A COMPARATIVE STUDY OF SELECTED CLARINET WORKS BY ARTHUR HONEGGER, DARIUS MILHAUD . AND FRANCIS POULENC by THOMAS D. STIRZAKER, B.M.E., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved May, 1988
126
Embed
A COMPARATIVE STUDY OF SELECTED CLARINET WORKS BY …
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
A COMPARATIVE STUDY OF SELECTED CLARINET WORKS BY
ARTHUR HONEGGER, DARIUS MILHAUD
. AND FRANCIS POULENC
by
THOMAS D. STIRZAKER, B.M.E., M.M.
A DISSERTATION
IN
FINE ARTS
Submitted to the Graduate Faculty of Texas Tech University in
Partial Fulfillment of the Requirements for
the Degree of
DOCTOR OF PHILOSOPHY
Approved
May, 1988
ACKNOWLEDGEMENTS
I would like to thank my dissertation committee,
Keith McCarty, Richard McGowan, Kim Smith, Michael Stoune
and Richard Weaver, for their support and guidance on this
project.
I would also like to acknowledge the publishers of
the music used in this study for granting their permission
to reproduce the music used in the examples and the appen
dices. Poulenc's Sonata was reproduced by kind permission
of the publisher and copyright owner J. & W.
Chester/Edition Wilhelm Hansen London Ltd. Milhaud's
Sonatine was reproduced by permission of Theodore Presser
Company, Sole U.S. Representative of Durand, and Honegger's
Sonatine was reproduced through permission of Editions
Salabert.
11
CONTENTS
ACKNOWLEDGEMENTS 11
PREFACE iv
I. "LES SIX" AND PARIS IN THE 1920s 1
II. A FORMAL ANALYSIS OF THE WORKS 6
Honegger's Sonatine 6
Milhaud's Sonatine 12
Poulenc's Sonata 18
III. AN ANALYSIS OF HARMONY, TONALITY AND TEXTURE 26
Honegger's Sonatine 26
Milhaud's Sonatine 31
Poulenc's Sonata 41
A Comparison of the Three Works 50
IV. PERFORMANCE PROBLEMS AND SUGGESTIONS 53
Honegger's Sonatine 53
Milhaud's Sonatine 56
Poulenc's Sonata 60
Conclusion 65
ENDNOTES 68
BIBLIOGRAPHY 69
APPENDICES
A. THE SCORE OF HONEGGER'S SONATINE 7 2
B. THE SCORE OF MILHAUD'S SONATINE 83
C. THE SCORE OF POULENC'S SONATA 99
• • • 1 1 1
PREFACE
The present study focuses upon and compares the
sonatinas of Arthur Honegger (1892-1955) and Darius Milhaud
(1892-1974), and the Sonata of Francis Poulenc (1899-1963).
These works were chosen in part, because of their medium of
performance, clarinet and piano. Honegger, Milhaud and
Poulenc were members of the group known as "Les Six" whose
name was bestowed by Henri Collet in the journal Comoedia.^
The present study will focus upon both the similarities and
the more personal characteristics of these composers. As a
comparative study, this work is unprecedented, for although
analyses have been made of the works by Poulenc and
Milhaud, there is no complete analysis of Honegger's
Sonatine.
Several studies have been made of Poulenc and Milhaud
that include analyses of their clarinet works. John
Laughton in his dissertation, A Comprehensive Performance
Project in Clarinet Literature with an Essay on the
Woodwind Music of Darius Milhaud,^ provides a short
description of the Sonatine. Nancy Mayland MacKenzie has
written a dissertation entitled Selected Clarinet Solo and
Chamber Music of Darius Milhaud3 which contains an analy
sis of the Sonatine. Robert Petrella's dissertation. The
Solo and Chamber music for Clarinet by Darius Milhaud^^
also treats the Sonatine. Poulenc's work has been treated
iv
in a more general way by Mary Ann Stringer in her
dissertation. Diversity as Style in Poulenc's Chamber
Works with Piano.^ Moreover, Nancy Poulin in her disserta
tion. Three Stylistic Traits in Poulenc's Chamber Works for
Winds,^ cites the clarinet Sonata to illustrate some of the
techniques of Poulenc's composition style.
CHAPTER I
"LES SIX" AND PARIS IN THE 1920s
In the 1920s Paris was recovering from the effects of
the First World War. The city of Paris had become the hub
of artistic life once again and a haven for artists and
philosophers in France as well as those from other
nations. The younger artists were caught between the
older traditional ideas in the arts and newer ideas that
spoke more directly of their generation. The older artists
were naturally more comfortable with their traditions.
Paris, however, was more than accommodating to both.
Many well known composers were living in Paris during
the 1920s. Included in this august community were Gabriel
Faure (1845-1924), Albert Roussel (1869-1937), Vincent
d'Indy (1851-1931), Paul Dukas (1865-1935), and Maurice
Ravel (1875-1937).
Among the foreign artists who were active at this
time were the Russian born composer, Igor Stravinsky (1882-
1971), and the Spanish born painter, Pablo Picasso (1881-
1973). The younger generation of French artists, including
the members of "Les Six," found many of the ideas of
foreign artists attractive, and thus were generally less
influenced by the Impressionists who had dominated music
and painting for so long.
