A TEACHER’S GUIDE TO THE INTERPRETATION OF … DA CAMERA FOR ALTO … · Ibert returned to Rome...

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A TEACHER’S GUIDE TO THE INTERPRETATION

OF SELECTED MUSIC FOR SAXOPHONE

By Thomas Liley

CONCERTINO DA CAMERA FOR ALTO SAXOPHONE

AND ELEVEN INSTRUMENTS

JACQUES IBERT All rights reserved, Thomas Liley

Biography

Jacques François Antoine Marie Ibert, born in Paris on August 15, 1890, is almost universally

admired for his craftsmanship. "One of the most 'complete' of French composers,”1 he studied at the

Paris Conservatoire from 1911 to 1914 with Gabriel Fauré and André Géldage and won several

prlzes. Returning to the Conservatoire after World War I, Ibert studied with Paul Vidal and received

the Prix de Rome in 1919 for his cantata Le poète et la fée, his first orchestral score. While in Rome

he wrote his most famous work, the symphonic suite Escales (1924).

Ibert returned to Rome in 1937 as director of the Academie de France and remained there until 1960.

From 1955 to 1957 he also served as director of the united management of the Paris Opéra and

Opéra-Comique. In 1956 he was elected a member of the Institut de France.

Ibert composed for all genres except oratorio, including seven operas, seven ballets, and much

orchestral, chamber, piano, and vocal music. In addition to Escales, his most important

compositions include the String Quartet (1944), the opera Angélique (1926), the ballet Le chevalier

errant (1935), the Flute concerto (1934), and the Concertino da Camera (1935). The saxophone was

employed by Ibert in several of his orchestral compositions, all published in Paris by Leduc:

Symphonie marine (1931);

Golgotha (film score, 1935);

Le chevalier errant (1935);

Ouverture de fête (1940); and

Sarabande de Dulcinée.

The Symphonie marine is the first of Ibert's works to utilize the saxophone, which takes an important

role similar to the viola in Berlioz's Harold in Italy. The symphonic suite Golgotha, extracted from

the motion picture score, was composed in 1935, the same year as the Concertino; although Ibert

wrote a large quantity of film music, none of his other scores uses the saxophone.

In the year 1935 Ibert also composed the ballet Le chevalier errant from which a symphonic suite

was drawn in 1952. The suite is in four sections and utilizes the saxophone throughout. The third

section, L'Age d'or, has extensive writing for the instrument and has published separately for

saxophone and orchestra. It has been much in common with the Concertino, both in the use of the

saxophone as a solo instrument and in the treatment of the accompanying orchestra.

1 1 The New Grove Dictionary of Music and Musicians, s.v. "Ibert, Jacques (François Antoine)," by David Cox.

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Compositional Background

The Concertino da Camera was written for Sigurd Rascher in 1935 and first performed in its entirety

on December 11 of that year in Winterthur, Switzerland. A performance of the first movement only

occurred on May 2, 1935, in the Salle Chopin in Paris at a concert of "Le Triton," a society for

contemporary music. In each performance Hermann Scherchen conducted and Rascher was the

soloist. Within the next two years the Concertino was performed by Rascher in Barcelona, London,

Prague, Warsaw, Oslo, Strasbourg, Geneva, and Lausanne.2 Rascher was also the soloist in the

American premiere on October 20, 1939, with the Boston Symphony Orchestra conducted by Serge

Koussevitsky. Since that time Rascher has performed the Concertino with numerous orchestras and

conductors and the work "has often been cited as an example of the perfect composition for a solo

instrument.”3 Marcel Mule, the renowned French saxophone virtuoso and professor at the Paris

Conservatoire, played the Concertino with the Boston Symphony Orchestra conducted by Charles

Munch in twelve performances on their American tour of 1958. Although he gives no date, Mule

has said that Ibert arranged a performance of the Concertino for him on the French radio with

orchestra which predates Rascher's first performance.4

Rascher was introduced to Ibert in 1933 by the soprano Marya Freund, who was known for her

devotion to modern music. According to Rascher, an afternoon of conversation with Ibert in Paris

soon resulted in the composition of the Concertino and its delivery to his home in Copenhagen.

