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Compared to the traditions and growth of western art music
in southern and central Europe before the twentieth century, Sweden's and
Swedish composersí contributions can be considered as being of modest dimensions.
They have had a fairly insignificant influence on overall trends and developments
within western art music. Swedish composers such as Johan Helmich Roman (1694-1758),
however, provide an harbinger of a musical life to come in Sweden, even though
Roman's music remains comparatively unknown around the world. With a more
international reputation during his own time, Franz Berwald (1796-1868) appears,
even today, as the most internationally recognized Swedish composer. Others,
such as Hugo Alfvén (1872-1960) and Wilhelm Peterson-Berger (1867-1942) have
taken elements of traditional folk music into their compositions and thereby
given birth to a new style of writing among Swedish composers. Allan Pettersson
(1911-1980) and Erland von Koch (b.1910) can both be considered among those
who have followed upon this tradition and have, during the twentieth century,
created a repertoire significantly influenced by Swedish folk music. Among
those first established Swedish composers in the twentieth century, Lars-
Along with the
strong tradition of saxophone playing at the Conservatoire National Supérieur
de Paris, Sweden has developed into a second strong center for performing and
development of saxophone playing in Europe. Beginning with Rascher's and
Larsson's initiative in 1934, the Swedish saxophone repertoire continued to
grow through Rascher's collaboration with other Swedish composers such as
Erland von Koch (b.1910) and Werner Wolf Glaser (b.1910). During the late
1950's through the end of Rascher's active years, it expandedÝ further with Rascher's daughter Carina, and
their colleague John-Edward Kelly. For the same reason by which Rascher fled
Sweden and Europe in 1938, another Saxophonist, Jules de Vries (1905-1981),
fled the World war II and arrived in
Sweden, replacing Rascher's absence from the Swedish music life during the
1940's and 1950's.
Jules de Vries
was born in Amsterdam and from the age of ten to seventeen he studied the cello
with the Russian cellist Alexander Schuster. His family moved to Norway in
1924, due to inflation and political unrest. In Oslo he started to study the
clarinet with B. Valdar. Without formal instruction, he taught himself the
saxophone. When Norway was invaded by the German army in 1942, de Vries fled to
Sweden. After studying with Marcel Mule in Paris from 1946 to 1948, de Vries
began a busy and successful career as a saxophonist, as both a recitalist and
an orchestral soloist. He toured continuously for six years, performing a
sizable repertoire. He recorded eighteen concertos for radio broadcasts in all
of the central European countries, but not in England (which would not grant
him a work permit). In 1954, he became afflicted with a severe cramp in his
jaw, which brought an end to his intensive six-year career as a saxophone
soloist. De Vries then returned to Sweden and played cello as a principal in
orchestras and toured the Scandinavian countries performing chamber music. He
continued to teach cello and saxophone, and his active life and love of people
gave him a great insight as a teacher.[3]
For saxophonists in Sweden, De Vries stands therefore, primarily as the
originator of Swedish saxophone pedagogy. Between 1973 and 1980, at Ingesunds
Musikhögskola in Arvika, Jules de Vries built a strong saxophone class which
quite naturally spread influences to Kungliga Musikhögskolan in Stockholm.
Ingesunds Musikhögskola and Kungliga Musikhögskolan in Stockholm have
maintained themselves as the two major institutions for saxophone pedagogy and
performance in Sweden. Jules de Vries was also the founder of the yearly
saxophone symposiums, international master classes and workshops which have
been held at Ingesunds Musikhögskola since the 1970's. Players from all over
the world have met and exchanged experiences in solo performance as well as
chamber music. In addition to Swedish saxophone faculty and soloists,
distinguished performers with an worldwide recognition, such as Daniel Deffayet
(Paris), Jean-Marie Londeix (Bordeaux), Leo van Oostrom (Amsterdam), Frederick
Hemke (Chicago) and Claude Delange (Paris), have over the years been invited as
instructors. In 1992 the Saxophone
workshop at Ingesund reached its zenith by holding the first Jules de Vries Saxophone competition.
Besides international competitions for saxophone held in Geneva every twelfth
year, the Jules de Vries Saxophone
competition was a unique opportunity for performers to experience a
worldwide gathering of musicians, pursuing the art of saxophone playing. The
jury itself was constituted on a international basis (Tokyo, Paris, London,
Helsinki, Vienna, Berlin and Chicago).
Besides de
Vriesí importance for the teaching of saxophone, various Swedish composers
dedicated compositions for him: Triad (1950) by Göte Carlid (1920-1953),
Fem expressioner (1950) by Sven-Eric Johansson (b.1919), Sonatin
(1954) by Lars-Erik Sanner (b.1926),Ý Nio
solominiatyrer för altsaxofon op. 8b (1953) and Rapsodisk fantasie op.
8a (1953) by Maurice Karkoff (b.1927). These compositions, however, have
not established themselves as standard repertoire among Swedish saxophonists.
They cannot compete in recognition with some of the compositions written for
Rascher, especially the concerto by Larsson. Therefore, de Vries impact on the
development of the Swedish repertoire has to be considered as secondary, mainly
through his teachings, and will not be discussed further in this document.