Oddly enough, the members of "Les Six" found them
selves grouped together in a review by the music critic
Henri Collet." In addition to Honegger, Milhaud and
Poulenc, the other members of "Les Six" included Georges
Auric (1899-1983), Louis Durey (1888-1979) and Germaine
Tailleferre (1892-1983). Although these individuals
differed in their compositional style and philosophy, they
felt that there were certain advantages in a group iden
tity. As Milhaud stated, "Collet's article excited such
world-wide interest that the 'Group of Six' was launched,
and willy-nilly I formed part of it."^ The individuals of
"Les Six" realized that they could gain more recognition as
members of'the group than they could apart from it. This
they reasoned could help them gain public recognition and
performances of their works which would be vital to their
careers. Milhaud once again emphasized in his view of the
alliance: "One must not think, as many do, that according
to the name, we are alike in aesthetics; our activity and
our friendship united us."^
To some extent, the members of "Les Six" were inspired
by the musical aesthetics of Erik Satie (1866-1925) and the
writings of Jean Cocteau (1889-1963). They did not, how
ever, endorse Satie and Cocteau in their more adamant
positions against Romanticism and Impressionism. But there
is no question that "Les Six" benefited from them. Cocteau
acted as a spokesman for "Les Six," often praising their
works and trying to gain much needed public support for the
group. He often attended' concerts of the group, and he
joined them occasionally in some of their activities as did
Satie.
Much of the reaction against Romanticism and Impres
sionism had already passed before "Les Six" had formed.
Stravinsky's works, including the epic ballet Le Sacre du
Printemps, first performed in Paris in 1913, had already
started to crumble the tower of Impressionism; and the
death of Claude Debussy in 1918 marked the unofficial close
of the movement. Perhaps, because of those events and the
fact that even the eldest members of the group were a
generation younger than Satie, "Les Six" never formulated
any positions or philosophical platforms. Poulenc said,
"'Les Six' never existed, except as a friendship among
artists."10
The various interests of the group included machines
and mechanical devices, particularly those that produced
music, such as crank organs used by street musicians. The
members of "Les Six" often went out together visiting
street fairs and the like. Circus acrobats and clowns
excited them with their economy of movement in which each
gesture and movement never exceeded the minimum necessary
for expression.H "Les Six" also admired the simplicity of
popular songs and jazz which played in many of the music
halls, bars and clubs.
One of the places that the members of "Les Six" liked
to frequent as a group was Le Boeuf sur le Toit, which had
been established as the first jazz club in Paris during
the 1920s. As Chris Goddard has noted.
Almost overnight, Le Boeuf became the place to see and be seen. All the leading Paris intellectuals were to be found there nightly: painters like Picasso, Picabia, Derain and Marcel Duchamp, writers like Radiguet, Cocteau, Max Jacob and Andr^ Breton. Most evident of all were "Les Six": Arthur Honneger, Louis Durey, Germaine Tailleferre, Darius Milhaud, Georges Auric, Francis Poulenc—the half-dozen young French composers who had collected under the intellectual stage management of Jean Cocteau.^^
Although "Les Six" frequented the circuses, music
halls, and jazz clubs, and these events influenced their
compositional styles, none of these experiences were
formulated into any group philosophy or platform. Eclec
ticism is the word that best describes their creative
efforts as well as their aesthetic inclinations. In this
sense they were true pioneers of 20th-century music. They
were never dominated by the strong influences of Roman
ticism or Impressionism, but rather, felt free to cul
tivate many forms and styles of past generations. Thus,
although they were never completely separated from the
past, each of them cultivated his own unique style.
Expressed another way, their personal styles were more
evolutionary than revolutionary; yet as Milhaud stated.
' ' ^ ^ ^ •
"music develops, continues, and transforms itself with
such speed that some listeners and critics cry out that a
revolution has come, and halt in the middle of the
road."13
!*>.-A
rwi
*^?
5-J*-;jf>^-^-»;
ft' ,#''
^ m.'.
. #-%• x 'J -
u> 'H g>:^
I.. T I*-
CHAPTER II
A FORMAL ANALYSIS OF THE WORKS
Honegger's Sonatine
The Sonatine, written by Honegger in 1921-22, was
dedicated to Werner Reinhart and first performed by Louis
Cahuzac in 1923. Rouart-Lerolle and Company published the
work in 1925. Its three movements are marked Modere, Lent
et soutenu and Vif et rhythmique. Each movement was dated
by Honegger at its completion. The first movement was
completed in July, 1922, the second movement in October,
1921, and the third in November, 1921. Each of the move
ments is short with the performance time of the work
totaling only a little more than six minutes.
The first movement is a charming miniature of only
seventy measures. The form of the movement is ternary
with an exposition encompassing measures 1-29; a second
section, a contrasting section, includes measures 30-43;
and a third section, a recapitulation comprises measures
44-70.
The exposition possesses a ternary substructure. The
opening phrase, in the clarinet (m. 1-8), forms the first
part of the substructure. A fragmentation of the initial
phrase follows in measure 9 and extends to measure 15,
forming the second part of the substructure. A restate
ment (m. .16) presents the initial clarinet phrase from
6
measure 1, thus making up the third and last part of the
substructure.
A rhythmic figure of three sixteenth notes serves as
a principal motive of the exposition (see Example 1).
This motive is shared in both the clarinet and piano parts
throughout the section.
Example 1. The Principal Motive in Honegger's Sonatine, the First Movement (m. 1-4).
Miidt*r<' CLARINETTi:
< n LA
PIANO
Copyright 1925 Edit ions Salabart
The middle section begins in measure 30 with the
theme announced in the piano. The main event of this
section is a three-voice fugato, which is based upon an
angular, chromatic subject unique in rhythmic character.
As in the exposition, the subject starts with a similar
sixteenth-note pattern (see Example 2).
Example 2. The Fugato Subject and First Answer in the First Movement (m. 30-33).
