A TEACHER’S GUIDE TO THE INTERPRETATION OF … FOR SAXOPHONE... · Duo for Saxophone and English...

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A TEACHER’S GUIDE TO THE INTERPRETATION

OF SELECTED MUSIC FOR SAXOPHONE

By Thomas Liley

SONATA FOR SAXOPHONE AND PIANO

BERNHARD HEIDEN All rights reserved, Thomas Liley

Biography

Bernhard Heiden was born in Frankfurt, Germany, August 24, 1910. Heiden began composing at an

early age. In addition to studying piano, violin, and clarinet, he studied at the Berlin Hochschule für

Musik from 1929 to 1933.

At the Hochschule, Heiden studied composition with Paul Hindemith, score reading with

George Szell and Alexander von Zemlinsky, piano with Max Trapp, and conducting with

Julius Prüwer. He had developed an interest in the latter area when he had had an opportunity

to conduct the school orchestra at the Goethe Gymnasium in Frankfurt. And indeed, in his

first years at the Hochschule, it was conducting in which Heiden was thought to excel. Hard

work, however, for the demanding Hindemith eventually won for Heiden the Mendelssohn

Prize in composition – at that time Germany's most coveted musical award. The prize-winning

work was a piano concerto.1

Heiden and his wife immigrated to the United States in 1935 and settled in Detroit where he taught at

the Art Center Music School. He was also active as a pianist, harpsichordist, and radio arranger. In

1942, following the demise of the Detroit Symphony, Heiden organized and conducted the new

Detroit Chamber Orchestra. During World War II he served as an assistant band director of the 445th

Army Band. After the war he studied with Donald Grout at Cornell University and received the

Master of Arts degree in musicology in 1946. In 1946 he joined the faculty of the School of Music at

Indiana University, serving as chairman of the composition department until his retirement in 1981.

In addition to the Mendelssohn Prize, Heiden has received the Fine Arts Quartet Composition Award

for his String Quartet No.2 (1951), a Guggenheim Fellowship (1966), and a grant from the National

Endowment for the Arts (1976).

Heiden's compositions that include the saxophone are:

Sonata for Saxophone and Piano (London: Schott and Co., 1937);

Duo for Saxophone and English Horn (n.p., 1938);

Diversion for Saxophone and Band (Shell Lake, WI: Etoile, 1943) ;

Solo for Alto Saxophone and Piano (New York: Associated Music Publishers, 1969);

Intrada for Woodwind Sextet (San Antonio: Southern, 1970)

Partita for Orchestra (New York: Associated Publishers, 1970);

1 David DeBoor Canfield, "Bernard Heiden: An Appreciation on the Occasion of His 75th Birthday," Saxophone

Symposium vol. 10, no. 4 (Fall 1985): p.6.

2

Four Movements for Saxophone Quartet and Tympani (Shell Lake, WI: Etolie, 1976); and

Fantasia Concertante for Alto Saxophone, Winds, and Percussion (n.p., 1987).

The Sonata was the first of Heiden's works for the saxophone and his first work to be published. The

Duo was written for Larry Teal and Lare Waldrop; it can also be played on C and B-flat instruments,

that is, on oboe and clarinet. Heiden's Diversion for Saxophone and Band was written when Heiden

was an assistant band director in the Army. The work was originally titled Solo for Saxophone and

Band but was changed to avoid confusion with the later Solo for Alto Saxophone and Piano and has

only recently been published after nearly a half-century.2

The Solo for Alto Saxophone and Piano was written for Eugene Rousseau on the occasion of the First

World Saxophone Congress in Chicago and was first performed December 16, 1969, by Rousseau

and Heiden. The Intrada is Heiden's solution to blend the widely varied colors of the woodwind

quintet by the addition of the saxophone; it is the result of a commission by the National Association

of College Wind and Percussion Instructors. Written for the opening of Indiana University's Musical

Arts Center in 1970, the Partita for Orchestra utilizes the saxophone soloistically, especially in the

third movement. The Four Movements was written for Indiana University faculty members Eugene

Rousseau and George Gaber and is unique in Heiden's music for saxophone in its use of quarter-

tones.

Compositional Background

The Sonata for Saxophone and Piano was Heiden's first composition for the saxophone, his first work

to be published, and in the opinion of Eugene Rousseau, the first substantive sonata for the

instrument. The score indicates that the work was composed in Detroit, where Heiden and his wife

Cola, an accomplished pianist, had settled after coming to this country and where he met Larry Teal,

the score's dedicatee.