Rascher implies that the Princesse Edmonde de Polignac may have given financial compensation to

Ibert for the work but is adamant that he did not commission the Concertino.5 A recent biography of

this remarkable woman mentions neither Ibert nor Rascher.6

Analysis

Ibert's music combines elements of Impressionism and neo-Classicism, often with touches of humor.

His compositional style is eclectic and he has been quoted:

All systems are valid; provided that one derives music from them . . . I want to be free –

independent of the prejudices which arbitrarily divide the defenders of a certain tradition

and the partisans of a certain avant garde.7

Ibert's strong sense of balance and restraint within a style that is exact and elegant may be called

quintessentially French. His music is capable of both brilliance and profundity. Some

commentators, however, see Ibert as

an able musician who has little to offer but his ability Ibert seems to be at his best with the

petit riens which stand somewhere between the big concertos and the brief parodies –

I am thinking particularly of the Saxophone Concertino.8

2 Sigurd Rascher, "Ibert's 'Concertino da Camera' – Comments and Clarifications," Saxophone Symposium vol. 7, no. 2

(Spring 1982): p. 12. 3 Sigurd Rascher, "A Master Lesson on the Ibert 'Concertino da Camera'," Instrumentalist 22 (April 1968): p. 36.

4 Rousseau, Eugene. Marcel Mule: His Life and the Saxophone. (Shell Lake, Wisconsin: Etoile, n.d,): p. 59.

5 Rascher, "Comments and Clarifications," pp. 11-12.

6 de Cossart, Michael. The Food of Love: Princesse Edmond de Polignac (1865-1943) and her salon. London: Hamish

Hamilton, 1978. 7 New Grove, "Ibert."

8 David Drew, "Modern French Music” in European Music in the Twentieth Century, ed. Howard Hartog (New York:

Praeger, 1957): p. 266.

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The Concertino is scored for solo alto saxophone and eleven instruments: flute, oboe, clarinet in B-

flat, bassoon, horn in F, trumpet in C, first violin, second violin, viola, cello, and double bass. The

accompanying instruments are easily remembered as woodwind quintet plus trumpet and string

quartet plus double bass.

Although the work's title means "Small Chamber Concerto," in performance with orchestra the string

section is frequently augmented. Since winds usually project more than strings the ratio of seven

winds to five strings may present balance problems and may justify increasing the number of strings.

Rascher is adamant about the proportions of the string section:

There is on the instrumentation page of the score a notice 'for orchestral performances the

(string) quartet may be augmented by a few stands.' This means that one might use two

stands of first and second violins each, and one stand of viola and celli. Since Ibert uses the

term quatuor it should be clear that he did not want to have two string basses in any case;

otherwise he could have used the word quintet . . . When augmented strings are used, there

should never be more than 4-3-2-2-1, and all dynamic indications must be scaled down

proportionately.9

Veinus, however, seems to interpret Ibert' s comments as referring to the four types of stringed

instruments (violins, violas, cellos, basses) present:

. . . the string quintet may be expanded to normal symphonic size by multiplying the number

of performers for each string part. In this case it is no longer chamber music but a full

concert-hall concerto. (The score directs that this may be done.)10

Only rarely do all of the instruments play at the same time. A generally light but active

accompaniment for the saxophone is provided by the strings with occasional interjections by the

winds. This typically French regard for timbre is also found in such coloristic effects as the use of

mutes by the brass and of spiccato, double stops, and triple stops by the strings.

Sonorities are frequently complex as a result of the prevalence of diminished scales. Harmony is

nonfunctional except to articulate the end of the first and second movements and in the

recapitulation of the third movement.