8
I ^ # ^ g ^ ^ ^ 3 i p marcato
-If^^.^ ^ m i
-• "^^^V^^
Copyright 1925 Editions Salabert
The subject is announced in the piano in measures 30-
31, and is answered in the piano in measures 32-33. The
clarinet answers in measure 36, at which time the texture
consists of three parts. The section reaches a climax in
measures 39-41 with a stretto in all three voices. In
measures 42-43 the section comes to an end with fragments
of the subject.
The recapitulation, beginning in measure 44, is much
the same as the opening measures. The fugato subject of
the middle section is added in the piano at this point,
however, and is placed in augmentation. The same subject
is once again stated in the piano in measures 57-60. Thus
the recapitulation restates materials from the middle
section as well as the exposition. Although the subject
is present, it is treated in a manner that subordinates it
to the principal theme which is so prominently stated in
the clarinet. The ternary substructure of the exposition
is not used in the recapitulation. Instead one finds a
binary substructure of more or less equal parts.
The second movement extends 33 measures. The form is
binary with the first section encompassing measures 1-14
and the second section, similar in material, encompassing
measures 15-33. The rhythmic movement in both the clari
net and piano parts is less active than that of the first
movement.
The initial clarinet phrase (m. 2-9) is very angular,
expanding upward through a range of two octaves. The
piano lines are not as angular as those of the clarinet,
but are nevertheless quite disjunct in character. A second
phrase in the clarinet starting in measure 11, similarly
disjunct, leads directly into the second section in measure
15. Three quarter notes, b, f and £ in the clarinet are
derived from those in measure 2, although they are trans
posed an octave higher. The character of the clarinet and
piano parts is much the same as in the first section.
Strong, formal outlines are not created, in part, because
of a lack of contrasting themes. The brevity of the
movement in some ways minimizes the development of a formal
outline in a structure that unfolds in a continuous manner.
The third movement is the liveliest of the three in
both tempo and rhythmic activity. It is also very short,
consisting of only thirty-seven measures. Its form is
10
ternary with the first section (m. 1-10) forming a
monothematic exposition; the second section, contrasting,
covering measures 11-19; and a recapitulation extending
from measure 20 to the end of the movement.
A syncopated ostinato figure in the piano appears
from the start of the movement (see Example 3). The
clarinet presents a rhythmic pattern, displaced by a
sixteenth note, at its entrance (m. 1-2). Also heard in
the clarinet at this point are numerous upward glissandos
(see again Example 3). The combination of the piano
ostinato and the eccentric clarinet rhythms and glissandos
create an impression of early jazz. The initial section is
very short> however, as it ends in measure 10.
Example 3. The Piano Ostinato and Clarinet Glissandos in the Third Movement (m. 1-5).
Vir «*t rytlimlquv
L..mn' rrm V i r «-r r}-tiiiiii<i<i*?
^ !
y
<&•' J II;' J J J ^ \h
^ ,mr^- m-n ^ ^
^ V i i ^ ^ | - ^ ^ ^
^TTT r rrr- hJ^Jl SS i
i g J IN JN i=-t=^f^
pf^^^
Copyright 1925 Editions Salabert
11
The contrasting section is in obvious ways similar to
the exposition. Most obvious are the rhythmic figures in
the piano in measures 14-16. These rhythmic figures are
the same as those of the clarinet in the exposition. The
contrasting material of the section is presented primarily
in the clarinet. The part employs the technique of syn
copation in creating its unique character. The same
material reappears in both the clarinet and piano in
measures 17-19 in an imitative fashion as the section ends.
The recapitulation, which begins in measure 20,
differs from the exposition in some notable ways. First,
the piano does not use the original ostinato figure within
the texture at this point (m. 20-26). Second, the clarinet
and piano exchange thematic materials (m. 27-32) from their
original statements in the exposition. Finally, the
recapitulation is expanded to almost twice the length of
the exposition, being eighteen measures in length. The
only segment of the recapitulation that compares exactly to
the exposition occurs in measures 33-35.
Summary
On the surface, Honegger's Sonatine appears to be a
simply conceived work derived from an economy of "material.
The work is short and uses the simple binary and ternary
forms. On closer inspection, however, the piece is rather
complex in its presentation of materials and their
12
treatment. The piano part is much more than a simple
accompaniment, often initiating thematic statements.
Milhaud's Sonatine
Darius Milhaud's Sonatine, opus 100, was written in
1927. It was not premiered, however, until 1929 when
Louis Cahuzac, to whom the piece was dedicated, performed
it in recital before the Societe Musicale Independente in
Paris. That same year the work was published by Durand.
The first movement, marked Tres rude, is in three
sections. The first section, an exposition, encompasses
measures 1-34. A contrasting section includes measures •ft
35-87, and a reprise occurs in measure 88 and extends to
the end of the movement, (m. 95).
An arpeggiated motive of four sixteenth notes leading
to a descending pattern of parallel seventh chords is found
in the piano at the beginning of the exposition (see
Example 4). The clarinet line is very angular in shape at
its initial entrance (m. 1-2). Many repetitions of measure
long segments occur in the movement, including the ostinato
pattern in the right hand of the piano in measures 12-15.
The second half of the exposition (m. 16-34) contrasts with
the first in that the initial clarinet motive in measure 16
is treated in a developmental way, and the character of the
clarinet part is generally more conjunct than before. The
clarinet motive in measure 16 is stated three times in
nposer pushes the major-minor system of tonality to its
:e remote limits, with Honegger being the most chromatic
3 Milhaud making the greatest usage of polytonality.
irly all of the harmony in these works is tertian, with
ne sonorities extended to form ninths, elevenths, even
Lrteenths. In this respect, the composers are rather
iservative, comparing many figures of the twentieth
itury.