Heiden's wife was rehearsing with Teal for a concerto appearance with an orchestra and

Heiden was impressed with his beautiful tone quality and musicianship; he promised to

compose a work for him and the result was the famous Sonata for Saxophone and Piano. 3

Teal and Heiden gave the first performance on April 8, 1937.

Before his acquaintance with Teal, Heiden had a different impression of the instrument:

The saxophone was still for me and around that time in Europe, an instrument of popular

music. I was not familiar with really any literature for saxophone in a serious field. 4

It was about this time that Hindemith, Heiden's teacher, wrote a series of sonatas for wind

instruments. Heiden continues:

I remember showing the piece to Hindemith when he came to Detroit on a visit in 1939. I

played it for him and he liked it very much and recommended it for publication through

Associated Music Publishers, who were his publishers at that time. They were the American

2 Canfield, "Interview," p. 8.

3 Canfield, "Interview," p. 7.

4 Canfield, p. 7.

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representatives for Schott and Schott of London. It was published in 1941 and was the first

piece of mine that ever was published. I sold the piece outright for $75.00, which constituted

three months rent for us and seemed an enormous amount of money. 5

Analysis

Perhaps the two most important qualities of Heiden's compositional style are the obvious

craftsmanship of his work and the influence of Hindemith. The latter quality diminished somewhat

after his immigration to the United States, while the former remains evident.

Yet as little as his recent works resemble those of his teacher, certain stylistic traits have been

retained and further developed. These include an impeccable sense of counterpoint, driving

rhythms (in fast movements) , exciting musical climaxes, and an unfailing sense of line. His

harmonies over the years became more dissonant, but Heiden maintains even in his most

recent works a sense of harmonic continuity found in the music of few composers today. 6

According to Baker's Biographical Dictionary, Heiden's music follows Hindemith’s theories of

polyphonic texture and neo-Classical structure.

The Sonata, which stands at a pivotal juncture in Heiden's career, exhibits each of the characteristics

described above. Newly arrived from Germany and separated from Hindemith, Heiden found it

necessary to develop more fully his own musical personality while drawing upon the lessons of his

teacher. The result in 1937 was his first composition to be published and "the saxophone sonata that

Hindemith would have written.”7

A contrapuntal texture is prevalent in the sonata. Chord sonorities are often tertian, although quartal

harmonies occur in all three movements. Octaves in the piano are frequently employed to signal the

close of a section as well as the end of each movement. Crossrelations, especially between the

saxophone and piano, and rhythmic displacement of melodic material are distinguishing

characteristics of this neo-classical composition.

First movement

The first movement of the Sonata provides an unusually clear twentieth-century example of sonata-

allegro form. Major sections are articulated by changes of tempo and there is a typically contrasting

second theme and a recapitulation. One twentieth-century device is the diminished fifth relationship

between Theme I and Theme II in the exposition; the themes are at a perfect fifth in the

recapitulation.

The tonal area of B-flat is announced by Theme I. The opening five notes span the interval of a

minor third, which is characteristic of many of the themes in this sonata.

5 Canfield, pp. 7, 9.

6 Canfield, "Appreciation," p. 6.

7 Master class with Eugene Rousseau, Indiana University, Bloomington, IN, 10 March 1980.

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Example 3.1. Heiden, Sonata, Mvt. I, mm. 1-4.

Heiden SONATA FOR ALTO SAXOPHONE AND PIANO. Copyright 1943 by Schott & Co., Ltd.

Copyright Renewed. All Rights Reserved. Used by permission of

European American Music Distributors Corporation, sole U. S. agent for Schott & Co., Ltd.

A typically vigorous first theme of four-measure phrases is presented, and is notable for the

prevalence of dotted rhythms. There is a great deal of major/minor third ambivalence throughout the

sonata; an early example is found in m. 2. The use of quartal harmony (m. 12) and of melodic fourths

(mm. 7 and 8) is noteworthy. Closing out the first theme area, the first phrase of a transitional

passage is constructed of alternating 2/4 and 3/8 measures; an accented F pedal is prominent. In the

second phrase of the transition (m. 35) minor thirds are prominent as saxophone and piano exchange

material. A ritard helps to complete closure of the first theme area.

