Saxophone Sonata (Creston)

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Sonata for E♭ Alto Saxophone
and Piano
by
Carnegie Chamber Hall
, New York City
PerformersCecil Leeson (saxophone) and Paul Creston (piano)

The Sonata for E♭ Alto Saxophone and Piano, Op. 19, was composed by Paul Creston in 1939. The sonata was commissioned in the spring by Creston's frequent collaborator, the American saxophonist Cecil Leeson. Creston began composition by June: it was completed by the end of August and slated for publication in 1940, although this was postponed to 1945 due to World War II.

The sonata is in three

polymeters
. The sonata as a whole is of considerable difficulty for both players.

Creston and Leeson premiered the sonata at the

Carnegie Chamber Hall on February 15, 1940, although Leeson had performed it on tour prior to that date. No critics were present at the premiere, but the sonata's 1955 debut recording by Vincent Abato and Creston obtained a mixed response. Most found the sonata enjoyable, but there was criticism of a perceived simplistic and salon-like styling. It was the first of Creston's chamber works to be recorded and had appeared on fourteen records by 1980. Today, it is broadly seen as a key piece of the classical saxophone's repertoire
and is frequently performed.

History

Background

Two men in suits and ties stand for a picture, slightly smiling.
Creston (right) and Leeson, c. 1965–1970

Paul Creston believed that composition was a spiritual act, "just as vital ... as prayer and good deeds", and thought it should not be restricted to career composers.[1] He was a recipient of a 1938 Guggenheim Fellowship for composition, and part of his wide-ranging output was dedicated to advancing the classical repertoire of instruments little-used within the tradition, like the saxophone.[2] In 1934, Creston met the saxophonist Cecil Leeson through the National Music League, an organization where Creston was an accompanist.[2] Leeson was sponsored by the group and benefited from their provision of accompanists for his tours. He had lost his habitual accompanist, Lois Russell, and was dissatisfied enough with their replacements to beg the league to send "someone who can read". Leeson was presented with Creston, whose playing impressed him. The two began a partnership.[3] Leeson was a crucial figure to the development of the classical saxophone. At that time, the instrument was perceived as unsuited to

Town Hall on February 5, 1937, accompanied by Creston.[5]

Creston ceased performing regularly with Leeson in March 1937 to focus on composition,[6] but they continued to play occasionally together until 1940.[2] On his relationship with Leeson, Creston retrospectively stated: "Cecil Leeson has been the greatest stimulus for the enrichment of the saxophone repertory, and I am most grateful for having been chosen a contributor to the repertory."[7] He credited Leeson for inspiring his love of the saxophone—which he previously thought of as "ugly ... with an irritatingly buzzy tone"[8][9]—as well as the success of his compositions for the instrument.[10]

Composition and publishing

At the time Creston composed his sonata, French composers were leading the development of the classical saxophone.[11] The instrument suffered from a dearth of original concert repertoire: aside from Glazunov's Concerto, Debussy's Rhapsodie and Creston's own Suite, Leesons's recitals of the time were dominated by transcriptions of vocal and string music.[12]

In early 1939, Leeson asked Creston to write a sonata for the saxophone after the success of his Suite.[13] He was in the second year of his Guggenheim fellowship, which usually involved a year abroad in Europe, but this was excused due to the political instability caused by the onset of World War II.[14] Although they had ceased regular performances as a duo, Creston accepted the commission[b] following on from the success of his Suite:[16] he was told by Henry Moe, an associate of the John Simon Guggenheim Memorial Foundation, that a recording of the Suite was key to the granting of his fellowship.[14] Creston had only sketched a few bars when he received a visit from Leeson in June. The sonata was completed a couple of months later while Leeson was teaching at the Interlochen Center for the Arts' National Music Camp, and finalized at a meeting when Leeson came back.[17] He received the score on August 28, along with an apology from Creston for being unable to practice the accompaniment:[13]

Enclosed is the score and part to my Sonata. I regret that I am unable to prepare the piano part myself right now as I am preparing for a Town Hall recital in October with violinist Rachmael Weinstock in a performance of my Suite for Violin and Piano. I will learn the part after the recital. Enjoy.