As has been shown, the works are widely different in
iracter. Honegger's work seems to be constructed from a
•gely rhythmical point of view. In a number of ways, the
k is similar to a clock or machine in which a system of
irs and parts are working together. The parts in this
le are, of course, rhythmic and melodic motives,
haud's work is also rhythmically complex, but it makes
ih greater usage of syncopation and polyrhythms. The
thmic complexity may be traceable to the time spent in
zil listening to and collecting indigenous popular music
le serving as an emissary of the French Government.
52
Poulenc's work can best be characterized by the contrast
and interplay of two moods: the one, happy and lively; the
other, reflective and melancholy; and although rhythm is
important in Poulenc's work, the expressiveness of his long
lyrical melodies is paramount.
*'.
CHAPTER IV
PERFORMANCE PROBLEMS AND SUGGESTIONS
Honegger's Sonatine
Honegger's work possesses a rhythmic vitality that is
most apparent in the first and third movements. Both
instruments must play rhythmically, for the precision that
is required is much like the gears of a clock working
together to keep accurate time.
There are several choices that must be made by the
performers of this work. It takes mature musical judgment
to adjust the delicate balance between the instruments.
For instance, the dynamics are similarly marked in both
parts throughout the work, yet when the texture thickens or
the parts are exchanged, alterations in the dynamics will
be needed. Also important are the tempos of each movement.
No specific tempo indications are given, leaving the
performers some latitude in tempo. The initial tempo of
each movement is important as it directly influences its
character.
The strong rhythmic character of the first movement,
which is marked Modere, may be distorted if the tempo is
too slow. The opening motive, which consists of three
sixteenth notes followed by a longer note value, is shared
by both instruments. The longer note should receive agogic
emphasis, but this is effective only if care is taken not
to stress the sixteenth notes that precede it. With this
53
54
suggestion in mind, the rhythmic flow of the exposition
becomes smoother and more continuous.
The contrasting section requires accurate subdivision
of the beat, for none of the entrances of the subject occur
on the beat. The section is so tightly constructed that a
misplaced or careless entrance could easily destroy the
contrapuntal fabric.
Several dynamic changes are required in the first
movement. Although both parts are marked g£ in measures
9-15, the piano states interesting chords that should be
brought out over the fragments of the clarinet. In the
recapitulation, a stratified rhythmic texture is created as
each of the parts move at different rates. The fugato
subject, which is placed in augmentation in the piano, must
be projected. The line can be easily lost if the pianist
does not play louder than £ and/or the clarinetist plays
too aggressively.
The long phrases of the second movement present the
clarinetist with various problems. A number of subtle
dynamic changes must be made in order to give distinction
to the phrases. For example, although the first phrase is
marked mf, a slight diminuendo must be made in measures 4-5
so that a short, effective crescendo can be made in
measure 6, leading to the d£ on the first beat of
measure 7.' There are several dynamic indications;
however, the performers must shape the dynamics to fit the
55
melodic contours of the phrases. There are few rhythmic
problems, although care must be taken not to initiate too
slow a tempo or the movement can easily stall. Caution
must be exercised if rubato is used to shape the phrases,
as the tempo can easily be slowed and recovering the pace
could be difficult.
The tempo of the third movement should be established
by the pianist, as the difficult opening figure is indi
cated f and marked with staccatos. If too fast a tempo is
initiated, the crispness of the ostl.nato figure will be
lost while a slow tempo will ruin the vivacious character.
The steadiness and rhythmic exactness of the ostinato will
provide the stability for the clarinetist to execute the
difficult syncopations that might otherwise be incorrectly
played on the upbeats. The syncopations will be enhanced
further by observing the tenuto markings which call for the
syncopations to be performed in a legato manner. The
indicated glissandos in the clarinet are effective only if
the notes between e£ and gl are fingered chromatically in
rapid succession.
There are several places in the third movement where
the balance of the instruments might be adjusted slightly.
The syncopated line of the clarinet starting with anacrusis
of measure 2 must be brought out slightly over the piano
ostinato. ' The opposite must occur when the instruments
exchange lines in measures 28-31. The piano must bring out
56
its part in measures 14-16 over the less rhythmically
interesting clarinet part. Finally, care must be given in
measures 20-26 that the piano part does not cover the more
rhythmically interesting clarinet part.
Milhaud's Sonatine
There are three major difficulties that one encounters
in the performance of this work. The^first difficulty is
the independent rhythmic relationship between the parts.
Each of the performers must be rhythmically secure with
their parts. A second concern is the technique required of
the performers. The music modulates frequently without
any notice," and there are also many wide melodic skips in
each part. Not only is this concern a technical one, but
also an aural one as for the clarinetist being capable of
hearing the larger intervals before playing them will
greatly improve the intonation. The third major difficulty
is that of the adjustments that must be made in the dynamic
levels where the textural density changes frequently.
This is not a work for a young and inexperienced musician.
The first movement exhibits a rough character at the
beginning with angular turns and wide melodic skips being
present in both parts. Close attention must be given to
accents and sforzandos marked in the initial measures of
the piano part. The clarinetist must observe the slurs in
the opening measures as most of these help to accentuate
57
the wide melodic skips. In contrast, the second half of
the exposition exhibits a much more tranquil mood. Here
the clarinet line is much more conjunct than before and
must be performed in a more subtle manner.
Several dynamic changes are necessary in the exposi
tion. The clarinetist must reduce the dynamic level in
measure 10 on the sustained a£ in order for the sextuplets
in the piano to predominate. Attention must also be given
to the piano ostinatos in measures 16-22 so that they do
not cover the more melodic clarinet phrases.