Theme II is in the key of E major, with a much slower harmonic rhythm – a pedal E is maintained for

the first seven measures (mm. 42-48) and, later, for ten and a half measures to close the second theme

area (mm. 58-68). Perhaps to compensate for the slower harmonic rhythm, phrases are three bars in

length, slightly shorter than in Theme I. The interval of a minor third is again important.

Example 3.2. Heiden, Sonata, Mvt. I, mm. 42-47




The final eight measures of the second theme area involve a pedal E. Above this is a contrapuntal

motion of an almost complete chromatic scale, hidden by octave displacement (mm. 61-68). The

triadic closing theme (m. 69ff) plays on the major/minor third ambivalence noted earlier, shifting

from E-flat major to D major and from F major to D-flat minor; a minor third (m. 71) is expanded to

a major third (m. 72) to bring the exposition to a conclusion above a second inversion chord.

The closing theme takes on greater significance in the development. Triadic outlines in dotted

rhythm, often agogically accenting a minor third, permeate almost the entire treatment of the first

theme area, often with major/minor shifts and chromatic "sliding." The filled-in interval of a minor

third is also prominent. The transition theme is this time in the piano (above a trill in the saxophone,

m. 99); when the saxophone takes the lead (m. 105) it has an accented D pedal which in m. 114

begins to move down a fifth to G and to close manipulation of the first theme area.

A brief development of the second theme area begins in the tonality of A (m. 119) as the two

instruments trade phrases. Material related to the second part of the transition (found originally in

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mm. 36-41) draws the section to conclusion. The development is set off from the re-transition by a

poco ritard and a tempo (mm. 132-133). Material is drawn from the exposition's closing theme.

A strong sense of recapitulation accompanies the return to the tonality of B-flat with Theme I. A

second statement of Theme I (m. 151) is treated sequentially – the second beats of mm. 151, 153,

155, and 157 (the pitches F, G, A, and B-flat) lead to Theme II on C (m. 159). The second theme

area is now in the tonality of F, in a fifth relationship to the central tonality of B-flat; the dotted

rhythm of Theme I has now invaded the accompaniment of both themes. In the final statement of

Theme II the minor third is now a major third.

Example 3.3. Heiden, Sonata, Mvt. I, mm. 171-173.




The section concludes in a manner similar to the conclusion of the exposition, both melodically and

in the final second inversion chord, this time at a relative major relationship to the final chord of the

exposition.

A section marked poco meno mosso (mm. 183-188) uses material from the second phrase of the

transition and sets up a coda marked a tempo (rom. 189ff) which recalls the first theme area. Each of

the outer movements has a similar episode in which a very brief and lyrical section in slower tempo

serves to prepare a concluding push to the end of the movement. The major/minor third ambivalence

recurs in mm. 191-192 (G vs. G-flat) and in mm. 196-197 (C vs. C-flat). The second phrase of

Theme I in augmentation brings the movement to its conclusion.

Second movement

This movement, with a tonal center of C, may be described as a five-part rondo (A-B-A-C-A). The A

theme is similar to Theme I of the first movement in the importance of the minor third and that in

each theme there is an expansion of intervals.

Example 3.4. Heiden, Sonata, Mvt. II, mm. 1-7.




The interval of a perfect fourth is important to the accompanying harmony. Elisions (mm. 16 and 31)

add to the sense of propulsion, as does a displacement of the downbeat (compare mm. 6 and 7 with 9

and 10, and mm. 16-18 with 19-21). In mm. 6-7 and 9-10 Heiden also inverts the piano texture. A

secondary motive (mm. 17-18) is also subject to rhythmic displacement.

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Example 3.5. Heiden, sonata, Mvt. II, mm. 17-22.




The principal theme makes a brief excursion to the tonality of F (m. 31) before restating the original

tonality of C (m. 37). Material begins to change harmonically (m. 44) and melodically (m. 45).

Displacement of the downbeat and inversion of the piano texture are again important.

A contrasting B section (mm. 58ff), in the tonality of A (a relative minor relationship to the opening

tonality of C), emphasizes melodic intervals of a fourth. This was foreshadowed by the harmonic

fourths of the A section. Pedalpoint is important, notably a tonic pedal (mm. 58-61) which is a foil

for more expansion of intervals.





The second phrase of the B theme appears to be drawn from m. 2 of the A theme.