First movement

The first movement is marked Allegro con moto and is in ABBA form with a brief introduction and

coda. The principal tonal center is C major. Almost the entire normal range of the saxophone is

employed, from d-flat to A-flat1. If the ad libitum sections are performed the range is increased

upward by another octave or more. It should be noted that Mule has said that Ibert added the

indication ad libitum to those sections after hearing Rascher play them.11

One of the predominant features of the first movement is the rhythm. An excellent example is the

first measure, which begins off of the beat and is followed by a measure in 5/8 meter. The

9 Rascher, "Master Lesson," p. 37.

10 Abraham Veinus, Victor Book of Concertos (New York: Simon and Schuster, 1948): pp. 199-200.

11 Master class with Eugene Rousseau, Indiana University, Bloomington, 11 July 1984.

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syncopation that follows is present throughout and may be read as a reflection of the general interest

of French composers of the 1920s and 1930s in American jazz.

Theme I, which announces the A section, is in clear four-measure phrases. It is presented by the

solo saxophone at [1] and [6].

Example 4.1.

Ibert, Concertino da Camera, Mvt. I, mm. 9-16.

Copyright 1935, Alphonse Leduc Publishers, Paris.

Reprinted with permission.

The theme appears again at [2] as an exact restatement until m. 19, at which point the last note of the

measure is G-sharp rather than A as in m. 11. This change to G-sharp from A will be referred to

again in the second and third movements.

Example 4.2.


Repr1nted w1th permission.

The A section continues to [5]. Upper winds and strings carry first theme material in a transitional

section concluded by a fanfare-like figure in the trumpet (m. 60). The figure is repeated a tritone

lower in the horn and then another tritone lower by the saxophone to lead into the first B section

at [6].

Example 4.3.



The typically contrasting second theme of the B section is characterized by a much slower harmonic

rhythm. The theme occurs first in the saxophone supported by a C major/minor seventh chord (mm.

65ff) and then, above a countermelody in the viola, over a G minor seventh chord (mm. 81ff). A

passage in E major (mm. 95ff) leads to the climax of the B section with the saxophone's ad libitum

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ascent into the altissimo register (mm. 116-119). Theme II is repeated by the upper strings against a

light accompaniment by the winds, again sustained by a C major/minor seventh chord (mm. 122ff)

and a G minor seventh chord (mm. 138ff). A highly chromatic obbligato figure by the saxophone

becomes increasingly prominent until m. 154, where it is similar to the trumpet's syncopated passage

in the introduction (m. 3). Theme I material reappears in a transitional passage at [16].

The A section returns at [18] as the first theme is repeated literally by the saxophone; the

accompaniment is slightly more active and full. The codetta at [22] begins as an exact parallel of the

transitional section at [5], with an ending which is reminiscent of the introduction for the

accompanying instruments.

Second movement

The second movement, marked Larghetto, has a tonal focus of E major. Cadences on E (at mm. 31-

32 and 48-49) are unique within the movement's generally non-functional harmony and are

structurally important. Melodic material is based upon the interval of a second, usually minor and

usually descending. The movement is through-composed.

The movement begins with unaccompanied saxophone marked quasi recitativo. The recitative is ten

measures in length and, like much of the Concertino, makes use of the diminished scale by

alternating whole-steps and half-steps. The opening descending minor second of C to B is of interest

in that these pitches (an octave lower) are the same ones at which the two statements of Theme I of

the first movement diverge.

Example 4.4.

Ibert, Concertino da Camera, Mvt. II, mm. 1-5.


Two additional elements of the second movement are noteworthy: the Impressionistic harmony of

the strings' entrance at [24], which begins with an E minor chord with a flat eleventh, is

characteristic of Ibert's tonal language; and, at [27], the exchange of material by the oboe and the

clarinet with the saxophone to bring the movement to a close. The final sonority is an E

major/minor seventh chord heard from the clarinet, horn, trumpet, and saxophone.

Third movement

The first theme of the concluding movement is presented vigorously by the strings in A major. The

preceding second movement may be viewed as being in a dominant relationship to the third. The

saxophone's entrance (m. 9) is in E major.

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Example 4.5.

Ibert, Concertino da Camera, Mvt. III, mm. 9-13.


