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	64	80
Solo	-	K
Tutti	2K		2K
Key
Bar	88	94	102

 

Development

 

Since the first part of the development is mainly governed by the secondary theme, the tonality remains stable in G minor until bar 120. From this point Larsson continues with sequential modulations, using the secondary theme. At bar 124 Larsson combines the motive of the very opening of the concerto together with the secondary theme. Throughout the section bar 124-130 both motives have been set in a sequential dialogue. Preceded by the opening of the development consisting of only the secondary theme, the bars 124-130 section, therefore, functions as a bridge, or overlapping of the two themes, before the opening motive is being developed on its own at bar 130. The lightness and ease of the piece is thereby maintained. The fact that completely new material is lacking, contributes to maintaining the character of style introduced in the exposition. At the same time, the overall use of sequences throughout this section (bar 124-130) contributes to the creation of a dramatic climax. Larsson is evidently concerned with maintaining the same sort of harmonic progression as he presented in the exposition.

 

As just mentioned, Larsson departs from a tonally confirmed area at bar 120. From there, he returns to the concept of extensive descending and ascending progressions, which remain as the main structure throughout the development. Instead of serving as an actual motivic development, the elements of development take on other means of expressions. The ascending and descending sequences of each section, respectively, create goal directed motion and thereby, a sense of developmental structure. The contrapuntal texture between soloist and orchestra also reinforces the expectation of dramatic high points, in contrast to the texture of the exposition. Finally, the expansion of the notated range in the solo part, which exploits the instruments altissimo register, undoubtedly contributes to the progression of the development. As indicated in the next chart, the motivic material from the three first sections (bar 110, 124 and 130) of the development, is derived exclusively from the secondary and primary themes, which are treated both separately and combined, as discussed above. Following Larsson's symmetric ideal and straight forwardness in terms of form, the second closing theme is featured from bar 146. Similar to the development of the two previous themes (secondary and primary theme), the composer continues to use mainly sequential devices as an element of development (bars 146-150 and 156-162), which are combined with diminution at bars 162-166. Actual motivic development appears only at bars 150-156 and bars 166-173. Bars 150-156 feature the syncopation of the beginning rhythm in the second closing theme. The same rhythmical element reappears at bars 166-173, now in combination with the motive of the primary theme. In preparation for the recapitulation, an Alberti bass reoccurs together with the primary theme at the climax of developmental achievement. As abrupt as the soloist signaled for development in bar 108, the development is unexpectedly brought to a close by a cadential signal (bar 173), a gesture that Larsson frequently used for the same reason in the exposition. The development, generally speaking, is mainly a sequential expansion of what has been presented in the exposition. More sophisticated elements of development are found only in sections such as bars 159-156 and bars 166-173.

 

 

Development

Solo
Tutti		(S)	(S,P)	(P)	(2K)	(K,P)
Key
Bar	108	110	124	130	146	166

 

 

 

Recapitulation

 

Since the recapitulation only provides the listener with the second complete statement of the primary theme (bar 18 in the exposition), which in both cases ( exposition and recapitulation) enters a fourth above the opening statement, there is uncertainty whether or not the actual recapitulation has occurred. However, the statement of the primary theme will, half way through, modulate back to the opening key area (as in the exposition) and therefore confirm that this is the proper recapitulation. Furthermore, as if two attempts have been made (in exposition and recapitulation, respectively) in order to remain a fourth higher than the opening statement of the concerto, a final successful attempt of modulating occurs in bar 196. The remaining part of the recapitulation is therefore heard a fifth higher than the equivalent part of the exposition. By modulating up a fifth, which can be determined as a dominant area, Larsson's writing resembles the relationship between primary and secondary themes of the classical sonata form, here illustrated by the tonal relationship between exposition and recapitulation. The key of the exposition is not brought back until the last few measures, where the soloist repeats the opening figuration of the development, (bar 270), seemingly indicating that an additional developmental section (coda) is to be expected. The movement thereby comes to an abrupt and unexpected ending as if to imitate the opening of the movement, which also can be characterized as being abrupt and surprising.

 

 

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

 

Cadenza

 

In the development, Larsson features each theme separately. This is also true in the cadenza but in a complex order. Again, as in the development, the major unifying device used is the sequential treatment of the motivic material. The first twelve bars, featuring the primary theme, introduce conversational textures created through the use of alternating registers and dynamics. This opening illustration, a sort of dialogue, will be remained as the major unifying element throughout the cadenza. The classical cadenza form featuring two dominant sections flanked by a modulating middle section which quotes themic material, is completely disregarded. Furthermore, instead of the usual clich� (arpeggios, trills) found in the end of a classical concerto, Larsson avoids an authentic cadence coupled with a characteristic trill. Instead, with a more sophisticated entrance of the orchestral tutti, any distinct ending of the cadenza is blurred by ambiguous string pizzicato.