Saxophone and piano exchange the B theme, first at the interval of a perfect fifth (m. 67) and then

contrapuntally at the interval of a diminished fifth (m. 79) before the saxophone finishes its phrase.

Sequential motion in both parts provides rhythmic energy for a return to the second A section at m.

106. In this brief restatement a descending figure first heard in m. 119 is treated sequentially to lead

to the new tonal center of A-flat for the third theme area. As expected, the C section (mm. 133ff)

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provides the greatest contrast within the context of a rondo. Its more lyrical theme makes extended

use of a dotted rhythm to circle a minor third above and below a central note.





The theme is used in an imitative texture (m. 149) and, later (m. 166), in combination with the A

theme. Use of pedalpoint against a rhythmically insistent counterpoint is frequent. At m. 178

material is exchanged, the saxophone taking material from the A theme and the piano taking material

from the C theme.

Sequential treatment is again employed to lead to a recapitulation of the A theme (m. 209) in its

original tonal area of C. The piano, however, simultaneously provides a contrapuntal statement of the

B theme. This interplay continues until m. 224, at which point the piano recalls the C theme. This

recollection is alternated with a fragment of the A theme in the saxophone. The texture recedes to a

quiet conclusion except for the open fifths C and G played fortissimo by the piano at the very end.

Third movement

The third movement, marked Adagio followed by Presto, presents a slow introduction and another

five-part rondo (A-B-A-C-A), this time more greatly modified than in the second movement. The C

section is almost developmental in character. Like the first movement, the Adagio returns briefly

before the conclusion. Although some consider the Adagio and the Presto to be separate movements,

Heiden has stated:

I consider the last movement of the Sonata to be one movement; the return of the thematic

material makes it so.8

The Adagio introduction may be considered a compound ternary structure with a tonal center of F

minor. The first A section begins a motive which, like so many other motives in this work, spans a

minor third; the dotted rhythm and the "circling" effect bring to mind the C theme of the preceding

Vivace movement. The minor sixth interval (m. 1) will prove to be distinctive and the perfect fourth

first heard in m. 3 has significance throughout the movement.

8 Ronald Caravan, "Bernhard Heiden’s Sonata for Saxophone: Some Observations on Its Form and Content," Saxophone

Symposium vol. 10, no 4 (Fall 1985): p. 15.

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Example 3.9. Heiden, Sonata, Mvt. III, mm. 1-5.




A second phrase (m. 6) has a certain "open" feeling because of the prevalence of the interval of a

fourth both melodically and harmonically. In mm. 8-9 the second phrase recalls mm. 3-4, and

especially the A motive an octave higher and displaced by a dotted quarter-note. The interval of a

fourth (B-flat to E-flat, m. 4) is expanded to a fifth (B-flat to F, m. 9) to restate the motive on a new

pitch level of F with quartal harmony. The A theme is presented rather completely at that pitch level

(mm. 11-13) before winding to a close (m. 14).

The major/minor third ambivalence noted in the first movement is particularly evident in the B

section as three times a G-sharp/A-natural is played within the context of an F chord (mm. 14-15). In

m. 18 the saxophone plays the contrasting material from the piano, but in mm. 19-20 expands the

piano's perfect fifth of mm. 15-16 to a minor sixth, already identified as an important interval in the

Adagio.

The return of the A theme (m. 22) is differently harmonized as the piano descends to an F

major/minor seventh chord which functions as a dominant to the B-flat tonality of the Presto. The

saxophone's final three pitches are in augmentation of the previous three; the fermata sustains the

saxophone's A-flat against the F major/minor seventh in the piano to preserve the major/minor

ambivalence.

The A theme of the first section of the rondo (m. 28) is a stream of sixteenth-notes, which exhibit

several characteristics found in other themes of the Sonata: an initial distance of a minor third, a

circling effect, a tendency to expansion, and an interchange of major and minor thirds. The pitch

contour is similar to the A theme of the Adagio. Identifiable with the tendency to expansion is a step

progression in the theme, spaced at equal distances of ten sixteenth-notes.

Example 3.10. Heiden, Sonata, Mvt. III, mm. 28-39.




While the tonal center is clearly B-flat, neither a major nor a minor third appears until m. 32. Cross-

rhythms are frequent, as found in mm. 33-42.

