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NOTE TO USERS i This reproduction is the best copy available. UMI Dissertation Publishing University of Alberta "Four Recitals and an Essay: Christian Lauba and His Saxophone Etudes: From an Historical Perspective" by Po-Yuan KU A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music ©Po-Yuan KU Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. 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While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. •+• Canada Examining Committee William Street, Department of Music Howard Bashaw, Department of Music David Gramit, Department of Music Janet Scott Hoyt, Department of Music Chris Westbury, Department of Psychology Jeremy Brown, Department of Music, University of Calgary ABSTRACT Christian Lauba and His Saxophone Etudes: From an Historical Perspective This document examines the history of the etude, the development of saxophone music and the saxophone etude, and composer Christian Lauba and his twelve saxophone etudes. To further aid in the performance of these saxophone etudes, French saxophonist Joel Versavaud compiled an errata sheet of Lauba's Neuf Etudes, which is included as Appendix B. Although the saxophone was a relatively late invention, the development of its repertoire was swift. Unfortunately, its acceptance and respect for the instrument from the world of classical music did not come easily. This circumstance influenced the development of the saxophone in a unique way different from other instruments. From 1840 to 1900, the saxophone was in its infancy. The music and the method books written for the instrument simply imitated the repertoire of other wind instruments. Composers did not fully understand or realize the idiomatic potential of the instrument. In the twentieth century however, the saxophone immediately leapt into jazz and popular music in the first half of the century and into contemporary art music in the second half. Although traditional forms such as the concerto and the sonata and the music styles such as neo-classical and neo- romantic had thrived through the 1930s, the public had no reason to respect or accept this instrument like other orchestral instruments. In the last quarter of the twentieth century, saxophonists seemed to reconcile themselves to this situation and began to find their own paths and solutions. The composers of the Bordeaux School, Michel Fuste-Lambezat (1934) and Francois Rosse (1945), followed swiftly by Christian Lauba (1952), Etienne Rolin (1952), Thierry Alia (b. 1955) Christophe Havel (1956), and Philippe Laval (1961), dedicated themselves to the composition of avant-garde contemporary music in general, and specifically for saxophone in solo, chamber and concertante works. Among them, Christian Lauba's Neuf Etudes (1992-1994), has consistently and enduringly led saxophone music on the path of contemporary art music into the twenty-first century. ACKNOWLEDGMENTS I wish to acknowledge the support and assistance of my doctoral committee: Dr. William Street, Associate Dean, (Student Programs), Faculty of Arts; Dr. Howard Bashaw, Associate Chair, Graduate Studies; Dr. David Gramit, Chair, Department of Music; Professor Janet Scott-Hoyt, Associate Professor of Piano and Piano Pedagogy; and Dr. Chris Westbury, Associate Professor of Psychology. I also thank those who willingly offered their assistance and expertise when called upon: Christian Lauba, Conservatoire National de Musique de Bordeaux; Jean-Marie Londeix, Conservatoire National de Musique de Bordeaux; Dr. John Sampen and Dr. Marilyn Shrude, Bowling Green State University; Joel Versavaud, Conservatoire National de Musique de Marseille; Dr. Joseph Murphy, Mansfield University; and Dr. Anna Street, Concordia University College of Alberta. I would also like to thank all my colleagues at University of Alberta and friends in Edmonton for their great support and friendship. Finally, I would like to express my deepest thanks and dedicate this document to my parents, Huan-Kun Ku and Lee-Yu Huang. Without their unconditional support and love, this document would never have been created. TABLE OF CONTENTS List of Figures List of Tables List of Music Examples Chapter 1: Introduction 1 Purpose of the Research 1 Organization 2 Chapter 2: History of the Etude 4 Introduction 4 Etudes for Keyboard 4 Etudes for String Instruments 18 Etudes for Wind Instruments 18 Etudes for Voice and Orchestra 19 Chapter 3: Saxophone Etudes and Contemporary Saxophone Music 20 Introduction 20 Saxophone Music and Etudes 20 1840 to 1900 20 1900 to 1930 26 1930 to 1970 36 1970 to 1990 41 Darmstadt School. 45 Contemporary saxophone music 45 Contemporary techniques for woodwinds 46 Multiphonics 47 Contemporary saxophone etudes 50 Contemporary saxophone concert etudes 50 Post-1990 51 Summary 54 Chapter 4: Christian Lauba and His Saxophone Etudes 55 Introduction 55 Christian Lauba 56 Sfax, Tunisia 56 Michel Fuste-Lambezat 59 Christian Lauba's Twelve Etudes for Saxophone 60 Studying and Performing Principles 61 Balafon 63 Savane 65 Sanza 66 Jungle 68 Tadj 69 Gyn 72 Vir 73 Ars 74 Bat 76 Hard Too Hard 77 Stan 78 XYL 79 The General Analysis of the Etudes 80 Recapitulation 80 Measured and Non-measured Time 82 Idiomatic Saxophone Music 82 Chapter 5; Conclusion 84 Bibliography 87 Appendix A 94 Appendix B 125 Appendix C 147 Appendix D 149 List of Figures Figure 2-1. Robert Dowland's Varietie of Lute-Lessons (1610) 5 Figure 2-2. Girolamo Diruta's // transilvano dialogo (1593) 6 Figure 2-3. John Baptist Cramer's Dulce et Utile 10 Figure 2-4. Charles-Valentin Alkan (1813-1888) 15 Figure 3-1. Benjamin Vereecken and his students 29 Figure 3-2. Advertisement of David Bolduc's sextet circa 1920 30 Figure 3-3. Advertisement of David Bolduc's sextet circa 1920 31 Figure 3-4. Rudy Wiedoeft and his C-melody saxophone 35 Figure 3-5. Marcel Mule and his saxophone class 1946 38 Figure 3-6. Slap tonguing by Erick Rommark (courtesy of Erick Rommark) 49 Figure 4-1. Christian Lauba 57 Figure 4-2. Sfax and Tunisia 58 Figure 4-3. Balo 64 Figure 4-4. Sanza 68 Figure 4-5. Tajikistan and Central Asia 70 List of Tables Table 2-1. Liszt's Etudes d'Execution Transcendante 12 Table 2-2. Alkan's Douze etudes dans les tons mineurs, op. 39) 13 Table 2-3. Claude Debussy: Etudes for piano, L. 136 14 Table 2-4. Examples of the works inspired by Paganini's 24 Caprices op. 1 19 Table 3-1. Saxophone etudes and methods before 1900 24 Table 3-2. Works attributed to Elise Boyer Hall's patronage 27 Table 3-3. Selected saxophone etudes and methods from 1900 to 1930 32 Table 3-4. Methods and etudes by Rudy Wiedoeft 34 Table 3-5. Etudes and methods transcribed by Marcel Mule 37 Table 3-6. Etudes and methods by Sigurd Rascher 39 Table 3-7. Etudes and methods by Larry Teal 39 Table 3-8. Selected saxophone etudes published between 1930 and 1970 40 Table 3-9. Etudes by Jean-Marie Londeix 43 Table 3-10. Etudes by Guy Lacour 44 Table 3-11. Saxophone music with contemporary techniques from Methode pour etudier le saxophone (Londeix, 1997) 48 Table 3-12. Etudes by Pierre Max Dubois 52 Table 3-13. Etudes with extended techniques 53 Table 4-1. Christian Lauba's twelve etudes for saxophones 62 List of Examples Example 4-1. Balafon p.l, line 4 65 Example 4-2.