The movement, marked Animato molto, is in sonata-allegro form. The second theme appears at [30]

in the key of G-flat major. It is slightly altered at [31].

Example 4.6.

Ibert, Concertino da Camera, Mvt. III, mm. 25-34.


Transitional material at [33] utilizes the same basic intervals as the second movement. The

saxophone constantly returns to the pitch A, finally moving to G-sharp at the beginning of the

development section at [34]. The half-step motion from A to G-sharp serves to create unity within

the Concertino by recalling the recitative of the second movement.

Whereas the first movement is notable for its syncopation, the final movement has an almost

continuous stream of sixteenth-note activity for its first seventy-three measures. The motion is

passed from one instrument to another and is finally interrupted in anticipation of the rallentando

which closes the exposition.

The development section at [34] begins in E minor with Theme I material in the flute and later in the

strings. The saxophone resumes its solo role at m. 95. Diminished intervals are prominent in the

saxophone scale at [36) and the diminished seventh outline at [37]. Diminished intervals are also

heard in the entrances at the distance of a diminished fifth by the accompanying instruments (mm.

125-126 and 129-130), the diminished fifth pyramid effects (mm. 132-138), and the diminished

seventh outline by the first violin (mm. 139-143). Rhythmic activity reaches its peak with the re-

entrance of the saxophone with a trill (m. 143). The solo part transforms the first theme from

diatonic to chromatic (mm. 145-147) to lead to the cadenza at [40].

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The cadenza does not draw upon thematic material but tends to focus on the diminished scale first

found at [36] and ends by exploiting a fully diminished arpeggio. The recitative's interval of a minor

second from A to G-sharp is reversed at approximately the midpoint of the cadenza. The cadenza

ends similarly to the conclusion of the second movement, but with the interval of a minor second

expanded to a whole-step.

The recapitulation at [41] begins in the original key of A major in the saxophone. Theme II is now

also in A major at m. 170. The coda at [44] utilizes second theme material and closes at [45] with

syncopated rhythmic ideas drawn from the first theme.

A comparison of the Concertino da Camera and Ibert's Flute Concerto (1934), composed for Marcel

Moyse the year before the Concertino, provides an interesting perspective on the later work. Both

works are in three movements, although the Flute Concerto is less continuous. In each work the first

movements are of similar tempos (MM=120 for the Flute Concerto, MM=126 for the Concertino)

and make extensive use of the same rhythmic figure ( - mm. 8-9 in the Flute Concerto, mm.

9-10 in the Concertino). The soloists in both works are given passages of chromatically ascending

minor thirds at climactic points in the movement. Each first movement also contains broken

passages of sixteenth-notes against a presentation of the second theme by the orchestra. This last

device is also employed in the second movement of the Flute Concerto. Each of the middle

movements is in triple meter of similar tempo (MM=56 for the Flute Concerto, MM=60 for the

Concertino). Each of the final movements contains a cadenza which ends with five sustained notes

separated from the body of the cadenza.

Several differences between the compositions are also of interest. The Flute Concerto is longer by

approximately four and one-half minutes. Both works make use of diminished scales, but the Flute

Concerto is considerably more chromatic. The Concertino is scored for a smaller accompaniment

than the Flute Concerto, despite the timbral differences between the two solo instruments. The range

asked of the flute soloist is much more conventional than that asked of the saxophone soloist, if the

Concertino's ad libitum passages are performed.

Common Interpretative Practices

Four recordings of the Ibert Concertino were selected for comparison. The saxophone soloists were

Vincent Abato, Robert Black, Marcel Mule, and Eugene Rousseau. There are surprisingly few

recordings available of what is perhaps the best-known work in the saxophone repertoire. Because

of this dearth one performance with piano reduction is included; the recording, by Black, is unique in

that it is the only one in which all altissimo register notes are performed.

The performances were timed and there was found to be a difference of only thirty-six seconds

between the longest and the shortest times (Abato – 11'57" and Rousseau – 12 '33"). The greatest

difference between the timings of a single movement was thirty-eight seconds in the third

movement, Abato playing 4' 04" and Rousseau 4' 42".

