Neo-Classicism
Larsson's attraction
to the classical period was a phenomenon appearing already in early years,
lasting as a basis and returning point throughout his life. But as noted, his
studies abroad did also bring some attempts of dodecaphonic procedures in the early 1930s. The Sinfonietta
(1932) contains dissonance not
occurring to the same extent in later neo-classical composition from the 1930s.
As a matter of fact, even though the Sinfonietta was a success, Larsson himself
expressed dissatisfaction and described it as containing too much tension and
being too complicated. It did not represent the ideals for which he was
striving.
I wanted to
write more simpler, smoother and lighter. It might appears pretentious, but I
wanted to revoke the law of gravitation.[1]
Thereby the
new period emerged, presenting a group of compositions bearing Mozart as
trademark, among them the Saxophone Concerto.
Written in the
inspiration of Mozart's music, the first movement of this concerto naturally appears
in sonata form. As shown in the charts below, there are clear divisions between
theme areas, and the alternation between solo episodes and tutti sections are
distinct in both exposition and recapitulation. As expected, the second theme
is more lyrical than the primary theme.
The transition is characterized by figuration in the solo part and partly
punctuated, partly contrapuntal accompaniment. For the primary theme and the
secondary theme Alberti bass is used.
Closing areas are scherzando-like and the development makes use of the
secondary theme, primary theme and the closing material. The expectations of
contrasting character of the themes, as found in the gallant style, are also
fulfilled (compare primary theme, secondary theme and closing material).
Wallner's interpretation confirms this analysis.
The
associations with the rococo and
classicism does not only apply to the overall means of expressions and some
individual details. These characteristics are to be found in the fundamental
form of the works. The saxophone concerto is a typical example, with strict
sonata form in the first movement....[2]
In the opening
Larsson seems to reverse some of the features of common practice of the double
exposition. Apart from most double expositions associated with the classical
period and the sonata form, there are concertos such as Mozart's Piano
Concerto in Eb, K.503, C.P.E. Bach's Keyboard Concerto Wq 43/2, and
even in Beethoven's Violin Concerto where the soloist enters in the
closing section of the tutti exposition, ending the first exposition together
with the orchestra. As a reversed analogy of this model, the primary theme is
taken up by the orchestra at bar 10, within the solo statement of the primary
theme. The repeat of the primary theme, at bar 18, entering on the fourth scale
degree, but cadencing in the opening
key, might also derive from variants of common practice of the double
exposition, where short modulation to the dominant takes place within the opening
exposition.
The exposition
and the recapitulation are almost of equal length, and the development is close
to half the size of the exposition. As expected, the development gives room for
virtuous display in the solo part, by exploiting the high register. So far,
everything appears to be extremely classical and considering only the description just given, the form could
resemble any concerto from the later half of the 18th century. However, a
closer examination of the harmony and the general pitch vocabulary used, reveal
novelties worthy of discussion.
Primary Theme Area
Already the
first five bars are ambiguous, in regard to which key area will be
established.
We can see how
the primary theme is constructed through a very regular phrasing, but if one would compare it with an classical or romantic
melody, a few details contradicting the tradition would be found. Within the
groups of pitches there is an ambiguity concerning their confirmation of a
traditional minor or major key area.[3]
The opening D
and F suggest a D minor tonality, which is emphasized by the opening A in the
solo part and the return to the same pitch on the third beat of the second bar.
However, by this time the C and Eb in the accompaniment de-emphasize the D
minor tonality. Even though a hint of a dominant sonority is heard in the end
of the third bar (A and C#), the continuously descending bass line leads down
to the G. The appoggiatura chord on the down beat of bar 5 implies that another key , g minor or c
minor, is going to be the key for the primary theme area. Continuing in the
solo part, though, the arrival on the C# (Db) at bar 7, supported by a G and a
E in the accompaniment certainly has a gravitational pull towards D minor. The
harmony shifts back towards G and ends unresolved by the final F# (leading tone
to G ) in the end of bar 9. Also a new descending line in the bass, Db-C-Bb-Ab,
from the middle of bar 7 to 9 leads to G or Eb or C minor, but does not really
resolve and instead slides into D again.
Here, at bar 10, the same dilemma is stated over again, but now with a
second primary theme in the solo part, which emphasizes the F and thereby the D
minor tonality. With the appoggiatura chord in 13, a seventh chord (F#=Gb) on
the sixth scale degree ( in C minor) could possibly anticipate the resolution
to a c minor tonality. Instead, the following German sixth chord (bar 14)
functions as a dominant substitute of D7 and it resolves properly to a G minor
tonality in bar 18. This down beat becomes the first arrival point of the movement,
with a convincingly established tonality. So far, the descending (and
ascending) major and minor thirds in the accompaniment has created an
non-functional progression.