The middle section begins with a piano part that is
generally much more conjunct than in the exposition. Here
the lyrical phrases in the clarinet should be brought out
over the piano in measures 35-47. Both instruments should
crescendo as indicated in measures 48-52, which leads to
the subsequent transition (m. 53-56). Both performers
should play the transition in an aggressive manner to
create momentum going into the development passage. Many
dynamic indications are added in measures 57-71, and these
must be carefully observed in order to create a sense of
development in the passage. (A treble clef indication is
missing before the second beat of the treble part in
measure 67). Another transition in measures 72-76 should
be performed in a similar manner to the first transition
(m. 53-56)'. However, the momentum must quickly be halted
in measure 77 where both calme and softer dynamics are
58
indicated. The mood in measures 77-87 should be similar to
that projected in measures 35-52. The impending recapitul
ation should display the same rough character from the
exposition. The movement should end in a very abrupt
manner.
The second movement presents fewer balance problems
than the first movement. Although Lent is indicated, too
slow a tempo can destroy the pastoral character of the
music. As indicated in measure 2, the clarinet must play
in a lyrical manner and should generally dominate through
out the exposition. The middle section is, of course, much
more contrapuntal than the exposition. Although few
dynamics are indicated, the performers should balance the
imitative entrances that permeate the section. A sense of
climax should be projected in measures 33-34. The return
should again be dominated by the lyrical and expressive
clarinet phrases.
The third movement recalls the mood of the first
movement at the outset. The tempos of both movements
should be the same, for the character of the parts, which
encompass many wide melodic skips and angular turns, are
also similar. The opening motive of the piano is reiter
ated six times in the exposition with each statement being
marked with a louder dynamic than any preceding or subse
quent material. Each appearance of the motive should be
projected over the material as in measure 5, where the
59
pianist must play the motive at ^ over the clarinet line
marked mf.
The development is characterized by a more lyrical,
conjunct clarinet part, and generally softer dynamic
indications in both parts. The lyrical and conjunct
clarinet phrases should be brought out slightly in measures
28-44, for here the piano part is repetitive and less
interesting than the clarinet. Both instruments should
play the same dynamics in measures 51-60. During this
segment the dynamics steadily increase from inf, indicated
in measure 51, to ff at the beginning of the return in
measure 61. A primary concern of the performers is to
produce a momentum that will carry over into the return.
Although the return is composed of material from the
exposition, the single ff indication in measure 61 suggests
that the music be performed continuously at that level
throughout the remainder of the movement. This can create
problems for both performers, as it is difficult to sustain
this mood throughout the section. One suggestion is that
the performers start at f_ instead of f^ in measure 61 and
crescendo in measures 73-78 to reach a ff by measure 79.
The San ralentir literally means relentlessly, and must be
strictly observed as the movement should end just as
abruptly as the first movement.
60
Poulenc's Sonata
Poulenc's work, being more homophonic,puts the clari
netist in a more prominent position. Although there are
fewer problems with balance and tempo (tempos are clearly
indicated throughout the work), the work is difficult
technically and requires much skill in evoking its various
moods. The work, being published posthumously, contains
some editorial markings in the 5th and 6th editions, which
are placed in square brackets.
The capricious opening statement should be performed
almost as if it were a joke or witty statement. The
sixteenth note turns, or double motives of the clarinet
must be absolutely steady or else the statement could
quickly be distorted into a clumsy beginning. The first
theme exploits much of the clarinet's practical range in an
extended lyrical phrase. The opening notes, marked g_, are
stated in the chalumeau range. When the range is expanded
upward in measure 12, the dynamic level is increased to mf.
The melodic soaring of the first theme is the precursor of
the melodic shaping and dynamic coupling that permeates
much of the work. Hence, the first statement of the second
theme constitutes a period of two symmetrical phrases that
require continuous dynamic shading in order to complement
the various colors of the solo instrument. The mood is
61
interrupted briefly in measures 40-44 with motives from the
opening statement. The change in character must be as
quick and abrupt as the juxtaposition of materials. The
more serious, lyric character returns again in measure 45,
and leads into the closing of the exposition, which should
again be capricious. One may wonder if the five-note
figure of the clarinet in measure 66 might be articulated
in the same manner as found in measure 6.
The contrasting section projects a grave and austere
mood. The surtout sans presser indication in the score in
measure 78 specifies without any sense of hurrying or
urgency. Also indicated in the piano part is doucement
monotone, meaning a soft, slow and reserved manner. With
the clarinet marked £ in measure 78 and f in measure 80,
the natural tendency is to create a crescendo in measures
78-80, especially since the melodic line expands upward.
This should not be overdone, for the rising tessitura takes
care of the crescendo as a matter of course, with the
higher notes naturally projecting more than lower tones.
The f in measure 80 is strengthened by an accent and should
be performed in a subito manner. A similar subito attack
should be used with the accent in measure 83. Also criti
cal to the ambience of the section are the double-dotted
motives, which should not be incorrectly played as if
written with a single dot. The doucement monotone indica
tion is again found in measure 86. In the remainder of the
62
section, both performers should create an emotionless,
expressionless void that contrasts vividly with the charac
ter of the exposition and impending reprise. The contrast
of moods in the reprise should correspond to those of the
exposition as the themes are similarly juxtaposed.
Several caesuras (*>) create short breaks or pauses in
the music. These generally occur at structural points in
the music, such as between the end of the first theme and
beginning of the second theme in measure 18. Caesuras
should also be observed as indicated in measures 39, 58,
59, 102 and 104.