"Opus 19, which you have so greatly crusaded for, seems to be buried midst the archives of one Maxwell Weaner and will not see the light of publication until this planetary conflict instigated by one rat with a toothbrush mustache shall have expended itself."

Paul Creston, letter to Leeson (dated September 8, 1941)[18]

The New Music Group was chosen to publish the sonata and intended to do so in late 1940. Due to staffing shortages from World War II conscription, this deadline was missed.[19] After the war, although engraving was already completed, the sonata was instead published by Axelrod Publications in 1945[20] and the copyright was assigned to the Templeton Publishing Company. The sonata's publishing rights were acquired by Shawnee Press in 1948. Later, realizing its popularity after attending the 1978 Marcel Mule International Saxophone Competition, Creston wrote to Shawnee's president to suggest that the publishers should consider opening a French branch.[21][22]

Creston's manuscript is held by the LaBudde Special Collections at the University of Missouri–Kansas City as part of a collection donated by his wife, Louise. The ink-written score has annotations in pencil, and a transcription of the second movement for viola is included.[23]

Performances

Unknown to Creston, Leeson decided to test the sonata's reception on a multi-state tour with his accompanist Josef Wagner a month before its official premiere:

Wiley High School in Terre Haute, Indiana (January 15). It was several decades later that Creston discovered the truth; despite Leeson's tour, Creston still considered the New York City performance to be its true premiere.[24]

Carnegie Chamber Hall
in 1940.

The sonata was given its official premiere by Creston and Leeson at a New Music Group concert at the

Carnegie Chamber Hall on February 15, 1940. Leeson performed the sonata throughout the year, with recitals at St. Vincent's Hall, Elkhart, Indiana (April 21, on his tour with Josef Wagner), and the American Music Festival, New York City, New York (May 8, the last time he would perform with Creston).[20][25] Creston continued to accompany performances of the sonata into the late 1960s. He played recitals with Frederick Wymaat at the State University of New York (October 22, 1966), and Vincent Abato, professor of saxophone at the Juilliard School, at the New York College of Music (November 13, 1966) and the WNYC American Music Festival (February 13, 1968).[26]

Reception

No reviews exist of the sonata's premiere performance as Weill Recital Hall concerts were not frequented by New York critics. Creston, Leeson and their audience were all satisfied with the performance.

Harold Schonberg wrote that he found the melodic content enjoyable, but saw it as using a "near-salon approach".[33]

Later reviews of the sonata were more favorable: in a 1979 review for

Mozartian precision" and enjoyable melodic content. He also commented on the sonata's suitability for virtuoso players, being a "flattering medium for representing a performer's artistry".[34] Tim Page of The New York Times wrote in 1983 that he considered the sonata underrated, complimenting its authentic and "distinctly American sound".[35]

According to Simmons, the sonata is "probably Creston's single most widely performed and best-known work".

City, University of London—expressed a similar sentiment, saying it is "probably now the single most frequently performed recital work in the saxophone repertoire".[5] Along with his other works, the success of Creston's sonata contributed to the development of the saxophone's repertory by inspiring other American composers—including Edvard Moritz, Bernhard Heiden and Burnet Tuthill—to compose for the instrument.[10]

Music

Movements

External videos
Nathan Nabb performs Creston's sonata at Stephen F. Austin State University, accompanied by Hyun Ji Oh
video icon Sonata for Alto Saxophone and Piano by Paul Creston via YouTube

The sonata is in three movements, following a traditional fast–slow–fast structure:[39][c]

Movements of Creston's sonata
No. Title Form Main tonal center Tempo Time
I "With vigor" Modified sonata form E major quarter note = 126 4
4
II "With tranquility"
Through-composed/ternary
 A major quarter note = 66 5
4
III "With gaiety" Rondo D major quarter note = 160 2
4