Rascher's initiative, on the other hand, led to the composing of a concerto
which established itself as one of the most significant pieces of the Swedish
saxophone repertoire. It is worth an examination of the Larsson Concerto as a
point of departure for researching saxophone repertoire in Sweden and by so
doing, giving the composer his due credit for creating a significant interest
for saxophone playing in Sweden. To accomplish this, it is also necessary to
distinguish the composition's background in the tradition of western art music.
The overall
outline of this document will begin with a biographical overview of Larsson.
Significant articles by Larsson, such as ìHur jag börjande,"Musikvärlden,(1946)
will be paraphrased or partly quoted. Other articles of biographical value, or
published interviews, such as P.G. Alldahl, and others, îDen svenske
tonsättarens situation," Nutida musik 14 (n2 1970/71), Bergendal,
Göran. "Att flyga som Mozart," Röster i Radio-TV 35 (n.19
1968), Nordström, Sixten, "Lars-Erik Larsson," Konsertnytt (n1
1983/84), will be discussed as well. It must be understood that the
translations of quotes by Larsson, as well as paraphrased sections of Larsson's
own publication, have been translated as literally as possible. However,
Larsson's choice of expressions are often cloaked with well refined dualistic
meaning, analogies and/or humor. The author's attempt has been, when possible
or appropriate within the translated context, to illustrate Larsson's wittiness
by translations that are as comprehensible as possible. Still, the translations
do not do full justice to Larsson's unique way of expressing himself.
Brief
attention will be given to Sigurd Rascher, since it was to him that both this
composition and other important concertos were dedicated at the time. Rascherís
extraordinary technique made it possible for Larsson and his colleagues to
challenge new ranges and ways of expression that other performers had not yet
achieved control of. An actual analysis of Larsson's Concerto will follow. The
discussion which follows the analysis places the piece in the context of the
general development of the concerto genre from 1700 until the time of Larsson's
composition.
The chapter
"Analysis of Op.14" serves to determine the overall concerto form in
traditional terms, asserting that it is associated with the classic period and
the Mozartian style of writing. It will not be, however, the intent of this
chapter to address specific similarities to any of Mozart's compositions.
Rather, the intent is to describe Larsson's compositional procedures and
therein determine how this work has come into existence. The analysis will
discuss the selection of pitches and the phrase structure as well as the
various types of compositional techniques, such as functional harmony in
contrast to non-functional harmony, dodecaphonic forms, and poly-tonality. In
this way the analysis will distinguish the level of goal-directed motion within
certain sections, and discuss how traditional cadential formulas create tension
and relaxation. Further, it will discuss how those more or less tonal sections
stand in relationship to sections with a weaker tonal center, and whether or not this piece evokes a sense of
a specific tonality, or is a blend of a poly-tonal language. The overall intent
is to determine in what ways this composition contains classical elements and
which compositional features exemplify Larsson's personal tonal languages and
style.
Since the form
of Larssson's Saxophone concerto has
strongly neo-classical features, it might be natural to discuss and
compare it only with pieces and
composers from that period. There is good reason to extend this discussion into
covering, more or less, the entire history of the concerto genre. By so doing,
it will be possible to discuss Larsson's style of compositional writing in the
context of a similar scope of pieces and stylistic awareness with which Larsson
was familiar and in which he was educated. It is, therefore, possible to find
elements in Larsson's concerto that harken back to the very earliest examples
of this genre. There are features as well that are generated from compositional
techniques developed during the nineteenth century. The Larsson Saxophone
Concerto's relation to the history of the concerto genre will be discussed
under the chapter "Op.14 Emerging From the Past."
A few
concertos have been selected which, in various ways, will be addressed as
significant works of the genre. A closer examination and comparison will be
given certain works. In the subchapter "Larsson's Adaptation of Early
Concerto Forms," the J.S.Bach Violin Concerto, BWV 1042, - the
adaptation from the Italian style - will be used as an analogy to Larsson's use
of classic elements, as well as Larsson's use of ritornello. C.P.E.Bach's
contribution to keyboard repertoire, which gave the instrument a new status
both within and outside Germany, motivated an examination of how a new solo
instrument was introduced and established, and how that relates to the way in
which Larsson introduced the saxophone into the concerto genre. The comparison
of C.P.E. Bach's Keyboard Concerto in D major, Wq. 43/2 and the Double
Keyboard Concerto in Eb, Wq. 47, with the Larsson Concerto will illustrate
modification of early ritornello form, showing features associated with the
classic period.
Under the
"Classical Influences," Larsson's compositional relationship to
Mozart will be discussed in the context of Mozart's Piano Concerto in C
major, K.503 and the Clarinet Concerto in A major, K.622. As a
further analogy to Larsson's use of classic elements, the analysis of Brahms' Violin
Concerto in D major, op.77 will be presented and compared with Mozart's Violin
Concerto in D major no.4, K.218. In this way, the document will be provided
with examples which define Larsson's manner of utilizing styles in comparison with predecessors who worked and
composed within traditional practices.