By a closer
examination of the selection of pitches it can be possible to suggest that a
functional progression such as a circle of fifths is the underlying model for
the progression of the accompaniment. Thus, the opening D and F could be
interpreted as the fifth and the seventh of a G7 chord, resolving to C minor in
bar 2. The C and Eb can be explained as a diminished chord substituting a F#7
leading to B minor in bar 3. The B and D could be new incomplete dominant
seventh chord resolving to A. However, the F# in the solo part ( above the B
and D ) contradict this theory. The A and C# would function as a secondary
dominant to the following G in bar 4. In the next phrase the D and F# in end of
bar 6 has similar resolution to the following E and G (c minor) in bar 7. The
same E and G would then together with the C in the bas become the dominant for
the F and Ab (F minor) in the next bar, with the Bb in the bass as an
appoggiatura.
This dominant
relation through the accompaniment might have been thought of in the composer's compositional process, but together
with all the chromatic upper and lower neighbors in the solo part and the lack
of the roots of the progression just discussed, the goal directness has been
weakened, and most listeners would have difficulties in receiving this section
as harmonically stable and goal directed through a circle of fifths . On the
other hand, the steady rhythm in the accompaniment creates a drive forward and
the abrupt stop of the orchestra in 14 followed by an elaborate figuration in
the solo part certainly signal for a cadence and resolution at 18. Since the
melody here is restated a fourth higher than the opening it might be
interpreted in F minor ( if now the opening five bars was determined to cadence
in C). However, by the introduction of the B in 18 and the Eb in the following
bar ( which should have been a E if the passage was literally transposed) the
direction of the harmony is more likely to take another route than in the
opening. Because of the Eb, the preceding F and Ab could be explained as part of a Bb7 chord and
function as a dominant to the following Eb. This is in contrast to the
diminished chord substitute, discussed in the end of bar 2. Again, the upper
voices contributes with ambiguity therefore this fifth relation theory must be
left for a compositional background structure and not something audible.
A more
relevant definition of the structure would be the application of linear
counterpoint, which will be discussed in Chapter V of this document. It would
also be possible to say that Larsson created the progression merely by maintaining
the motivic idea in the accompaniment throughout this section. Even though the
bass line progresses towards an F tonality in bar 20, as the c minor was
anticipated in bar 4, the D and F# in the bass of bar 20 confirm the
anticipation of C, which is emphasized by the solo part's leap from G to Eb (
bar 20-21). The exact transposition of the solo part would have been a leap
from G to Db (20-21) and would then have resolve to the fifth in the dominant
of F. However, it resolved to the fifth
in G. By so doing, the phrase is still anticipating a cadenced in c minor but
with the solo part transposed to the fifth scale degree, in other words,
suggesting g minor. Therefore, the next phrase is as the opening (6-9),
harmonically anticipating a resolution to a C tonality, but with the solo part
appearing a fifth higher. Paradoxically, the bass line here (22-25) more
strongly confirms the arrival to C, than the bass line in bar 6-9, even though
the solo part suggests that the phrase is going to cadence a fifth higher, in
G. So, in order to agree with the bass line it converts one interval (as in
20-21) and instead of going from Eb to C# at
bar 25 (compare Ab to F# at the bar line of 9), it revolves to the D and
thereby ends as the fifth in a G chord. This cadence is much stronger than the
arrival point at 18, due to a recognizable cadence formula in the bass line. On
the contrary, the Db on the second beat of bar 25 quickly removes the
expectation of a resolution of this cadence to a C minor tonality.
In summary, of
the first theme area, it can be determined that a anticipation of a C
major/minor tonality has occurred, due to the appearance of German sixth
chords. As another gravitational force, G seems to be of significance. The
arrival of G minor in bar 18 is of importance, since it functions as a chord of
the second scale degree (appearing in the melody in the anticipated Key of F)
and, even for a short moment, establishes itself more strongly as a tonic than
did the opening D minor chord. It is obvious that a very traditional and
classic model is presented as the basis for the overall harmonic progression
and for the melodic contours of this first theme area. By establishing the
pattern of descending/ascending thirds, Larsson perverts a normal classic
progression and weakens the strength of clearly resolved cadences. This is due
mostly to the nonfunctional progression of descending thirds. On the other
hand, the regular phrase length and the simplicity of rhythmic unity,
associates it with the classic period. The frequent use of lower and upper
neighbors in the solo part, and appoggiaturas (as in bar 5), gives an emphasis
to classic traits. There is even a strong sense of symmetry within each phrase
of the solo part, which frequently start and end on the same pitch (octave) or
end a fifth or fourth away from where it started. Subsequently, tonality is
maintained even though the expected melodic language of the classic style is
highly modified. This modification is due mostly to the lack of strong
hierarchy between pitch levels.