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A brief piano interlude contrapuntally prepares a restatement of the head of the A theme in the

tonality of C (m. 60). The almost simultaneous presence of a major and a minor triad in the

saxophone part is again found (mm. 69-74). A passage in canon at the fifth is initiated by the piano

(m. 87) and joined by the saxophone (m. 90); cross-rhythms are again employed.

The first contrasting section B (mm. 102ff) presents a repetition by the saxophone of its material from

mm. 10-13 of the Adagio. The piano harmony at the beginning and end of this segment are also the

same as the introduction.

A transition (mm. 114-130) leads to the second A section (mm. 131ff). The piano's imitative texture

is based on the theme of that section and returns to the original tonality of B-flat with a dominant

pedal (m. 131) while the saxophone presents the A material. Again, counterpoint and cross-rhythms

are prevalent.

The second contrasting section C (mm. 146ff) is quite lengthy in comparison to the other sections and

is developmental in character. Like the B section before, the C section repeats a passage from the

Adagio, although this time in transposition down a fifth from F to B-flat -- mm. 146-158 are the

equivalent of mm. 14-18. The saxophone also repeats material, but at the original pitch level -- mm.

158-168 is the same as mm. 18-21. The saxophone presents the A theme (mm. 28-51) a perfect

fourth lower (mm. 169-192; mm. 189-190 is an exception) while the piano develops sequentially a

more sparse version of the C material. There is a reversal of sorts (mm. 193-203) as the saxophone

plays a perfect fifth higher material from mm. 6-9 of the Adagio and the piano recalls the A theme,

first sequentially as the saxophone plays in a different order mm. 71-78. In m. 213-218 the piano

presents mm. 87-92 a major second lower before moving sequentially to m. 225. The saxophone

(mm. 218-238) recalls mm. 1-5 of the Adagio a perfect fourth higher. The duple figure in the

pianist's left hand (m.224) creates a feeling of arrival (m. 225) at which point the piano takes the

saxophone's material (begun in m. 218) in a canon at the octave. The saxophone (m. 245) takes up

the Adagio material where it had left off, playing mm. 6-14 of the Adagio first a minor third higher

and then (m. 252) at the original pitch; B-flat, then C, pedals dominate the piano accompaniment. A

hemiola in the pianist's left hand leads to an interlude marked Adagio.

The return of the Adagio (mm. 260-264) is an exact restatement of mm. 10-13 displaced by three

eighth-notes until the pitch A-flat is sustained (mm. 263-264). The last sonority of the Adagio has

dominant seventh qualities, although with C-flat rather than C-natural; there is no major/minor

ambiguity as there was in the final measure of the introduction.

The final A section (mm. 265ff), marked Presto molto vivace, returns to B-flat and begins as an exact

recapitulation of the A theme. A dominant pedal (mm. 274-277) marks departure as does a repetition

by the saxophone (m. 276) which is taken by the piano (m. 278). The A theme is expanded by the

saxophone to three-bar phrases over an accompanimental texture not heard since the end of the first

movement. The final cadence is a chromatic descent in the piano -- interrupted by minor thirds --

from F to a B-flat major chord.

Common Interpretative Practices

Recordings of Heiden's sonata by Brian Minor, Sigurd Rascher, Eugene Rousseau, and Donald Sinta

were selected for study. The pianists on the recordings were, respectively, the composer's wife Cola

Heiden, Russell Sherman, Helmut Deutsch, and Nelita True. There is no recording by Larry Teal, to

whom the work is dedicated, or by Heiden himself as pianist. Sinta, however, is Teal's best-known

student and was selected to succeed Teal upon his retirement from the University of Michigan.

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The performances were timed, and there was found to be a difference of one minute and fifty-one

seconds between the longest and the shortest (Rousseau -- 15'32" and Minor -- 17'23"). The greatest

difference between the timings of a single movement was fifty-four seconds in the first movement,

Rascher playing 5'43" and Minor 6'37".

TABLE 3.1.

Timings of the Saxophone Sonata by Heiden

Movement Minor Rascher Rousseau Sinta

I 6'37" 5'43" 5'56" 6'16"

II 3'16" 3'21" 3'06" 3'13"

III 6'30" 6'36" 6'30" 7'00"

Total 17'23" 15'40" 15'32" 16'29"

Heiden does not use metronome markings to indicate tempos, but employs only standard Italian terms

such as allegro, vivace, adagio, and presto. Relatively few tempo changes within the movements are

indicated, none at all in the second movement. There are, however, additional tempo changes

interpolated by the performers, which are discussed below.