In the
subchapter "The Soloist," the approach to virtuosity in the
development of the concerto genre will be discussed. The virtuosity in Larsson's concerto will be illustrated in the
context of various classical and romantic solo concertos. The fact that Mozart,
as well as Larsson, wrote for an instrument that had not appeared in a solo
capacity before in this genre, will be considered in the discussion. Larsson's
use of thematic development and unification through transformation will be
associated with the use of thematic transformation among composers during the
romantic era, discussed under subchapter "Thematic Metamorphosis."
The subchapter "There is Virtue in Moderation," will conclude and
summarize the chapter "Op. 14 Emerging From the Past."
The chapter
"Contemporary Influences," will focus on Larsson's relation to
atonality and his adoption of Hindemith's compositional techniques. The chapter
"Larsson's Offspring in the Saxophone Repertoire," will naturally
determine the succeeding outcome, following Larsson's contribution to the
repertoire.
The
"Annotated bibliography of Lars-Erik Larsson," which has served as a
research tool will also function as a reference to further readings. The
bibliography intends to cover all publications containing writings about or of
Lars-Erik Larsson and his music, in order to gain a broadened view of previous
documentations and interpretations of Larssonís compositions. All writings
referring to any of Larssonís compositions have been included. Only items
referring to the saxophone concerto have been included in "discography"
and in "Editions of Music." A complete discography and complete list
of editions can be obtained through the Swedish Music Information Center -
Svensk Musik. A compiled list of published books and articles of and about Larsson
has not previously existed. This bibliography is therefore of significance for
further research on the composer. Those bibliographies of music that contain
analytical reviews or general comments on Larssonís compositions has been
included and sorted under books. Bibliographies that only list Larssonís
compositions without providing anything but basic information on a particular
composition have been excluded. For each category of publication, items are
listed in alphabetic order under the author. Items of the same author are listed
alphabetically under the title. Where reprints or preceding editions occur, a
chronology has been applied.
The process of
compiling the bibliography has followed the order in which the material is
presented, e.g., dictionaries and encyclopedias were first examined, listing
those which contain articles under the name of the composer, followed by books,
periodicals and journals. Newspaper articles have been located by examining
lists of publications found in various periodicals. In addition to brief bibliographies
in dictionaries and encyclopedias, RILM and the Music Index were
the most successful research tools. The journal Svensk Tidskrift För
Musikforskning, listed publications published during particular years,
which expanded the scope of periodical and newspaper articles. Svensk
Tidskrift För Musikforskning is listed as a research tool but also appears
as well under periodicals and journals. The significance of each item for
research can be determined by the length of the annotation. Evaluation are
based on how detailed and original statements are to be found in a particular
item. Items containing interviews or quotes of the composer have been given
priority in terms of scholarly value. One-sentence annotations usually indicate
that items only contain information that appears in same format or in extended
versions in other major books or articles. Annotated items that are not
available at Northwestern University have been received in photocopies from the
persons and institutions listed under "Acknowledgments." A few
Swedish dictionaries are available at the Swedish Museum, Chicago.ÝÝ
The two main
scholars on Larsson are unquestionably Göran Bergendal and Bo Wallner. In
addition to their publications Herbert Connorís writing and interviews with the
composer in Svensk musik seems to be of significance. Among Larsson's
own publications, the articles "Hur jag började" and "Missa
brevis" stand out as historical documentations by the composer.
Publications before 1945 appear to be rare, if they exist at all. The major
reason for this is probably the lack of
prominent Swedish musical periodicals between the middle of 1920's and
through the middle 1940's, compared with the existence of Dansk
musiktidsskrift (Denmark), Tonekunst (Norway), Musiikilehti
and Musiikkitieto (Finland).
According to Bo Wallner[4],
the policy among Swedish composers active during the 1930's was to not comment,
or discuss in writing their own music.
Subsequently, very few comments or reviews have been contributed to
Larssonís earlier compositions. A small but significant number of articles
appeared after the composers death in 1986. Overall, the main scope of
significant publications appears during the composer's most active period
(1950-1970). One of the purposes of writing this analysis is to make up for the
lack of reviews concerning Larssonís Saxophone Concerto, op. 14 and his
general style of writing during the early 1930's. Further, the author's
intentions are to illustrate the historical context in which this composition
appears and to determine what contributions it has made and what effects it has
had on the overall saxophone repertoire.
[1] Baker's Biographical Dictionary of Musicians, 8th ed. by Nicolas Slonimsky, "Glazonouv, Alexander", ìIbert, Jacques" (New York: Schirmer Books A division of Macmillan, Inc. 1992), p.633, 821.
[2] Svensk Musik - Swedish Music Information Center, Lars-Erik Larsson Verkförteckning April 1994, ( Stockholm : 1994).
[3]Harry R. Gee. Saxophone Soloists and Their Music 1844-1985. (Bloomington: Indiana University Press, 1986), p. 242-243.
[4]Bo Wallner,
VÅr Tids Musik i Norden, FrÅn 20-tal till 60-tal. (Stockholm: Nordiska
Musikförlaget, 1968), p.137.