musical Analysis, v.3: Concertos, (London: Oxford Univ. Press, 1936), p.126.
[21]"Musiken mÅste sv”va." Dagens nyheter, 26 June 1983.
[22]W. R. Tenney, "The Mozart Clarinet Concerto," Woodwind World (April 1955): 4-5,10
[23]J.L.Schwartz, W. W. Brown, Self-Study Module for History of Music in the Classic Period,(Evanston: School of Music - Graduate Division Northwestern University,1986)
[24] W. R. Tenney,
"The Mozart Clarinet Concerto",
Woodwind World (April 1955): 4-5, lO.
[25]D. J. Grout, C.V. Palisca, A History of Western Music,4th ed. (New York : W.W. Norton & Company Inc., 1988), p.607.
[26] Nicolas Slonimsky, Music Since 1900, 5th ed. (New York: Schirmer Books, An Imprint of Macmillan Publishing Company, 1994).
[27]Baker's Biographical Dictionary of Musicians, 8th ed. by Nicolas Slonimsky. New York: Schirmer Books A division of Macmillan, Inc. 1992.
[28] Nicolas Slonimsky, Music Since 1900, 5th ed. (New York: Schirmer Books, An Imprint of Macmillan Publishing Company, 1994).
[29]Teddy Nyblom, De nya herrarna. (Stockholm: Nyblom, 1959),p.287-93.
[30]Sten Broman, "Lars-Erik Larsson," Räster i Radio/TV (n7 1946):10,16.
[31]Interview with Monica Welander, BÅstad, Sweden, 21 December 1994.
[32]Bo Wallner, Lars-Erik Larsson och hans concertinor(Stockholm: Radiotj”nst, 1957) p.143
[33]Interview with Monica Welander, BÅstad, Sweden, 21 December 1994.
[34]The autograph is held at Kungliga Musikaliska Akademiens Bibliotek, Stockholm.
[35]W. R. Tenney, "The Mozart Clarinet Concerto", Woodwind World (April 1955): 4-5, lO.
[36]Ibid
[37]A. Hacker, "Mozart and the Basset Clarinet", The Musical Times ,(April 1969): 359 - 362.
[38]H.C. Robbins Landon, The Mozart Compendium - A Guide to Mozart's Life and Music ( N.Y. : Schirmer Books, 1990) p.270.
[39]Orkesterfäreningens symfonikonsert." Norrkäpings tidningar, 28 November, 1934.
[40]"Teater Musik Film." Dagens Nyheter, 23 January, 1936.
[41]Sveriges Radio, grammofonarkivet. Konsert fär saxofon och strÅkorkester, op.14. (Stockholm: Radiotj”nst, Reference #: RE 715/7, 1935).
[42]Knud Ketting, "BIS CD catalogue," Nordic Sound (June 1985):21.
[43]Per Skans, jacket notes to Konsert fär saxofon och strÅkorkester op.14. BIS, 1983.-LP. Pekka Savijoki, Jorma Panula/Stockholms Nya Kammarorkester.
[44]Knud Ketting, "BIS CD catalogue," Nordic Sound (June 1985):21.
[45]Konsert fär saxofon och strÅkorkester op.14. Caprice, 1984.- LP. Christer Johnsson, Leif Segerstam/Radiosymfonikerna.
[46]Interview with Christer Johnsson, Kungliga Musikhägskolan Stockholm, December 6, 1994.
[47]"Ett divertimento tolkat med espri." Svenska Dagbladet, 18 November, 1988.
[48]"Unga musikers kv”ll," SmÅlandsposten, 6 December, 1991.
[49] "Swedish modern music: Old and new world!" The Sun - USA News, July 1994.
[50]"Swedish modern music: Old and new world!" Nordstjernan, 30 June 1994.
[51]Konsert fär saxofon och strÅkorkester op.14. Miniscore. (Stockholm: AB Carl Gehrmans Färlag, 1953).
[52]"Teater Musik Film." Dagens Nyheter, 23 January, 1936.