 

In the autograph of the score, located at Kungliga Musikaliska Akademiens Bibliotek in Stockholm,[4] the cadenza is extended with an additional twenty-eight bars, inserted after bar 27 of the published version. This section is mainly lyrical, developing major thematic ideas. A few phrases with slap tongue appear, reminiscent of the closing section. The altissimo register of the saxophone, is exploited as well. After this additional section, the cadenza proceeds as published in 1952. This additional section in the autograph is marked as optional.

 

Second Movement

 

Through the use of a clear ternary form, ABA, one of the classical norms concerning a slow movement form characterize even this movement. The influences of the Dacapo Aria is obvious and the lyrical theme beginning without accompaniment contributes to that of the Aria. However, the B section is takes on the character of a development, rather than a contrasting middle section. As for the Dacapo Aria, the dacapo is presented with embellishment, first by a contrapuntal figuration in the accompaniment (bars 65-75), and then followed by a figurative obligato of the soloist (bars 76-88). A texture more resembling chamber music is created, which makes the dacapo different from a standard solo aria. Still, the soloist is provided opportunities to display virtuosity through an exploration of the altissimo register. Already from the very beginning of the movement a dualistic texture is introduced in a canon appearing between soloist and violas. Subsequently, in combination with its operatic features just described, the entire movement appears to have had the Duet genre as a source of inspiration. Bo Wallner's perception of the second movement is very brief, but nevertheless points to an association with the operatic world.

 

In the second movement a Nordic tonal language governs the atmosphere, a pastoral style that for a few moments bring the sound of Carl Nielsen - music that Larsson has been inspired by and learned from. There is also a sense of an aria.[5]

 

However, the association to a certain Nordic atmosphere can be questioned according to Larsson's own statement, concerning the influence of folk music or of a Scandinavian flare in his compositions.

 

 

I have never based any of my compositions on folk music, as so many other composers. If such influences are said to appear in my music, such influences have never been consciously intended.[6]

 

 

Harmonically, the movement does not contain any of the chromaticism found in the preceding movement. The progression is straight forward within the classical style. The opening suggesting the key of Bb slowly modulates to F major, which will become the home key for the movement. In the B section, the harmony takes its route through the key of the dominant and the secondary dominant. Because the movement stands tonally in contrast to the first movement, as will be discussed below, it is relevant to question its date of composition. The contrast could simultaneously be a method in which Larsson gains tension and release between the two movements. The composer Moses Pergament credits Larsson for this clear, but in the same time sophisticated blend of tonal language.

 

 

It has been easy to accuse Larsson for, too often, falling back to the already well-known - romanticism and thereby escaping modernism, e.g. the new progressive forms of art. It can even be viewed as a capitulation in order to find internal peace, but such criticism is not completely accurate. In addition to later works with traditional features, Larsson has shown a significant amount of other elements, in the works that belong to the period of the Sinfonietta (1932). The most peculiar work in this group is the Concerto for Saxophone,op.14. In the second movement of this concerto Larsson presents a masterly way of forming a melodic and lyrical line through a otherwise completely modern language.[7]

 

 

As for the development of the first movement, the B section is mainly governed by the orchestra while the soloist is occupied with figurative embellishment. Beyond that, the two movements stand in contrast to each other. None of the non-functional harmony featured in the first movement appears in the second movement. The thematic material is undoubtedly goal directed in contrast to the ambiguity found in the opening movement. Furthermore, no thematic transformation can be found between the two movements, other than a possible relation within the application of descending lines in the opening of the respective movements. Even though both movements have antecedent - consequent phrases as a fundamental ground, the second movement is much more predicable in terms of motivic development. As mentioned in the discussion concerning texture, the second movement takes on the character of chamber music (which is common for the slow movements of baroque concertos rather than exposing a lyrical line with supportive accompaniment, as found in the first movement. Summarizing all those differences, it can be questioned whether the second movement was originally composed in the context of the first movement, or composed earlier in Larsson's career. Certain aspects, such as the contrapuntal texture (especially the dacapo section) and the use of pedal points (bars 20-26, 52-53 and 84-89), also imply that Larsson paid more attention to features of the baroque period while composing the second movement. This verifies the author's suspicions about the original date of composition for this movement. Similar associations with the baroque period are likewise more prominent in preceding works such as the Sinfonietta, composed in 1932. Furthermore, the second movement has extraordinarily long phrases (taking in account the slow tempo) for the soloist. The sections with figurative passages in the solo part are extraordinarily long and a challenge for a wind player. All together this gives an indication that the movement may not have been originally composed for a wind instrument. Nevertheless, this difference concerning influential styles and the actual harmonic , thematic differences between the two movements creates a proportional balance and contrast, which Larsson might have viewed as necessary in order to maintain progress in the concerto. At the end of the second movement Larsson makes a refined and successful effort to return to the tonal language of the first movement, in order to link the second and last movement together. From bar 84 and on, the progression points towards C major. Larsson, however, substitutes the final chord with a Eb major chord, again returning to his progression by thirds, arriving in a tonality that is a third away from the anticipated key area. In this way Larsson prepares for the use of thirds and chromaticism, which will return as elements in the finale.

 

 

Second movement.