A typical performance lasts approximately thirteen minutes.[20]

I. "With vigor"

The opening movement is in

scale degree.[45][46]

\relative c' { \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 126 \set Staff.midiInstrument = #"alto sax" dis16\f (cis ais b dis4 ~ dis16) cis (ais b dis e gis fis dis8) [r16 cis](dis8-.) e-. fis-. eis16(fis gis fis eis gis cis8) }

This theme is underwritten by

non-functional harmony[45] and can be divided into four motifs: although all motifs are used, the third appears most extensively in the development section.[47][48]

\relative c''' { \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 126 \set Staff.midiInstrument = #"alto sax" gis4.-> c,8-. gis'4.-> c,8-. gis'-. c,-. a'4-> }

The music calms after an initial climax[49] and settles into a more stable tonality of E major.[45] A quieter, song-like second theme is introduced in the saxophone, which contrasts the energetic first theme.[43][48][50]

\relative c''' { \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 126 \set Staff.midiInstrument = #"alto sax" gis2\p ~ gis8\< dis (e fis gis4.\! \once \override Hairpin.shorten-pair = #'(-2 . 0) \> eis8 dis2) fis2 \! ~ (fis8 \< cis dis e fis\! cis a gis fis) }

A

runs and the heights of the saxophones range (up to altissimo G6) to create a climax,[40] before using a coda based on the first theme to end the movement.[53][d]

II. "With tranquility"

"With tranquility" is a

step.[56][57] Simmons suggests that this melody is a development of the first movement's second theme.[43][58]

\new GrandStaff << \new Staff \relative c'' { \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 66 \set Staff.midiInstrument = #"piano" \time 5/4 r8\pp gis'-\markup { \italic "expressively"} (a b cis b16 a b8 a16 gis a 8 \tuplet 3/2 {gis16 fis e} fis4) } \new Staff \relative c' { \set Staff.midiInstrument = #"piano" <e a cis>4 <e a cis> <e a cis> <e a cis> <e a cis> <dis gis bis> } >>

After an exposition of this theme in the saxophone, it is developed by altering timbre and harmony,

chromatic descent.[43][62] The saxophone ends on the mediant, recalling the ending to the first movement.[59]

<< \new Staff \with { \override VerticalAxisGroup.default-staff-staff-spacing.padding = #3 } \relative c' { \override VerticalAxisGroup.staff-staff-spacing.basic-distance = #100 \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 66 \set Staff.midiInstrument = #"alto sax" \time 5/4 e4.-\markup {\italic "(gradually fading away)"} (fis8 gis2 ~ gis8 ais bis2-\markup {\italic "retard."} cis2.)\pp } \new GrandStaff << \new Staff = "a" \relative c'' { \set Staff.midiInstrument = #"piano" \showStaffSwitch \override Slur.details.edge-attraction-factor = 1000 <a cis e>8 (<g b d>16 <fis a cis> <e gis b>8 [<d fis a> <cis eis gis> <b dis fis>] <bes d f> [<a cis e> <aes c ees> <ges bes des>] \change Staff = "b" \stemUp <f a c>^\markup {\null \raise #4 \italic "retard."} [<ees ges bes> <d f a> <d eis gis>] \override DynamicLineSpanner.staff-padding = #5.5 <cis e a>2.)^\pp } \new Staff = "b" \relative c' { \set Staff.midiInstrument = #"piano" \clef bass <a cis e>8^\markup {\italic "(gradually fading away)"} <g b d>16 <fis a cis> <e gis b>8 [<d fis a> <cis eis gis> <b dis fis>] <bes d f> [<a cis e> <aes c ees> <ges bes des>] \stemDown <f d'> [<ees c'> <d b'> <bes bes'>] <a a'>2. \bar "|." } >> >>