In combination
with the non-functional progression in the accompaniment, it is difficult to
distinguish between chord members and leading tones. Moreover, classical features
such as; decorated down beats, triplets against duplets, homophonic texture
with subordinate accompaniment, are found. Additionaly, the harmonic
progression (no matter how it is analyzed) is meant to illustrate the simple
and clear harmony, in a slow harmonic rhythm, as it is known in the classic
era.
Transition
If the Db and
F in the preceding bar (25) are interpreted as C# and E# they might together
with the G ( G = a tritone from Db or a lower fifth of c#) be heard as a
dominant to the F# minor sonority that appears in bar 26. As with the D minor
opening of the piece, the bass line
again is descending, apparently through a row of non-functional thirds (with
the exception of the A, E and G in end of bar 27, resolving to a D in the
following bar), and then down to a German sixth chord at 30. This chord
corresponds , in terms of form, to the German sixth chord in bar 14, and by its
reoccurrence, the German sixth chord begins to establish itself as having a
dominant function. Even though it follows by a G tonality in bar 31
(corresponding to the resolution in bar 18), the resolution is not as confirmed
as in 18, due to the faster descending motion in bar 31 (compared to bar 18).
Viewing the
resolution in a broader perspective, it is now
interrupted by a resemblance of the descending and ascending thirds
(31-32), found in the first theme area. Here, the progression appears as a
string of incomplete secondary dominants descending in succession, followed by
a ascending retrograde inversion. The
resolution of the German sixth chord in bar 30 has thereby been prolonged to
the Eb in bar 33, which then slides down to a D. This D could have functioned
as a fifth in a G minor chord, and would have therefore created the same
resolution of the German sixth chord as occurred in bar 18. Instead, Larsson
choose to make use of the common tone relation between D major and F# minor.
The harmony is easily brought back to F# minor. At bar 34, the material in bar
26-30 is restated with the roles in the solo part and the accompaniment
reversed. Instead of arriving at the German sixth chord, the harmony now
resolves to A7 in bar 38. This A7
functions as a secondary dominant in the tonality of the secondary theme
(G minor). The D7 in bar 40 unquestionably prepares the harmony for G minor in
the secondary theme area, but the augmented sixth chord in 42-45, together with
the G minor create ambiguity in determining
whether the transition is really going to resolve to G minor. This
uncertainty is amplified by the lack of an expected dominant succeeding the
augmented sixth chord, and the following Bb7 in bar 46 misleads the expected
resolution to G minor. The Bb7 could be expected to be followed by another
augmented sixth chord which would then resolve to Ab. By instead leading into G
minor Larsson has created a dualistic directed harmonic motion, involving two
goals, Ab or G minor, which are, surprisingly not, chromaticly related, and
which reflect the tonal language that Larsson seems to be working in.
At the same
time, the Bb7 could also suggest a
resolution to an Eb tonality. By that, the actual goal (G minor) is a third
away from the expected arrival point (Eb). Thus, the interval between Eb G
minor stands out as a parallel to the
overall structural application of the thirds in the first movement.
In conclusion,
by isolating certain chords such as the A major chord at bar 39 and the D7
chord at bar 40 it is obvious that the classical method of modulating by fifths
provides the underlying model. The German sixth which appears at bar 30 also
suggest that there is, eventually, a pull towards G (minor). As to the primary
theme, the chromaticism between these
functional sonorities weakens the goal directed motion of the progression. The
triple against duple idiom is more prominent than in the primary theme area,
but the texture is more contrapuntal and imitative. Still, the style, such as
decorated downbeats and regular phrase length is maintained within a classical
model. Even if this section does not harmonically create a convincing goal
directed motion towards a certain arrival point, the increasing intensity of
the writing in terms of texture (counterpoint, imitation) signals a closure and
a cadence, wherein the establishment of a new tonal center can be
expected.
