A Performers Guide to the Music of Edison Denisov
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A Performers Guide to the Music of Edison Denisov: Understanding the Interpretive Implications of his Musical Language in Sonata for Alto Saxophone and Piano, Deux Pièces, and Sonata for Alto Saxophone and Cello A DMA Document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music 13 November 2013 by Michael VanPelt M01441617 409 Probasco St. Apt.1 Cincinnati, OH 45220 B.M., University of Cincinnati College Conservatory of Music, 2004 M.M., Bowling Green State University, 2007 ____________________________ Advisor—James Bunte ____________________________ Reader—David Berry ____________________________ Reader—Rick VanMatre Abstract This document presents analyses and interpretive guides for the Sonata for Alto Saxophone and Piano, Deux Pièces, and the Sonata for Alto Saxophone and Cello, three saxophone works by Edison Denisov, exploring formal design and serial techniques. Denisov occupies an important position in the history of the saxophone. He promoted awareness of extended techniques and serial language through his Sonata for Alto Saxophone and Piano, a landmark work for the instrument. While most saxophonists realize that this work is serial, and many can even identify the row, by itself this information provides little aid to the interpreter. This document is intended to help illuminate the essential elements of Denisov’s musical language, particularly its serial aspects, so that the performer can better understand it and achieve a more satisfactory and meaningful interpretation of his works. ii iii Contents Abstract ........................................................................................................................................... ii Notation........................................................................................................................................... v Introduction ..................................................................................................................................... 1 Chapter 1 - Biography ..................................................................................................................... 2 Chapter 2 - Sonata for Alto Saxophone and Piano ....................................................................... 11 I. Allegro ................................................................................................................................... 13 II. Lento ..................................................................................................................................... 36 III. Allegro moderato................................................................................................................. 43 Chapter 3 - Deux Pièces ................................................................................................................ 67 I. Largo ...................................................................................................................................... 71 II. Allegro giusto ....................................................................................................................... 76 Chapter 4 - Sonata for Alto Saxophone and Cello ........................................................................ 87 I. Allegro Risoluto ..................................................................................................................... 89 II. Tranquillo ........................................................................................................................... 101 III. Moderato ........................................................................................................................... 105 Chapter 5 - Suggestions for the performer .................................................................................. 114 Sonata for Alto Saxophone and Piano .................................................................................... 119 Deux Pièces ............................................................................................................................. 126 Sonata for Alto Saxophone and Cello ..................................................................................... 127 Conclusion .................................................................................................................................. 133 Bibliography ............................................................................................................................... 134 iv Notation This paper follows the naming conventions for sets and series outlined in Straus’s Introduction to Post Tonal Theory, 2nd ed. I will use a “fixed do” approach, in which C is always 0, C# is always 1, etc. Pitches 10 and 11 will henceforth be notated as T and E respectively (so as not to appear like 1 0 or 1 1). When labeling order positions of a tone row the first tone of the row will be 1 and the final tone will be 12. Unless otherwise indicated, all pitch names and numbers are sounding pitches, not written pitches for the saxophone. All of the works discussed in this proposal are for the alto saxophone, which sounds nine semitones below its written pitches. In all examples in which tones are labeled with numbers, in transposed portions I will still label according to sounding pitch. Terms and Abbreviations IC – unordered interval class. The shortest distance between two pitch classes, regardless of octave Row Class – the complete set of transformed versions of the row. This includes all prime, retrograde, inverted, and retrograde inverted forms. v Introduction The saxophone has appeared in ensemble serial works since the 1930s, notably Schoenberg’s Von Heute auf Morgen (1930), Webern’s op.22 Quartet (1932), and Berg’s Lulu (1937). However, Edison Denisov’s Sonata for Alto Saxophone and Piano (1970) represents one of the first important solo serial works for saxophone. Denisov’s music has become part of the core repertoire of the modern saxophonist, particularly the Sonata for Alto Saxophone and Piano. Saxophonists’ wide acceptance of this work helped blaze the trail for later serial saxophone works, including those by Berio, Babbitt, and numerous others. While saxophonists know that Denisov’s works are serial, there is little literature devoted to explaining how this fact is musically meaningful and how it should influence interpretation. Jonathan Helton’s DM document (and the article he distilled from it) provides a useful starting point, but his focus was serial saxophone music in general, not Edison Denisov’s compositional style. This document covers some of the same territory as Joren Cain’s analysis of Denisov’s saxophone sonatas, but with more focus on the thematic and motivic relationships within and among Denisov’s works. As I will detail later in this document, a number of other writers have contributed to the discussion of Denisov’s works, particularly the saxophone and piano sonata, and I will critique, synthesize, and expand upon their works as appropriate. I will also apply these ideas to Deux Pièces and the Sonata for Alto Saxophone and Cello. Specifically, I will present what I believe to be the most detailed analyses to date of the forms of each of these pieces’ movements, using the motivic and thematic contents to justify my analytic and interpretive decisions 1 Chapter 1 - Biography Edison Denisov (1929-1996), who was named after Thomas Edison by his radio physicist father,1 did not initially set out to become a composer. He began studying music formally at the Tomsk (Russia) Music School in 1946 while concurrently studying math at the university. As early as 1948 he contacted Shostakovich, inquiring about the elder composer’s compositions.2 In 1950 Denisov requested career advice, sent Shostakovich his scores, and received the following response: Dear Edik, your compositions have astonished me. If you don’t have the elementary musical education, it is just a wonder how you could be so proficient in your composition which looks fairly professional to me…Many things in your compositions I liked very much. I believe that you are endowed with a great gift for composition. And it would be a great sin to bury your talent…3 Shostakovich provided detailed comments on Denisov’s scores. They corresponded regularly as Denisov slowly realized that he wished to become a composer. He followed Shostakovich’s advice and completed his math degree in 1951, but by this point he had begun a serious pursuit of music, applying to the Moscow Conservatory in 1950.4 He failed in his initial bid for acceptance but was successful when he reapplied in 1951.5 Shostakovich encouraged Denisov to study with Vissarion Shebalin who was, according to Shostakovich, the best composition teacher 1 Ivan Spasov, “And the Participants: Edison Denisov – Ivan Spasov,” trans. Denitsa VanPelt, Bulgarska Muzika, vol.3 (1989): 20. 2 Yuri Kholopov and Valeria Tsenova, Edison Denisov, trans. Romela Kohanovskaya (Chur, Switzerland: Harwood Academic Publishers, 1995), 167. 3 Ibid., 168. 4 Ibid., 170-174. 5 Peter John Schmelz, “Listening, Memory, and the Thaw: Unofficial Music and Society in the Soviet Union, 1956-1974” (PhD diss., University of California, Berkeley, 2002), 149. 2 in the Soviet Union.6 Shebalin had a reputation for flexibility and forward-vision that his colleagues lacked. He had been removed as director of the conservatory in 1948 under a