Although the beginning of the second movement is marked
the same as the contrasting section of the first movement,
it must be filled with an expression of subtle dynamic
shadings. The clarinet should clearly dominate the ten-
measure instrumental recitative, playing the cadenza in a
very free manner using some rubato. The combination of
sweet and melancholy moods in the movement might first
appear difficult for the performers; however, the bril
liance of Poulenc's lyrical writing seems effortless as the
music almost plays itself. The first phrase of the prin
cipal theme begins with a ££ marking in measure 11, fol
lowed by a 2. marking in measure 13. The crescendo should
continue to the inf indicated in measure 16. A slight
diminuendo' can be made in measures 17-18. The fast,
ascending sweeps in the clarinet in measure 19 should be
63
played in a subito manner, since the f coincides with an
accent. Once again, the melody should soar in measures
19-24.
In the middle section, the piano initiates several
phrases that are completed by the clarinet. The instru
ments must work as a single identity in this section—more
than at any other moment in the work. The task of complet
ing the piano phrases is most difficult for the clarinetist
in measures 33-34, 43-44 and 57-58, where any lack of
control over the high tessitura could destroy the internal
balance of phrasing. Again, both performers must execute
the double-dotted motives accurately.
In the reprise, the clarinet must perform the repeated
pattern in measures 69-70 in such a way as to create an
echo of the preceding two measures. The codetta, which
begins with the repeated neighboring-tone figure similar to
the one found in the cadenza, should be performed as
indicated and with rubato. A caesura indicates a slight
pause at the end of measure 72. The sixty-fourth notes on
the anacrusis of measure 75 can be played in a freer rubato
manner if so desired.
In the third movement, both performers must observe the
accents that are indicated in the opening measures, for
they help create the bright and energetic character. The
rhythmic figures of the clarinet in measures 3-4 and 10-11
require absolute technical dexterity and rhythmic
64
exactness. The first thirty-second note in measure 11, an
incorrectly printed d£ for the clarinet should be corrected
to b^ instead. The second theme is brittle in character,
utilizing neighboring-tone figures in measures 19-20 and
the repeated patterns in measure 24. Although the patterns
in these measures are indicated with staccatos, they must
be emphasized as well as detached to help bring out their
brittle quality.
The middle section begins with an extended, lyrical
phrase in the clarinet, marked f. Although the phrase
extends to measure 51, no other dynamics are indicated. A
diminuendo should be initiated by the clarinetist, starting
in measure 47 so the piano line in measure 50 can be
projected. A second phrase begins with the piano stating
the melody, while the clarinet plays an extended tremolo.
Both parts are clearly indicated f_} however, the clarinet
must play softly to allow the piano theme to be brought
out.
The reprise juxtaposes themes more closely than in the
exposition and also interjects the theme from the middle
section, providing the performers only brief moments to
recreate the appropriate moods. For instance, only three
measures of the energetic first theme are stated and are
quickly followed by the brittle second theme. The cyclic
material in measures 112-115, marked £, should be performed
as if it were only a faint reminder. The codetta should
65
possess both the energetic and brittle qualities of the
first and second themes.
Once again, as in the first and second movements, a
number of caesuras are indicated. Those in measures 12,
17, 43, 89, 92, 111, and 112 indicate that slight pauses
should be made before continuing. These pauses help accen
tuate the contrasting moods of the various sections in the
movement.
Conclusion
Honegger's Sonatine, despite its brevity, contains
noteworthy problems. Consider, for instance, the tied note
values and"the complicated fugato subject in the first
movement. In addition, the principal theme in the third
movement may prove rhythmically difficult. The balancing
of dynamic levels is also an important task for the per
formers. Although this work is perhaps not as technically
difficult as the other two, it still requires the abilities
of an advanced student or a professional to bring forth its
finer musical qualities.
Milhaud's Sonatine, because of its angular lines, is
technically very difficult for both performers. Moreover,
even though the dynamic indications are perhaps not as
ambiguous as those in Honegger's work, they still require
considerable thought as far as the balance and the shaping
of phrases are concerned. The complex contrapuntal
66
textures might prove to be more difficult than those in
Honegger's work, causing many problems for young and
inexperienced performers.
From the performer's point of view, the Poulenc Sonata
may be considered the most aesthetically satisfying of the
three works. For the clarinetist it offers long lyrical
lines, even though from the pianist's point of view the
work seems less challenging and rewarding. In this sense,
of course, the work is more characteristic of the tradi
tional solo clarinet repertory. What is attractive and
also sometimes difficult are the mood changes from one
section to the next. Like the other two works, it requires
an ability to interpret what is written on the page.
Quite obviously, these works are most suitable for
advanced students and professionals; and what may be at
first overlooked are the technical and musical difficulties
of the piano parts. Therefore, the performers will find it
impossible to prepare these works successfully with only
limited rehearsal time.
Each of the works are quite adaptable to most recital
programs. Poulenc's Sonata might be an excellent work with
which to end a program; yet the work could stand alone on
almost any program. In contrast, Honegger's and Milhaud's
works might prove more suitable on programs devoted more to
contemporary music. Honegger's Sonatine, because of its
brevity, and the fact that it is written for clarinet in A,
67
is less frequently performed than the other two, although
it contains, as do the others, all the wit and charm of the
French musical tradition.
ENDNOTES
1 Darius Milhaud, Notes Without Music (New York: Alfred A. Knopf, 1953), p. 97.
2 John Charles Laughton, "A Comprehensive Performance Project in Clarinet Literature with an Essay on the Woodwind Music of Darius Milhaud (1892-1974)," (D.M.A. dissertation. University of Iowa, 1980).