TABLE 3.2.

Tempos of the Saxophone sonata by Heiden

Movement/Tempo Minor Rascher Rousseau Sinta

First movement

"Allegro"

Exposition

Theme I MM=124 152 138 138

Theme II 116 140 136 120

Development

Theme I 140 152 152 148-152

Theme II 130 148 140 124

Recapitulation

Theme I 126 156-160 140 140

Theme II 126 152 140 140

"Poco meno mosso" 80 80 96 80

Coda 128 156-160 144 148-152

Second movement

"Vivace" MM=160 148 160 154

Third movement

"Adagio" MM=38-40 34 34 28

"Presto" 78 88 84 88

"Adagio" 36-38 34 36 30

"Presto molto vivace" 92 96-100 84 90

The following generalizations concerning tempos may be made –

First movement: A great range of tempos is used to interpret allegro. The second theme is often

played more slowly than the first theme in the exposition and in the development, but not in the

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recapitulation. The presentation of the first theme by the piano at the beginning of the development is

often considerably faster than the initial presentation by the saxophone in the exposition. The Poco

meno mosso (mm. 183-188) is a substantially slower tempo, even to the point of approaching half

tempo. The coda (mm. 189-203), marked a tempo, is slightly faster than before, perhaps the result of

an accelerando which may begin at approximately m. 194.

Second movement: The tempo remains constant throughout, with very little or no change at the

appearance of the various themes. If vivace is understood as being quicker than allegro, then

Rascher' s first-movement tempo should be slower or his second-movement tempo should be still

faster. (It should be noted that this performance is the only one studied in which the pianist does not

[cannot?] play Theme I faster in the development of the first movement.)

Third movement: The opening Adagio is also subject to interpretation by a broad range of tempos.

The return of the Adagio (mm. 260-264) is at the original tempo. The coda (mm. 265-297), marked

presto molto vivace is sometimes played faster than the presto before and sometimes with an

accelerando beginning at approximately m. 281.

The first theme of the first movement presents several questions of articulation. Throughout the

Sonata Rousseau most consistently performs the articulations as they are written. The performance of

the first movement by Sinta is unique in that he consistently tongues the eighth-note which follows

the four anacrustic sixteenth-notes; m. 1 is an example. The tongued eighth-notes of m.3 are played

broadly by Minor and Rascher and much more distinctly by Rousseau and Sinta; the same is true in

similar occurrences at mm. 11 and 139. The downbeats of mm. 25-28 form a whole-step motion but

each of which are approached by different articulations: by a slur into m. 25, tongued downbeats in

mm. 26 and 27, and a slur into m. 28. Sinta articulates the measures as written, Rousseau tongues the

first three downbeats, Rascher slurs into all four measures, and Minor articulates as written except for

the addition of a slur into m. 27. All the saxophonists slur the octave B-flats of m. 27 to match the

slurred octave C's of m. 28. All performers also observe the ritard in m. 41; Rascher does the most

and Minor, the least.

The sixteenth-notes of m. 12 begin a sequential pattern; only Rousseau slurs into the downbeat of m.

16 as is previously indicated at a different pitch level in m. 14. Only Sinta tongues the B on the

second beat of m. 17; the others slur into it in the same manner as is written two beats later.

The second theme is interpreted rather uniformly in these recordings. Minor chooses to emphasize

the third beat G-sharp in m. 56 and the first beat E in m. 57. In the closing theme Minor breathes

after the half-note in m. 68 and the other saxophonists breathe after the half-note in the next measure;

in addition, Sinta breathes after the dotted half-note in m. 67, before where may be heard the pick-up

note to the closing theme. The fermata to close the exposition in m. 75 is approached with no ritard

by Minor and Rascher and with a slight slowing by Rousseau and Sinta.

The development presents relatively few differences of interpretation. In mm. 83-85 and m. 91,

however, Rascher and Sinta depart from the score. Sinta breaks the slurs in mm. 83 and 91 to

breathe, and Rascher slurs each dotted eighth- and sixteenth-note pattern in each of the five bars. The

poco ritard in m. 132 is observed in all performances; Minor's performance slows the least. Rascher

and Sinta add a slight accelerando to approach the recapitulation in m. 137.