[53]Sveriges Radio, grammofonarkivet. Konsert fär saxofon och strÅkorkester, op.14. (Stockholm: Radiotj”nst, Reference #: RE 715/7, 1935).
[54]"Tilja, film och rad." Svenska Dagbladet, 23 January, 1936.
[55]Agerby, Aksel. "Fire Svenske Komponister," Dansk Musiktidsskrift 11 (n1 1936):25.
[56]Fyris and LundagÅrd, "Saxofonkonsert," Räster i Radio/TV (n25 1935):10,13.
[57] Robert Layton, A Companion to the Concerto, (New York: Schirmer Books A Division of Macmillan Inc., 1988), p.131-132, 140-141.
[58]Olof Häjer, "Lars-Erik Larsson och pianot," Musikrevy 34 (n5 1979): 230-35.
[59]Sveriges Radio, grammofonarkivet. Konsert fär saxofon och strÅkorkester, op.14. (Stockholm: Radiotj”nst, Reference #: RE 715/7, 1935).
[60]Sveriges Radio, grammofonarkivet. Konsert fär saxofon och strÅkorkester, op.14. (Stockholm: Radiotj”nst, Reference #: RE 715/7, 1935).
[61]Olof Häjer, "Lars-Erik Larsson och pianot," Musikrevy 34 (n5 1979): 230-35.
[62]"Larsson i 6A." Aftonbladet, 8 April 1985.
[63]New Grove Dictionary of Music and Musicians, "Tschaikovsky, Peter" by David Brown.
[64] Edwin Evans, Handbook to the Chamber & Orchestral Music of Johannes Brahms, (London: William Reeves Bookseller Limited, 1933-35), p.50.
[65]"Lars-Erik Larsson och Uppsala." UNT, 8 January 1987.
[66]"Larsson i 6A." Aftonbladet, 8 April 1985.
[67]"Larsson i 6A." Aftonbladet, 8 April 1985.
[68] Oliver Strunk, Source Readings in Music History From Classical Antiquity through the Romantic era,(New York: W.W. Norton & Company, Inc.,1950) p.886.
[69]"Larsson i 6A." Aftonbladet, 8 April 1985.
[70]Herbert Connor, Svensk musik 2. FrÅn Midsommarvaka till Aniara, (Lund, Sweden: Bonniers, 1977), p.312.
[71]Bo Wallner, VÅr Tids Musik i Norden, FrÅn 20-tal till 60-tal,(Stockholm: Nordiska Musikfärlaget, 1968), p.165.
[72]Bo Wallner, VÅr Tids Musik i Norden, FrÅn 20-tal till 60-tal,(Stockholm: Nordiska Musikfärlaget, 1968), p.167.
[73]Herbert Connor, Svensk musik 2. FrÅn Midsommarvaka till Aniara. (Lund, Sweden: Bonniers, 1977), p.321-313.
[74]Larsson, Lars-Erik. "Missa brevis." In Modern nordisk tid,pp. 109-136. (Stockholm: Bengtsson, 1957).
[75] Bo Wallner, VÅr Tids Musik i Norden, FrÅn 20-tal till 60-tal,(Stockholm: Nordiska Musikfärlaget, 1968), p.167.
[76]Gästa Percy, Konserterande fär alla instrument, Musikrevy 13 (1958):84.
[77]Gäran Bergendal, "Lars-Erik Larsson pÅ lyssnarens sida," Tonfallet (n4 1989):9-13.
[78] Larsson, Lars-Erik. "Missa brevis." In Modern nordisk tid,pp. 109-136. (Stockholm: Bengtsson, 1957).
[79]Lars-Erik Larsson and others, "Om och till Bo Linde," Musikrevy 25 (n6 1970): 315.
[80]Gäran Bergendal, "Lars-Erik Larsson pÅ lyssnarens sida," Tonfallet (n4 1989):9-13.
[81]"Lars-Erik Larsson däd." Sydsvenska Dagbladet - sn”llposten, 28 December 1986