Secondary Theme
Area
The second
theme area is without question the section of this movement that is the most
tonal, due to the establishment of g minor The alternation between the tonic
(Gm) and the dominant (D) leaves no room for ambiguity concerning the key and
the function of the harmony. The antecedent - consequent phrase structure also
contributes to regularity and goal directness. Appoggiaturas are here seen in
the solo line to a larger extent than before. Together with the appearance of
grace notes, decorated down beats and a completely homophonic and subordinate
accompaniment, this secondary theme area represents the strongest associations
with the classic model that Larsson had in mind. Simultaneously, while still
resembling the primary theme area, it slowly works its way towards complexity.
Reminiscent of the first theme area, there are hints of chromatic harmony, as
for example in bar 52-53 (G-Ab) and at bar 58 (Eb-D), which provide signals of
more chromatic harmony to come. Even in bar 56 the D major chord has been
replaced with a German sixth chord.
In 59 there is
a glance of the "secondary dominant to tonic" concept (E-D),
previously discussed in the accompaniment of bar 3-4. The more traditional
resolution towards D and finally G, is found in the two following bars. The
first 8 bars of the orchestral restatement of the secondary theme (bar 64-71)
remain within the same harmony. However, as the harmony progresses the
chromatic elements found in the solo statement are emphasized and developed
into poly tonality. The Ab found in bar 52 now appears in bar 68, emphasized
already from the beginning of the bar by the Eb. At the same time, it is the
dominant tonality (F# and A) which is maintained through the bar. This duality
of dominant and dominant substitute remain until the resolution to the tonic at
end of bar 70. In this way, the harmonic color occurring in the following eight
bars is prepared. By working his way back to the tonal language found in the
first theme area Larsson, not surprisingly, allows the bass line to fall into
the familiar pattern of descending thirds (71-), finally closing the secondary
theme area in D at 80.
If the
transition was ambiguous until its very end, it certainly established a
stronger sense of tonal center towards its conclusion than the preceding
progression of descending thirds. In contrast to the end of the transitional
area, establishing a tonal center for the secondary theme, the secondary theme
progresses, as discussed, from a clear functional harmony towards polytonal
sonorities, which serve as a bridge over to the more atonal and non-functional
closing area witch begins at bar 80.
Closing Area
Considering
the shape of the bass line in the first bar of the closing area (bar 80), the
line seems to land on the A in the following bar. Even bar 81 appears to be aiming towards an A,
which then is replaced with a F# in bar 82. However, the A is found in the top
voice, which thereby completes an arch shaped phrase, from A to its octave in
the melody. Thus, this first phrase can be determined as being in A minor,
ending on an A major chord in the middle of bar 82, with an unresolved lower
neighbor of the fifth, in the bass (D#-E). Still, the tonal center is
weak, due to added dissonance
characterized by diminished fifths, sixths, and ninths. Continuing, the tonal
center might be more heard towards Bb in bar 85. On the contrary, the melody
supports a D tonality by the leap from G-Db (C#) at bar 83-84, continuing to Gb
(F#) and finally A. The bass voice in bar 84 also strongly proceeds towards the
D. Harmonically, the direction is more governed by chromatic contrary motion in
sequences and has thereof little goal directed motion towards any tonal center.
The bass line in bars 85-87 can be interpreted as arriving at F# minor in bar
88. As before, ambiguity in the progression is created by chromaticism and
non-functional sequences that weaken the resolution towards a harmonic goal. On
the other hand, the overall descending line of the melody does create a natural
closure to this first section of the closing area. Since the closing section
was preceded by a secondary theme in G minor, which resolved through an A7
chord in bar 79 to a D in bar 80, the A and D could be determined as the two
tonal axis of this section. The arrival at F# minor in bar 88 could then be
explained as functional within that framework.
The remaining bars
(88-94) in the orchestral statement of the closing material appear as a
prolongation with a fugal texture, which extends the return back to D at bar
94. Thus, half way through the closing area, there are not any convincing
indications that the closure will arrive at any of the previous established key
areas of the movement (C minor or G minor). The secondary theme resolves to a D
at bar 80 and the arrival at the same pitch at bar 94 seems to associate more
with the opening D minor sonority at the very beginning of the movement.
However, the closing material that has been presented so far is restated again
by the soloist without significant harmonic differences. This is true until the
last two bars (106-107), where the ending is transposed up one scale degree. In
parallel to the tutti statement of the closing material this means that the
transposed ending would cadence in an E tonality. The solo part's establishment
of G minor (bar, 108) followed by the entrance of the secondary theme two bars
later (G minor), verifies that the closing section had actually concluded and
returned to the secondary theme key area for the development. The uncertainty
created by a closing towards an E, somewhat resembles a similar ambiguity that
was seen in the establishment of the key for the secondary theme. In both
cases, the relationship between one of the suggested tonalities and the actual
resolution is a third, which as previously mentioned must stand in relation to
Larsson's overall use of the interval of a third, which serves as a significant
element in his use of non-functional progressions. The third is also
significantly used as a structural element in the top voice throughout the
first section (bar 80-88) of the closing area. The following imitative bars 88
and 89, are almost exclusively built upon minor thirds.