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TABLE 4.l.

Timings of the Concertino da Camera by Ibert

Movement Abato Black Mule Rousseau

I 4'02" 4'17" 3'58" 4'21"

II 3'51" 3'44" 4'05" 3'30"

III 3'04" 4'31" 4'12 " 4'42"

Total 11'57" 12'32" 12'15" 12'33"

As might be expected because of the relatively small differences in timings of these performances,

there is a greater consistency of tempos than has been observed in the performances of the other

compositions examined. The performance by Black is closest to the metronomic marking in the

score in both the first and the last movements. Rousseau’s performance is closest to the metronomic

marking in the second movement, but is still significantly slower than the indication given in the

score.

TABLE 4.2.

Tempos of the Concertino da Camera by Ibert

Movement/Tempo Abato Black Mule Rousseau

First movement

Allegro con moto MM=126

Theme I 132 126 136 122

Theme II 132 122 136 122

Theme I 132 126 136 122

Second movement

Larghetto MM=60

Quasi recitative 42 40 36 48

Dolcissimo 44 46 40 50

Third movement

Animato molto MM=132

Exposition 142 132 144 126

Development 142 130 146 124

Recapitulation 140 128 146 126

The following generalizations concern1ng tempos may be made –

First movement: The metronome marking of MM=126 is generally agreed upon by the performers,

although a faster tempo is more likely than a slower one. It is possible that there may occur a very

slight relaxation of tempo for Theme II, but it is the same tempo each time the theme is presented.

There is a slight broadening of tempo between the two presentations of the second theme (mm. 120-

121). The return of Theme I is in the original tempo.

Second movement: The quasi recitativo may be played very freely (as is done by Abato and Black)

or less freely (as in the performances by Mule and Rousseau). This unaccompanied passage is often

slightly slower than the passage which follows for saxophone and strings. The metronome marking

of MM=60 is considered by the performers to be too fast; Mule’s MM=40 is the most far removed.

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Third movement: As in the first movement, the metronome marking (MM=132) is generally agreed

upon and a faster tempo is more likely than a slower one. Whatever tempo is selected for the

exposition is resumed in the development and recapitulation. There appears to be no change of

tempo for Theme II.

The recordings of the Concertino were the most difficult to examine for this paper because of the

very active orchestral parts. Many details of articulation and breathing by the soloists were obscured

by the accompanying instruments. The age of the Mule recording made these details even more

difficult to discern but was considered especially valuable because, according to the record jacket,

"The composer was present when this recording was made, and approved it with enthusiasm.”12

It

was expected that there would be similarities in three of the performances in that both Black's

teacher, Fred Hemke, and Rousseau studied with Mule. This did not prove to be the case to any

great degree. It is regretted that Sigurd Rascher, for whom the work was written, has left no

recording of the Concertino.

The first movement presents several instances of inconsistent articulations in the two appearances of

the A section. The specific measures in which the different written articulations occur are mm. 10

and 191, 11 and 192, 18 and 199, and 44 and 225. The performances by Black, Mule and Rousseau

are unanimous in their solutions to these questions – m. 191 is articulated the same as was m. 10,

m. 11 is changed to be as m. 192, m. 199 is articulated the same as was m. 18, and m. 225 is

articulated the same as was m. 44. Abato, on the other hand, in m. 191 omits the slur from E to F-

sharp (as in m. 10) but does not add the slur into the A; m. 192 is articulated as was m. 11 with no

slur; mm. 19 and 199 and mm. 44 and 225 are articulated as they are written, that is to say,

differently each time.

In addition, there are three passages which are often changed from the original articulations – mm.

49-51 (repeated in mm. 230-232), mm. 165-166, and m. 241 (repeated in m. 243). In the first

instance, Abato articulates as written, while Black, Mule, and Rousseau slur into the downbeat of m.