3 Nancy Mayland MacKenzie, "Selected Clarinet Solo and Chamber Music of Darius Milhaud," (D.M.A. dissertation , University of Wisconsin, 1984).
4 Robert Louis Petrella, "The Solo and Chamber Music for Clarinet by Darius Milhaud," (D.M.A. dissertation. University of Maryland, 1979).
5 Mary Ann Stringer, "Diversity as Style in Poulenc's Chamber Works with Piano," (D.M.A. dissertation. University of Oklahoma, 1986).
^ Nancy Lynn Poulin, "Three Stylistic Traits in Poulenc's Chamber Works for Winds," (Ph.D. dissertation, University of Rochester, 1983).
7 Milhaud, p. 97.
8 Ibid., p. 97.
^ Darius Milhaud, "The Evolution of Modern Music in Paris and in Vienna," North American Review 217 (April 1923): 550.
10 Francis Poulenc, "The Essence is Simplicity," Musical America 69 (November 15, 1948): 27.
11 Observed by Vera Rasin in "'Les Six' and Jean Cocteau" in Music and Letters 38 (April 1957): 166.
12 Chris Goddard, Jazz Away from Home (New York: Paddington Press Ltd., 1979), pp. 117-118. It is noteworthy that the resident pianist at Le Boeuf, Jean Wiener, together with Louis Cahuzac, premiered Honegger's Sonatine in 1923.
13 Milhaud, "The Evolution of Modern Music," p. 554.
14 For another view of the cyclical treatment, see Poulin, pp. 105-108.
68
BIBLIOGRAPHY
Audel, Stephane. Francis' Poulenc, My Friends and Myself. London: Dennis Dobson, 1978.
Browne, A.G. "A Study of Arthur Honegger." Music and Letters 10 (August, 1929): 372-377.
Brymer, Jack. Clarinet. New York: Schirmer Books, 1976.
Coeuroy, Andre. "The Esthetics of Contemporary Music." The Musical Quarterly 15 (April, 1929): 246-267.
Cooper, Martin. French Music from the death of Berlioz to the death of Faurg. London: Oxford University Press, 1969.
Daniel, Keith W. Francis Poulenc: His Artistic Development and Musical Style. Ann Arbor: U.M.I. Research Press, 1982.
Goddard, Chris. Jazz Away From Home. New York: Paddington Press Ltd., 1979.
Goldberg, Isaac. Tin Pan Alley. New York: The John Day Company, 1930.
Harding, James. Erik Satie. London: Seeker and Warburg, 1975.
The Ox on the Roof. London: Macdonald and Co., Ltd., 1972.
Hell, Henri. Francis Poulenc. Translated by Edward Lockspeiser. London: John Calder, 1959.
Hill, Edward Burlingame. Modern French Music. New York: DaCapo Press, 1969.
Honegger, Arthur. I am a Composer. Translated by Wilson O. Clough in collaboration with Allan Arthur Willman. New York: St. Martin's Press, 1966.
. "Modern Music." Rice Institute Pamphlet 16 (July, 1929): 123-131.
69
70
• Sonatine pour Clarinette en La et Piano. Paris: Editions Salabert, 1925.
Hughes, Allen. "Honegger - Death Was Often His Theme." Musical American 77 (January, 1956): 7.
.. "Les Six'—A generation Later, Their Youthful Spirit Endures." Musical America 74 (Annual Special Issue, 1954): 12, 128, 146.
Jennings, Vance Shelby. "Selected Twentieth Century Clarinet Solo Literature: A Study in Interpretation and Performance." D. Mus. dissertation. University of Okalahoma, 1972.
Kroll, Oskar. The Clarinet. Translated by Hilda Morris. New York: Taplinger Publishing Co., 1968.
Laughton, John Charles. "A Comprehensive Performance Project in Clarinet Literature with an Essay on the Woodwind Music of Darius Milhaud (1892-1974)." D.M.A. dissertation. University of Iowa, 1980.
MacKenzie^^ Nancy Mayland. "Selected Clarinet Solo and Chamber Music of Darius Milhaud." D.M.A. dissertation. University of Wisconsin, 1984.
Milhaud, Darius. Notes Without Music. Translated by Donald Evans. New York: Alfred A. Knopf, 1953.
, Sonatine Pour Clarinette et Piano. Paris: Editions Durand and Cie, 1929.
Myers, Rollo. "A Music Critic in Paris in the Nineteen-Twenties: Some Personal Recollections." The Music Quarterly 63 (October, 1977): 524-544.
Erik Satie. London: Dennis Dobson Ltd., 1948.
Modern French Music. New York: Praeger Publishers, 1971.
. Twentieth Century Music. New York: The Orion Press, 1968.
Petrella, Robert Louis. "The Solo and Chamber Music for Clarinet by Darius Milhaud." D.M.A. dissertation. University of Maryland, 1979.
71
Pino, David. The Clarinet and Clarinet Playing. New York: Charles Scribner's Sons, 1980.
Poulenc, Francis. Sonata for Clarinet and Piano. 6th ed. London: J. and W. Chester Music, 1976.
Poulin, Nancy Lynn. "Three Stylistic Traits in Poulenc's Chamber Works for Winds." Ph.D. dissertation. University of Rochester, 1983.
\^ # Rasin, Vera. "'Les Six' and Jean Cocteau." Music and
Letters 38 (April, 1957): 164-169.
Rogers, M. Robert. "Jazz Influence on French Music." The Musical Quarterly 21 (January, 1935): 53-68.
Schuller, Gunther. Early Jazz. New York: Oxford University Press, 1968.
Shead, Richard. Music in the 1920s. London: Gerald Duckworth and Co. Ltd., 1976.