In functional
harmony, one can expect that the melodic material will consist of the intervals
that build up the harmony; consequently the harmony corresponds to a specific
diatonic scale. Therefore, it is not surprising to find a melodic construction
that consists of a row of apparently unrelated thirds, since the basic idea for
the harmonic progression of this movement is centered around this same interval
which appears in a non-functional format. It would thereby be possible to
determine this closing area as functional in the context of the tonal language
that is displayed throughout the movement.
Except for the
last two transposed bars of the solo closing statement, this section differs
from the tutti statement only by isolated pitches that in various parts are
changed a whole or half step up or down. In the recapitulation some of the same
pitches remain changed and several new
pitches change. In terms of the harmonic progression or its clarity, these changes
do not contribute to any more convincing (or confusing) establishment of goal
directed harmony or voice leading. On the other hand, these changes might
illustrate a sophisticated way of creating a harmonically varied progression
through each closing section, respectively. By comparing the four closing
sections (tutti, solo in the exposition, and tutti, solo in the recapitulation)
with each other, it seems as if a sense of symmetry has been taken into account
according to the distribution of changes in each section. As seen in the chart
below, three of the changes in the first solo section are maintained for both
the second tutti and solo section. Additionally, the second tutti and solo
section contain added changes of three other pitches. the issue whether the
number three has a symbolic association to the interval of a third or not, will
be left for open interpretation. The symmetry, however, of the amount and order
in which the changes appears, and the fact that all changes are made of half
steps, except for the first and last, do reflect Larsson's concern for symmetry
as a feature of the classic period. In the following chart, the pitches are
numbered in the order they succeed each other throughout the sections.
"Changes", indicate if the replacing pitch is a lower or a higher
pitch than the original version. Indicated is also the interval between the
original pitch and its replacement (half or hole step). The term
"Part", indicates in which voice these replacements occur (S=soprano,
A=alto, T=tenor, B=bass). The "asterisks" indicate if a replacement
occurred or not.
Changes of
pitches in closing areas:
No. 1, on the
4th beat of bar 82, 96, 240, 258.
No. 2, on the
2nd beat of bar 83, 97, 241, 259.
No. 3, on the
4th and 1/2 beat of bar 83, 97, 241, 259.
No. 4, on the
4th beat of bar 84, 98, 242, 260.
No. 5, on the
4th and 1/2 beat of bar 84, 98, 242,
260.
No. 6, on the
3rd and 1/2 beat of bar 86, 100, 244, 262.
No. 7, on the
4th and 1/2 beat of bar 86, 100, 244, 262.
No. 8, on the
2nd and 1/2 beat of bar 88, 102, 246, 264.
No. 9, on the
3rd and 1/2 beat of bar 88, 102, 246, 264.
No. 10, on the
3rd beat of bar of bar 90, 104, 248, 266.
|
No. |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
10 |
|
Chan-ges |
1 down |
1/2 up |
1/2 down |
1/2 down |
1/2 down |
1/2 up |
1/2 down |
1/2 down |
1/2 up |
1 up |
|
Part |
B |
T |
S |
A |
A |
B,T |
S |
T |
T |
T |
|
Tut. 1 |
|
|
|
|
|
|
|
|
|
|
|
Solo 1 |
* |
* |
* |
|
|
* |
* |
* |
|
* |
|
Tut. 2 |
* |
* |
|
* |
* |
|
|
* |
* |
|
|
Solo 2 |
* |
* |
|
* |
* |
|
|
* |
* |
|
Thus far into
the movement, it can be determined that Larsson is working with somewhat
traditional and tonal tools as a basis for his composition. Even though his harmonic
language does not create progressions that lead toward strong cadences in a
classical sense, his concerns about symmetry and regularity signify clear
arrival points. There is a continuing tension and relaxation from one phrase to
another, which make it possible to define this exposition as tonal. The
chromatic elements that are used appear to be more of a new tonal color (than
atonal elements), that are derived from the progression which is presented in
the opening. In this way, Larsson
maintains a certain amount of gravitational force towards a tonal center
throughout the exposition.
In an effort
to illustrate the harmonic progression key schemes are presented below. Key
areas that are only anticipated, but never established, are in italics.
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 |