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Rediscovering Fernande Decruck's Sonate En Ut# Pour Saxophone Alto

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Rediscovering Fernande Decruck's Sonate En Ut# Pour Saxophone Alto REDISCOVERING FERNANDE DECRUCK’S SONATE EN UT# POUR SAXOPHONE ALTO (OU ALTO) ET ORCHESTRE: A PERFORMANCE ANALYSIS Joren Cain, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2010 APPROVED: Eric M. Nestler, Major Professor Mike Steinel, Minor Professor David Schwarz, Committee Member Graham H. Phipps, Director of Graduate Studies in the College of Music Terri Sundberg, Chair, Division of Instrumental Studies James C. Scott, Dean of the College of Music Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Cain, Joren. Rediscovering Fernande Decruck’s Sonate en ut# pour saxophone alto (ou alto) et orchestre: A Performance Analysis. Doctor of Musical Arts (Performance), May 2010, 166 pp., 89 musical examples, 31 tables, bibliography, 45 titles. French composer Fernande Decruck (1896-1954) composed over forty works for the saxophone, but her music fell into obscurity soon after her death. In recent years, the Sonate en ut# pour saxophone alto (ou alto) et orchestre (1943) has been rediscovered, performed, and recorded by prominent concert saxophonists. This document takes a historical approach by examining Decruck’s biography, as well as a theoretical approach to provide a deeper understanding and appreciation of her work through analysis. The first four chapters of this document provide biographical background on Decruck, her career, professional associations, and her husband, Maurice Decruck, saxophonist and music publisher. Additionally, an examination of her saxophone output includes a brief discussion of her compositional development. Fernande Decruck dedicated her sonata to French saxophone virtuoso Marcel Mule, but a version for solo viola also exists. From the discrepancies between the versions, one might infer that portions of the work were composed originally for the viola. There are also two versions of the accompaniment: one for full orchestra and the other for piano. Analysis comprises the bulk of this study. The work is composed in a traditional four- movement setting: a sonata-form opening movement, a slow second movement, a movement entitled “Fileuse” (spinning song), substituting for the traditional scherzo, and a rondo-like finale. The work incorporates trends of Impressionism through its harmonic vocabulary, chordal planing, and pentatonic scales. It also demonstrates a sophisticated application of polytonal techniques in several passages. In addition to analysis of each movement, common interpretive practices are discussed, based upon available commercial recorded performances, and performance suggestions are given. There are several notation errors within the parts, as well as some significant differences between the two accompaniments. These errata and discrepancies between the solo parts are listed and discussed. Copyright 2010 by Joren Cain ii ACKNOWLEDGEMENTS I would like to thank my advisory committee, including Dr. David Schwarz and Mr. Mike Steinel, for their input and help during this process. I would particularly like to thank the head of my committee, Dr. Eric Nestler, for his immediate response to all of my questions and for providing valuable suggestions on both content and style. Additionally, I received invaluable research assistance from Guy Frost, to whom I feel greatly indebted. Finally, I would like to thank Sarah Turley, whose constant support and advice over the past year were instrumental in making this document a reality. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS............................................................................................iii LIST OF TABLES .........................................................................................................vi LIST OF MUSICAL EXAMPLES ...............................................................................viii Chapters 1. INTRODUCTION....................................................................................1 Background and Significance Statement of Purpose Methodology 2. BIOGRAPHY OF FERNANDE DECRUCK AND MUSICAL INFLUENCES.........................................................................................7 Childhood and Musical Influences at the Paris Conservatory Careers of Fernande and Maurice Decruck 3. OVERVIEW OF FERNANDE DECRUCK’S MUSIC FOR SAXOPHONE .......................................................................................14 Chronological Overview Compositional Style 4. BACKGROUND OF THE SONATE EN UT# POUR SAXOPHONE ALTO (OU ALTO) ET ORCHESTRE...................................................27 Historical Background Versions Important Compositional Elements 5. MOVEMENT I ......................................................................................44 Formal Structure and Performance Analysis of Movement I Introduction Exposition Development Recapitulation Common Interpretative Practices for Movement I Discrepancies Between Solo Parts in Movement I iv 6. MOVEMENT II.....................................................................................85 Formal Structure and Performance Analysis of Movement II Common Interpretative Practices for Movement II Discrepancies Between Solo Parts in Movement II 7. MOVEMENT III.................................................................................. 106 Formal Structure and Performance Analysis of Movement III The “a” Theme The “b” Theme The “c” Theme Common Interpretative Practices for Movement III Discrepancies Between Solo Parts in Movement III 8. MOVEMENT IV ................................................................................. 123 Formal Structure and Performance Analysis of Movement IV Nocturne Final Common Interpretative Practices for Movement IV Discrepancies Between Solo Parts in Movement IV Conclusion Appendices A. SAXOPHONE ERRATA AND PERFORMANCE SUGGESTIONS... 146 B. VIOLA ERRATA ................................................................................ 156 C. PIANO ERRATA AND PERFORMANCE SUGGESTIONS............... 160 BIBLIOGRAPHY ....................................................................................................... 163 DISCOGRAPHY ........................................................................................................ 166 v LIST OF TABLES 1. Music for saxophone by Fernande Decruck........................................................18 2. Overview of Movement I...................................................................................45 3. Overview of introduction...................................................................................45 4. Overview of exposition......................................................................................48 5. Overview of development..................................................................................61 6. Overview of harmonic function in development.................................................66 7. Overview of recapitulation.................................................................................69 8. Timings and tempi of Movement I.....................................................................74 9. Discrepancies between saxophone and viola parts..............................................79 10. Overview of Movement II..................................................................................86 11. Use of “a’ ” in transition to “A’ ”.......................................................................94 12. Timings and tempi of Movement II.................................................................. 101 13. Discrepancies between saxophone and viola parts............................................ 103 14. Overview of Movement III .............................................................................. 106 15. Timings and tempi of Movement III................................................................. 119 16. Discrepancies between saxophone and viola parts............................................ 122 17. Overview of Movement IV .............................................................................. 123 18. Timings and tempi of Movement IV ................................................................ 138 19. Discrepancies between saxophone and viola parts............................................ 143 A.1. Saxophone errata: Movement I ........................................................................ 147 vi A.2. Saxophone errata: Movement II ....................................................................... 150 A.3. Saxophone errata: Movement III...................................................................... 152 A.4. Saxophone errata: Movement IV...................................................................... 154 B.1. Viola errata: Movement I................................................................................. 157 B.2. Viola errata: Movement II................................................................................ 158 B.3. Viola errata: Movement III .............................................................................. 158 B.4. Viola errata: Movement IV .............................................................................. 159 C.1. Piano errata: Movement I................................................................................. 161 C.2. Piano errata: Movement II ............................................................................... 161 C.3. Piano errata: Movement III .............................................................................. 162 C.4. Piano errata: Movement
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