III. "With gaiety"

"With gaiety" is a seven-part

augmented chords are used sparingly. Creston instead uses mainly seventh chords, major triads and minor triads, contributing to a more upbeat mood.[65] The movement has a complex rhythmic foundation, drawing on musical traditions from Spain and Latin America.[55] A set of polymeters is presented at the outset: the saxophone (marked "crisp")[66] and left hand of the piano are in 5
8 with the saxophone accenting each grouping with a mordent,[e] while the right hand of the piano is playing sixteenth notes in groups of 3
8.[60][68]

<< \new Staff \relative c' { \set Staff.midiInstrument = #"alto sax" \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 160 \time 2/4 \partial 4 d8-.\p-\markup { \halign #-2 \lower #3 \italic "crisp"} a'-. fis4->\mordent^\markup { \sharp } (e8-.) d-. a'-. fis4->\mordent^\markup { \sharp } (e8-.) d-. a'-. fis4->\mordent^\markup { \sharp } (e8-.) d-. fis-. a-. cis,-. } \new GrandStaff << \new Staff = "a" \relative c' { \set Staff.midiInstrument = #"piano" \clef bass r4 a16\pp-\markup { \halign #-2.4 \italic "crisp"} (gis a b cis b a gis a b cis b a gis a b cis b a gis a b cis b a gis a b cis b a fis e8) } \new Staff = "b" \relative c, { \set Staff.midiInstrument = #"piano" \clef bass r4 d8->-\markup {\italic "detached always"} [a'-. fis'-. b,-.] g-. [d8-> a'-. fis'-.] b,-. [g-. d8-> a'-.] fis'-. [b,-. a-. d,-.] a'-. } \new Staff \with { \remove Staff_symbol_engraver \remove Clef_engraver \remove Time_signature_engraver \remove Bar_engraver \remove Key_engraver \remove Meter_engraver \remove Staff_bar_engraver} { \relative c' { \set Staff.midiInstrument = #"alto sax" \omit NoteHead \omit Stem \omit Beam \omit Dots \omit Accidental \omit Tie \omit Slur \omit Script \omit Rest \omit Flag d8-. a'-. fis16 gis fis8 (e8-.) d-. a'-. fis16 gis fis8 (e8-.) d-. a'-. fis16 gis fis8 (e8-.) d-. fis-. a-. cis,-. } } >> >>

After the principal theme is introduced, a short transition occurs in the piano before the first episode. A new polymeter is introduced: 2
4 in the saxophone against 3
8 groupings in the piano. Accents continue to be used to distinguish groupings.

countermelody are now switched)[69] but is abruptly diverted into another episode after seven bars. A short saxophone transition based on diminished arpeggios leads into a calmer episode:[69] smooth melodic lines inspired by movement II appear in the saxophone and accents are absent from both parts.[70][71]

\relative c'' { \set Score.tempoHideNote = ##t \numericTimeSignature \tempo 4 = 160 \time 2/4 \set Staff.midiInstrument = #"alto sax" dis2\p ~ dis4 ais\< (b cis dis e\! dis2 ~ dis) }

Another piano transition brings about the principal theme in F♯ major, now much quieter and more developed. A transition from both players leads into the last episode in the key of A major, which is dance-like in nature. The principal theme returns for the last time, now in the home key, and is developed further before a coda.[70] The sonata ends with a scalic climax passed between both instruments.[72]

Style

Creston's designation of the piece as a sonata—a rarity among his works—distinguished it from its predecessor, suggesting a

crescendo).[67]

The sonata is of substantial difficulty to the saxophonist, using a generally high tessitura along with irregular patterns and scales.[74] It uses all of the saxophone's regular range, venturing into altissimo F♯s and Gs several times.[75] The piano accompaniment to Creston's sonata is also difficult[74] and requires a large hand span. It is often described as being just as—if not more—difficult than the saxophone part.[50][76]