Each of the saxophonists adds a crescendo in m. 152 to parallel the crescendo in m. 154. Both

Rousseau and Sinta slur into the triplets in mm. 156 and 158; Minor tongues the first note as written

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and Rascher seems to tongue the first time and slur the second. The close of the section before the

Poco meno mosso is variously approached. Minor makes no slowing of tempo, Sinta a slight ritard,

Rascher and Rousseau more so. All performances add a fermata to the note before the written

fermata on the quarter-rest in m. 182. The saxophone passages in the Poco meno mosso are

interpreted to increasing degrees of freedom by Minor (rather strict) through Rousseau, then Sinta, to

Rascher (the least strict). The piano fermata (m. 187) is given time by the saxophone in all

performances except Minor's. Sinta interprets mm. 184 and 187 each in the same way; that is, the

pianist's half-note fermata in each measure is held for two beats before the saxophone entrance.

The allegro conclusion presents problems of where to breathe which receive varied solutions. Minor

and Rousseau breathe at the ends of mm. 197 and 200. Rascher and Sinta breathe on the downbeat of

m. 194 and after the fourth beat of m. 197; Rascher also breathes after the first beat of m. 197. Sinta

changes the articulation by tonguing the first notes of the third beats of mm. 191 and 192. Rascher

chooses to tongue each note of mm. 198-200. None of the saxophonists plays the final note slap-

tongue as written.

In the second movement, only Rousseau observes the articulations indicated. Minor, Rascher, and

Sinta add a slur into the downbeats of mm. 3 and 4 and all similar measures in this rondo movement.

Minor and Rascher extend the slur of m. 8 into the second beat of this and all similar measures. Sinta

changes the articulation of m. 8 and all similar measures by removing the slur and tonguing all notes.

The pianist's final chord is played softly in the Rousseau performance and loudly in the others.

The question of where to breathe is important in the adagio of the third movement. It should be noted

that Rousseau's phrasing, which differs from the other saxophonists, was determined upon in

agreement with the composer. In the first phrase (mm. 1-5) Minor, Rascher, and Sinta breathe

between the G and the C of m. 3; Rousseau breathes after the C on the downbeat of m. 4. Similarly,

in m. 12, Minor, Rascher, and Sinta breathe between the A and the F-sharp; Rousseau breathes after

the F-sharp. In m. 23 Minor, Rascher, and Sinta again breathe between the E and the C-sharp;

Rousseau breathes on the downbeat of the next measure. Minor, Rascher, and Sinta breathe between

the G and the C of m. 24; Rousseau again breaks the slur in order to breathe on the downbeat of m.

25.

Minor makes almost no ritard in m. 27, which is marked poco ritard, and Sinta makes a little more.

Rascher and Rousseau make rather large ritards, extending back into m. 26. Both Rousseau and Sinta

make use of the color of the saxophone sound without vibrato in mm. 18-19; they repeat the color

when the material returns in mm. 158-162.

Questions of articulation come to the forefront in the presto section of the third movement,

specifically as to whether one should slur into or tongue the accented downbeats of mm. 39 and 77.

In these related passages the saxophone score indicates that the downbeats should be tongued

although the piano score shows an articulation at m. 39 and a slur into m. 77. Rousseau tongues the

downbeat in each measure and the other saxophonists slur into the downbeat in each measure. In

addition, Rascher slurs into the accented downbeats of mm. 47 and 53. Accents in the presto section

are generally played with separation in these performances, although Minor is an exception and

Rousseau lengthens the notes in mm. 54-55. Sinta seems to give the clearest sense of articulation

throughout the section, especially when the articulation shifts from one beat to another as in mm. 60-

87.

13

The return of the adagio (mm. 260-264) causes a return of attention to problems of where to breathe.

The passage is an almost exact repetition of mm. 10-14 shifted by one beat within the measure. Each

of the saxophonists except Rascher offers the same solutions by breathing at the same points in the

phrase as before.

The short coda, marked presto molto vivace (mm. 265-297), begins as a repetition of the presto (mm.

28ff). Mm. 274-275, which correspond to the earlier mm. 38-39, are repeated in mm. 276-277; the

repetition is emphasized in the score by accents on the downbeats. These accents are only slightly

noticeable in just one performance, that done by Sinta. The fortissimo-piano in m. 289 is also given

little emphasis in these recordings, although the performance by Sinta makes the most of this contrast

of dynamics.