Stringer, Mary Ann. "Diversity as Style in Poulenc's Chamber Works^with Piano." D.M.A. dissertation. University of Oklahoma, 1986.
Trickey, Samuel Miller. "Les Six." Ph.D. dissertation. North Texas State College, 1955.
Weston, Pamela. Clarinet Virtuosi of the Past. London: Novello and Co. Ltd., 1971.
More Clarinet Virtuosi of the Past. London: Halstan and Co. Ltd., 1977.
Wiener, Hilda. Pencil Portraits of Concert Celebrites. London: Sir Isaac Pitman and Sons, Ltd., 1937.
Wilson, Lawrence A. "Ragtime: Its Roots, Style and Influence on 20th Century Music." D. Music dissertation, Indiana University, 1981.
E*?.
C-f
i^
m
APPENDIX A
* ^ -THE SCORE OF HONEGGER'S SONATINE
"4 •.^
it
f 72
ff WriHtr REINHART
SOflATirlE pour CLARINETTE <>n LA ct PIANO
I
73
A . H O I V K G G i : ! !
M«»d«''r«» CLARINETTi:
• n LA
P I A N O
^ J ^
^ r ^ ^ f t S ^
Copyr icht 193S by R n u a r l - L c r o l l e • C - 'ovi awi ' t o iucur ioi i .U IL IQUI ot MMOOUCTOII E D I T I O N S S A L A B F R T . 2 2 , Rue Chauchal , P A R I S ( 9 « ) i ' » . . . * . O I . ^ . M . ( « . , r s >ou. r e « ' M I
(CullcutivM ROOART-LIROLLE) •* L. I I S U i C'.** » con*«is i * tuioc i t w .v ie i if i.f BMI I I *M
74
^ 5 5 E w ^ E : ^
0^^ dimtHeHdo
3 ^ r ^ 3
1^ ^
I ^^^^^P ' '^ l^ ' '»?
n. L. iisi« A c'r
75
W^
€=>.-* te^^^^^^ m m i t^ ijj ^ i j ^ ^ ^ W W ? " ^
diminuendo motto
R. L. I I S U k C*'-
76
^ ^ ^
IhhJ ^ ^m i i>»J.- ^M m HfHN'f 3t g
b . ^ -^ ^
^m m Vf
m s i z± zz zt gggf '^s^
^
tir p tf.
^ ^ ^ ^ ^ p ^3
FS-
^^P # •
^ 5 ^S ^
r«rieA ./Mi/Z'-f / 9 2 2
R. L. IISU & Ci**
77
II
Lifiit <•! ^out fnu
f^«*l l t Ot MOI l f O l l l l
^S
mi
S
1
^ PP
m ^
r ^
r Hp
^
F23r
s—!!r
i ^ ^ ^
- ^ - IS^ ^ ^
i j ^ a
^
^ P^
^ 1 .
' ^ ^ : *P f ^ B ^ ^e «
^ fa 1 ^ i^' v^- I,?, iti
K. L. I ISi4 K C'r
78
i ,. j T f ^
m
s M ^ ^ r"iinr
w x i n
f f g
^
A
m~v S
Kf PS: ^ ^ ^ ^
Zunek (irlohrr 1921
R. L. I ISU K c'r
79
III
V l f ••t r>-(liinlqu<
V i r «•! f y t l i i i i i < | i i e
±.,mn. rrm mr^- rr^ ^ ^
• • r
%' J 11; ^ J J i ^ ^ t > ^ — ^
trfn/j- rr^n r^p-fnr^-' i^ii^^_A f>?> ^ f 5^S ^
<j? JIM J U 3 ^ > i r r
^ ^
'• ^ 1 ^ ^ 1 * ^ 1 Jr—• .1 •
I""' j ' ^ j j l l
in.l ' jn/3'
• IjJ )>d
mn fP!^ J K* J bJ J ^ ^d hJ
H. I.. IIS I t i« C'.*
80
13 .-s
(?) JH/^- ^ ± ^ W ^
g^^^ffl-;^ ^
^^4^v-^
vMi»8J^ ^ i , t e ^
1 * ^ 1 ,»^j:Vi if..^m
'^- ji> ' J . s ^ ^
S ^ ) - ^ ; ^ -fs
^=^=^^^fr ' \ , W ^
b ^ = ^ - v ^ l ^
S ^ ^ £
F^-^-p-^-f^
''BlJ A t i P'- AJ'U J
^•p^f^ R. L. I I S U $, Cl«
W'
81
. L. I I S U * C'.e
82
errHF) Htlu
^ ^ ^ ^ ^ i j nihhnnni i ' • ' ! J ' J d
cmctHdo
J ^ J y J ^ J 4
[ T N J I
rr. 'rrHilo
l^mp' rr^ m creaeendo
m ^ ^ ^ ^ ^ ^ ^
,ir r - r r ^ (^ J iiJ J k ^
?* E-T ^ i
^
/>art« flTovemtre t92i
K. L. I I S U « C<.*
APPENDIX B
THE SCORE OF MILHAUD'S SONATINE
83
A CAHUZAC
SONATINE
84
Clarinette et Piano DARIUS MILHAUD (1927}
Trim rud« CLARI.NBTTK
vn SI ^
piAyo
fnajj-flaN ^J' i H rt at
* m J. ;)iJ-l-'-
Jh^M^W . /
^ = : ^
a. 5
f^-fgf i
(!;>•
3
r "Fur i SE
r . * * )lr»tl. <t'*.rrrul\.m r r i . r . r . Cu^vritht b.v Durand * € • * 192a O.dF.ll.ftU P.I IS. 4 . P U i t rte la Mni t - l r inr .