Tempi

Creston expressed uncertainty over the original tempi (quarter note = 126, quarter note = 66 and quarter note = 160) on multiple occasions. He requested that performers of the sonata change the tempi at the 1978 Marcel Mule International Saxophone Competition in Gap, France. Jean-Marie Londeix, a jury member at the competition, recounted that Creston's new tempi were quarter note = 120, quarter note = 60 and quarter note = 144. Creston had previously that expressed the original tempi were too fast in a 1975 letter to Londeix. Londeix considered these alterations beneficial, giving a better balance of tempi and "[allowing] a more clearly defined chamber music character to emerge".[77]

During a visit to Ithaca College in 1976, the college's saxophone professor Steven Mauk asked Creston about the accuracy of the sonata's tempi. According to Mauk, Creston self-deprecatingly exclaimed that "the person who put the tempo markings on this piece was a fool", suggesting slower tempi of quarter note = 52–56 and quarter note = 144 for movements II and III instead.[78]

Recordings

Leeson and Creston recorded movements I and II of the sonata in late 1939 using a Federal Recorder owned by Leeson. The discs still exist, but cannot be played.[19][22] Vincent Abato made the first commercial recording of the sonata in 1955, accompanied by Creston.[79][80] This was the first time one of Creston's chamber pieces had appeared on record.[81] The first stereo recording was made by Donald Sinta and Nelita True, c. 1968.[82] By 1978, the sonata had appeared on eight records, including those made by Marcel Mule, Sigurd Raschèr, François Daneels and Jean-Marie Londeix;[2] two years later that number increased to fourteen.[18] Later recordings include those issued by Arno Bornkamp, Alex Mitchell and Alina Mleczko (see below).

Selected recordings
Saxophonist Pianist Label – Catalogue Number Year Ref(s)
Vincent Abato Paul Creston Columbia – ML 4989 1955 [79]
Marcel Mule Solange Robin
London
– LL 1479 		c. 1956 [83][84]
Sigurd Rascher Russell Sherman Grand Award– AAS 708 1960 [83]
Donald Sinta Nelita True Mark – 22868 c. 1968 [82][83]
Jean-Marie Londeix Pierre Pontier EMI – C065 12805 1974 [83]
Harvey Pittel Levering Rothfuss Crystal – S 157 1978 [34]
Paul Brodie Myriam Shechter Golden Crest – RE 7037 c. 1979 [83]
Pekka Savijoki [fi] Jussi Siirala [fi] BIS – LP 159 1980 [79]
Cecil Leeson Charles Kuhn Enchanté – ENS 2006 Before 1986 [85]
Arno Bornkamp Ivo Janssen [nl] Globe – GLO5032 1990 [86]
Alex Mitchell Jeremy Limb [fi] Naxos – 8.559241 2006 [87]
Alina Mleczko [pl] Agnieszka Kopacka Dux – DUX0692 2010 [88]

Notes and references

Notes

  1. ^ Creston considered this the official premiere although had Leeson performed the sonata before, see § Performances
  2. ^ The piece is generally considered a commission although there was no exchange of money.[14][15]
  3. ^ Creston later advised performers to use different tempi from the original markings, see § Tempi
  4. ^ The musicologist Thomas Liley alternatively describes this as a partial recapitulation of only the first theme.[54]
  5. ^ In conversation with Mauk, Creston said he intended mordents to be played on the beat throughout the sonata.[67]