Errors and Discrepancies

Saxophone score

The tempo, dynamic, and articulation indications listed below are found in the piano score and should

be included in the saxophone score.

First movement

mm. 15-16: slur from G to C

m. 17: slur first D to B

m. 27: slur octave B-flats

m. 35: add accent to F

m. 119: the B is an eighth-note, not a quarter-note

m. 152: add crescendo

m. 203: omit "+"

Second movement

mm. 1, 37, and 106: first note is "f," not "fp”, second note is "p"

Third movement

m. 20: the second G is an eighth-note, not a quarter-note

mm. 38-39: slur into B-flat

mm. 76-77: slur into E-flat

m. 206: add accent to B

m. 218: "mp crescendo," not "mf"

m. 225: add "f"

mm. 253-254: move "crescendo" from m. 253 to m. 254

m. 289: place "ffp" under B

Piano score

First movement

mm. 15-16: add slur G to C in saxophone part

m. 152: add crescendo to saxophone part

m. 156: add crescendo to saxophone part

Second movement

mm. 1, 37, and 106: first note is "f," not "fp”, second note is "p"

Third movement

m. 15: final right hand chord is C-G-sharp-A-C (add sharp to G, natural

14

to A, and natural to C)

mm. 76-77: add slur into E-flat in saxophone part

m. 206: add accent to B in saxophone part

Fingerings and Suggestions

First movement

Tempo of MM=126 (minimum)

m. 16: Right Side Key 1 (RSK 1) B-flat fingering

m. 20: observe decrescendo to assume an accompanimental role

m. 41: make only a slight ritard

mm. 58-60: covered C-sharp fingering (octave key and ring finger of left hand, first, second,

and third fingers of right hand); lift left hand ring finger to play high C-sharp

m. 81: RSK 1 B-flat fingering

mm. 91-104: bis key B-flat fingering, trill to C by using RSK 1 and 2

m. 104: play as

mm. 133-136: accelerate into the recapitulation at m. 136

m. 152: play a crescendo into m. 153

m. 181: Left Side Key 1 (LSK 2) D fingering

m. 182: Right Side Key 4 (RSK 4) E fingering

m. 185: use low D-flat key to play A-flat

m. 188: play a tempo on beat 4

m. 194: it is possible to accelerate

m. 203: omit slap-tongue

Second movement

Tempo of MM=144 (minimum)

m. 11: Right Side Key 2 (RSK 2) C fingering;

Right Side Key 3 (RSK 3) D fingering

m. 12: RSK 4 E fingering

mm. 23-29, 31, 42: covered C-sharp fingering

mm. 47-48: leave the A-flat key open for the grace notes; LSK 1 B-flat fingering

m. 49: LSK 1 B-flat fingering

m. 66: "5" A-sharp fingering; LSK 2 D fingering

mm. 71-73: leave the low C-sharp key open through G-sharp

m. 85: LSK 1 B-flat fingering

m. 90: side key G-flat fingering

m. 104: side key G-flat; covered D-flat fingering

m. 111: covered C-sharp fingering

m. 116: RSK 2 C fingering; RSK 3 D fingering


m. 121: give full value to the half-note

m. 131: "5" B-flat fingering, then bis key fingering

m. 161: covered C-sharp fingering for the eighth-note

mm. 162-163: side key F-sharp fingering





15





mm. 237-239: "5" A-sharp fingering

Third movement

Tempo of MM=42-48 for the adagio

m. 1: LSK 2 D fingering


m. 10: give full value to the E-flat

m. 14: LSK 2 D fingering; RSK 3 E-flat

m. 19: RSK 3 E-flat fingering

m. 22: LSK 2 D fingering


Tempo of MM=84-96 for the presto

mm. 63-64: LSK 2 key only for sixteenth-note D's; bis key B-flat fingering

mm. 79, 96: covered C-sharp fingering

mm. 96-100: maintain tempo


m. 161: RSK 3 E-flat fingering

m. 264: LSK 2 D fingering; RSK 3 E-flat fingering

m. 282: bis key B-flat fingering with RSK 1 and 2 for C fingering

m. 288: same fingering as m. 282 for first C

m. 293: “5" B-flat fingering

m. 297: lightly tongue the last note

23

APPENDIX OF SUGGESTED FINGERINGS

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A TEACHER’S GUIDE TO THE INTERPRETATION OF … FOR SAXOPHONE... · Duo for Saxophone and English...

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