| 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 |