50 (and m. 231) and tongue all the rest of the passage. All four saxophonists agree on the second

change, slurring into the downbeat of m. 165 and tonguing the rest of the notes. The third passage is

changed by Black and Rousseau to extend the slur by one sixteenth-note in mm. 241 and 243; Abato

and Mule articulate the measures as they are written.

The A section of the first movement (mm. 9-52) contains several lengthy passages that receive

different breathing solutions. The first two phrases (mm. 9-25) present no clear place in which to

breathe and it appears that Mule's solution is simply not to breathe until the downbeat of m. 26 and

again on the downbeat of m. 28. Rousseau breathes in m. 19 after the C-sharp, and Abato and Black

breathe on the downbeat of the measure, breaking the slur into the C-sharp. Black and Rousseau

breathe again at mm. 26 and 28 as did Mule; Abato breathes at m. 28 only. In the following passage

(mm. 29-34) Black, Mule, and Rousseau break the slur in m. 32 to breathe while Abato does not

breathe until the rest in m. 40. It appears that Black and Rousseau slur all of m. 34.

A few isolated changes of articulation occur in the A section, apparently for reasons of rhythmic

emphasis: Abato emphasizes the syncopation of mm. 13 and 21 (and in the analogous mm. 194 and

202) by tonguing the final eighth-note of each bar; Mule articulates the first sixteenth-note of the

second beat of m. 15; and Black breaks the slur in m. 35 into four groups of two notes each. Black

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Phonorecord Capitol L8231 (Hollywood, CA: n.d.).

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emphasizes the final note of the saxophone part in the A section (m. 52) by playing the pitch

nonstaccato; he does the same in m. 233.

The first part of the B section (mm. 65-121) presents problems of where to breathe which are solved

in different ways. Abato seems to breathe the least frequently, breathing on the downbeats of mm.

78, 87, and 100. Black takes breaths on the downbeats of mm. 71, 79, 87, and 100; by taking a

breath in m. 79 rather than m. 78 (as did Abato) he seems to interpret the D of m. 79 as a resolution

to the E of m. 78. Mule and Rousseau breathe on the downbeats of mm. 71, 83, and 87; Rousseau

takes additional breaths on the downbeats of mm. 97 and 100. The first pitch of m. 101 is played

staccato by all but Black, with Mule breathing at that point. Regarding articulation, Abato adds a

slur to the first two sixteenth-notes of beat four in mm. 97 and 100; Rousseau removes all slurs in the

same measures.

The arpeggiated passage in mm. 103-113 finds Abato breathing at the beginning and the end of the

tied notes into mm. 104 and 111; the other soloists breathe at the middle and the end on the tied

notes into mm. 106 and 111, with Rousseau taking an additional breath on the downbeat of m. 109.

Only Black does not articulate the second beat as indicated in mm. 104, 106, 107, 109, and 111, and

instead he slurs all sixteenth-notes. In a final arpeggio in this passage (m. 113), Mule appears to

tongue the last two eighth-notes.

The first part of the B section closes with a fragment of a diminished scale (mm. 119-121) – only

Abato articulates the measures as they are written, although he seems to play the downbeat of m. 120

rather staccato. Black slurs into the downbeat of m. 120 and slurs the F-sharp to begin a new slur.

Mule articulates all the notes in the measure and Rousseau slurs the entire fragment from the G-

sharp of m. 119 through the C of m. 121.

In the obbligato sixteenth-note runs for the saxophone which comprise the second part of the B

section (mm. 122-153), Abato and Rousseau perform the articulations given in the score. Black adds

slurs into the downbeats of mm. 124, 128, 135, and 137. An added pulse is given by Mule, who

seems to break slurs by tonguing the downbeats of mm. 123, 127, 147, and 151 and by tonguing the

second beats of mm. 130 and 131. The downbeats of mm. 147 and 151 are emphasized in a different

manner by Black and Rousseau, who extend the notes slightly in order to give additional weight.