A. B(Development) A. Coda

Solo	P		P'	(P)		P		(P)
Tutti	P	P	P'	(P)	(P)	P	P
Key	Bb-F		C-G	G	D-G	Bb-F		C (Eb)
Bar	1	11	25	38	56	65	76	89

Finale

 

The classical expectations continue to be fulfilled even in the last movement. The overall form can be compared to a three part sonata form, A B A , with the B section developing material presented in the A section. The thematic reoccurrence and alternation between soloist and tutti also suggest that the ritornello form has been taken under consideration. However, the fact that there is more than one theme functioning as a ritornello, this definition applies satisfactorily. Thus, the following chart intends to illustrate the form of the finale, using the term "tutti" (1T, 2T) for each ritornello, and "solo" (1S, 2S) for each episode. Beyond the sonata structure, the finale falls into a alternation between distinct A and B sections, due to the alternation of the two ritornello themes.

 

By considering the style, a gallant lightness is brought back at the close after a more contrapuntal middle movement. A superior and clearly exposed solo line with a subordinate accompaniment confirms the classical style of writing. The punctuated accompaniment makes room for a virtuoustic display of the solo part. As in most concertos through out music history, a dance form is the point of departure for the last movement. Larsson emphasizes dance-like characteristics through a shift to triple meter (3/4) for the second tutti theme. Furthermore, there are stylistic associations with Swedish folk dance (fiddle) music. These influences are illustrated by the use of plain triads on the first beat of the measure in the second tutti theme. The same influence of folk-like simplicity is apparent in the unison opening of the first tutti theme. However, such associations have to remain as a subjective interpretation of the material, since Larsson himself denied any use of folk music in his compositions.[8]

 

Thematically, this movement resembles the first movement, using thirds and chromaticism as characteristic elements throughout. The descending arpeggiation of the diminished chords in the solo part unquestionably derives from the first movement's descending accompaniment, consisting of thirds as well. The development, as in the first movement, progresses mainly by sequential statements of motivic elements. Following the first movement's progression of the development a more elaborate development occurs towards the end of the development (especially bars 81-90). The cadenza resembles the cadenza of the first movement as well, progressing through sequences. Contrarily, the finale presents more convincing arrival points and goal directed motion than the first movement. This is due, not only to the ritornello structure, but to a more functional harmony. Consequently, the finale becomes a balanced mixture of the first and second movement. The idea of utilizing chromatic thirds has returned from the first movement, combined with a more predictable harmony, which was introduced in the second movement. A further unifying element in all three movements derives from the way the coda is constructed. Considering that the cadenza in the first movement appears before the complete statement of the recapitulation, in contrast to the placement of the cadenza in the finale, it is apparent that the coda in each movement, (e.g. bar 270 in first movement, bar 89 in the second movement, bar 141 in the finale) begins as the opening of the development in each movement, respectively.

 

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

 

Conclusion

 

By reading Larsson's article, Missa Brevis[9], one can learn that some compositional methods that were developed later in his career already are apparent in the saxophone Concerto. In this article, Larsson discusses the problems of composer's stagnation during the compositional process. Even though Larsson does not give complete answers to how stagnation should be solved, he concludes through a re-examination of his own sketches, that new thematic ideas and new paths in composition are most often gained in a process of revising these sketches. This may also occur by objectively analyzing motivic ideas, which were spontaneously written down in the early state of the composition. For this concerto, there are evidently elements, such as the thirds in chromatic descending and ascending motion, that have been revised in the on-going compositional progress, and, therefore, reappear in modified format in the finale. Further, the idea of falling motion (in the accompaniment) that opens the first movement is by itself transformed into the opening phrase of the second movement. Features like these are, of course, general in many musical compositions or by any creative form of art based on more or less functional organization.

 

Larsson's conclusion though, is that he believes that apparently spontaneous ideas often derives from previous motivic elements, which unconsciously have undergone a transformational process in his own mind. Along this theory it is possible to determine developments in Larsson's style of writing from this composition and through the 1950s. In 1929-1930, a few years before Larsson composed the saxophone concerto, his studies with Alban Berg did not remain as a major impact on Larsson's writing. Returning to Stockholm, one would expect him to be influenced by Berg's twelve-tone system. Instead Larsson continuously wrote in his neo-classical style four years after his visit[10]. However, by analyzing, for example, the closing sections in the first movement or by reviewing the general harmonic progression in the primary theme of the same movement, it is evident that Larsson is on his way to breaking away from a traditional tonal system. According to Larsson's own theory concerning transformation of earlier ideas, the succession of thirds, which is so completely spelled out in the saxophone concerto, returned as the fundamental element in Larsson's own twelve-tone system, developed during the 1950's. Also worth mentioning is Larsson's manner of notation. Neither the orchestra parts nor the saxophone part are given any key signatures, even though the saxophone is a transposing instrument and therefore expected to be notated in another key than the accompaniment. Consequently, the concerto has significant signs, indicating that Larsson tried to de-emphasize the confirmation of a certain tonality, which probably came from an influence (consciously or not) from Larsson's earlier confrontation with the music of Alban Berg.