References

  1. ^ Cowell 1948, pp. 533–535.
  2. ^ a b c d e Gee 1978, p. 17.
  3. ^ Frigo 2005, pp. 10–11.
  4. ^ Dryer-Beers 1998, p. 39.
  5. ^ a b Cottrell 2012, p. 255.
  6. ^ Morris 1996, p. 103.
  7. ^ Gee 1986, p. 121.
  8. ^ Hulsebos 1989, p. 162.
  9. ^ Frigo 2005, p. 11.
  10. ^ a b Morris 1996, p. 104.
  11. ^ Rousseau 1982, p. 94.
  12. ^ Frigo 2005, pp. 12–13.
  13. ^ a b Morris 1996, pp. 113–115.
  14. ^ a b c Hulsebos 1989, p. 159.
  15. ^ a b Liley 1988, p. 7.
  16. ^ Frigo 2005, p. 18.
  17. ^ a b Hulsebos 1989, p. 160.
  18. ^ a b Morris 1996, p. 118.
  19. ^ a b Morris 1996, p. 117.
  20. ^ a b c Slomski 1994, p. 58.
  21. ^ Morris 1996, pp. 117–120.
  22. ^ a b Hulsebos 1989, p. 161.
  23. ^ University of Missouri–Kansas City Libraries.
  24. ^ a b Morris 1996, p. 116.
  25. ^ Morris 1996, pp. 116–117.
  26. ^ Slomski 1994, p. 59.
  27. ^ Broder 1955, p. 551.
  28. ^ Ellsworth 1956, p. 61.
  29. ^ Melson 1955, p. 1894.
  30. ^ Newlin 1956, p. 30.
  31. ^ Berger 1955, p. 38.
  32. ^ Lyons 1955, p. 385.
  33. ^ Schonberg 1955, p. 23.
  34. ^ a b Simmons 1979, p. 45.
  35. ^ Page 1983, p. 62.
  36. ^ Simmons 2004, p. 228.
  37. ^ Liley 1998, p. 55.
  38. ^ Rousseau 1982, p. 108.
  39. ^ Morris 1996, p. 77.
  40. ^ a b c d e Maloney 1985, p. 4.
  41. ^ a b c d Liley 1988, p. 9.
  42. ^ Sibbing 1969, p. 65.
  43. ^ a b c d e f g Simmons 2004, p. 229.
  44. ^ a b Sibbing 1969, p. 57.
  45. ^ a b c Liley 1988, p. 10.
  46. ^ Creston 1973, p. 2.
  47. ^ Sibbing 1969, p. 59.
  48. ^ a b Creston 1973, p. 3.
  49. ^ a b Maloney 1985, p. 3.
  50. ^ a b Hinson & Roberts 2021, p. 376.
  51. ^ a b Maloney 1985, pp. 3–4.
  52. ^ Liley 1988, p. 12.
  53. ^ a b Sibbing 1969, p. 56.
  54. ^ Liley 1988, pp. 12–13.
  55. ^ a b Morris 1996, p. 15.
  56. ^ Sibbing 1969, p. 60.
  57. ^ Liley 1988, p. 13.
  58. ^ Creston 1973, p. 15.
  59. ^ a b c d Liley 1988, p. 14.
  60. ^ a b Sibbing 1969, p. 69.
  61. ^ Sibbing 1969, pp. 56–57, 62.
  62. ^ Creston 1973, p. 20.
  63. ^ Morris 1996, p. 73.
  64. ^ Maloney 1985, p. 6.
  65. ^ Sibbing 1969, p. 66.
  66. ^ a b Maloney 1985, p. 5.
  67. ^ a b Mauk, p. 3.
  68. ^ Creston 1973, p. 21.
  69. ^ a b Liley 1988, p. 17.
  70. ^ a b Maloney 1985, pp. 5–6.
  71. ^ Creston 1973, p. 27.
  72. ^ Sibbing 1969, p. 63.
  73. ^ Sibbing 1969, p. 71.
  74. ^ a b Sibbing 1969, p. 79.
  75. ^ Sibbing 1969, p. 72.
  76. ^ Tallmadge 1946, p. 46.
  77. ^ Londeix & Umble 2000, p. 212.
  78. ^ Mauk, p. 2.
  79. ^ a b c Slomski 1994, p. 77.
  80. ^ Cottrell 2012, p. 256.
  81. ^ Sibbing 1969, p. 55.
  82. ^ a b Kirby 1968, p. 40.
  83. ^ a b c d e Simmons 1979, p. 46.
  84. ^ Billboard 1956, p. 28.
  85. ^ Gee 1986, p. 124.
  86. ^ MacDonald 1992, p. 66.
  87. ^ Simmons 2008.
  88. ^ Pwyll ap Siôn 2010, p. 75.

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