All saxophonists in these performances break the slur from E-flat to A in mm. 161 and 162. Black

seems to go even further by articulating the G's in mm. 162 and 163 and then slurring into the E-flats

of mm. 162 and 164. Black also gives an accent to beat two of the trill in m. 164. Each of the

saxophonists differ from the score in the same way in mm. 165-166 by slurring into the downbeat of

m. 165 and tonguing the remaining notes in the passage. Black slurs all of the pitches of the

diminished scale fragment (mm. 182-189) which concludes the B section.

The return of the A section (mm. 190-233) is very consistently performed as it was in its

presentation, noting the different solutions first to the printed variances in mm. 191, 192, 199, and

225. The only changes from the beginning are Abato's breath after the E in m. 213 and Black's

broken slur to the downbeat of m. 215.

Articulation in the coda (mm. 241-248) is interpreted differently by the performers. Abato and Mule

perform mm. 241 and 243 as they are written and Black and Rousseau extend each of the slurs by a

sixteenth-note into the pitch B. Abato and Rousseau perform mm. 242 and 244 as they are written;

Black plays each four-note grouping of sixteenth-notes as two slurred and two tongued; Mule slurs

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the first two sixteenth-notes and tongues the remaining six in each measure. Abato and Black pulse

each quarter-note beat of the trill in mm. 245-247 and Abato adds a final flourish by articulating

each of the sixteenth-notes in the penultimate m. 247.

As mentioned earlier, the unaccompanied quasi recitativo that begins the second movement is

played rather freely by Abato and Black and less freely by Mule and Rousseau. The first two

measures, as played by Abato and Black, are each extended by sustaining the G-sharp an additional

beat. Black plays the first three measures progressively louder, while the others create an echo effect

in the second measure. All of the saxophonists breathe after the C-sharp in m. and after the E in m.

9; in addition, Abato and Mule breathe after the A-sharp in m. 7. Black, Mule, and Rousseau seem

to interpret the four notes of m. 10 by adding a beat and Mule extends that by stretching the final

note of the measure. Abato seems to keep the triple meter intact by playing a rhythm of four eighth-

notes with the last tied to a dotted quarter-note.

The breathing used by the four soloists in the accompanied passage which follows (mm. 11ff) is

remarkably similar. Mule and Rousseau take breaths on the downbeat of m. 12 and Abato and Black

do not; all but Rousseau breathe after the G-sharp in m. 13. All breathe after the E in m. 15, after the

G-sharp in m. 18, after the B in m. 21, and on the downbeat of m. 28. In addition, Black and

Rousseau breathe on the downbeat of m. 31; Abato does not breathe there and it was not possible to

tell with Mule’s recording. The crescendo in m. 19 is carried through to m. 23 by all except Abato,

who suddenly brings back the volume level of m. 20. All articulations appear to be observed by all

performers other than in those places noted earlier in which breaths break the slurs. An exception to

this, however, is Black’s performance of the ad libitum altissimo register in mm. 24-29; the

difficulties of controlling these extremely high pitches seem to require that slurs be broken more

frequently.

In the final passage of this movement, Rousseau slurs all non-repeated notes. Abato and Mule slur

mm. 50 and 53, and articulate the downbeats of mm. 51 and 54. Only Abato and Black articulate the

C-sharps in mm. 51 and 54.

Theme I of the third movement is articulated as indicated by the score in each of these recordings

except in m. 18 by Black, who chooses not to tongue the second sixteenth-note. Theme II receives

similar interpretations from Abato, Mule and Rousseau, although Rousseau tends to smooth out the

articulations more; each selects after the C-sharp in m. 51 as an appropriate place in which to

breathe. Black does not do so, instead breathing after the E-flats in mm. 28, 42, and 44. Black and

Mule slur into the last note of the passage (m. 52).

In the closing theme of the exposition (mm. 68-80), both Mule and Rousseau breathe after the A in

m. 76 and Black extends the slur through the measure. Abato breaks the slur several times to tongue

each of the B-flats and A's in mm. 72-77, as well as the A in m. 78; he is the only one to break after

the final eighth-note of m. 80, apparently to take a quick breath. Mule's performance has the largest

of the rallentandos in mm. 79-80.

In the development (mm. 81-124) are three areas of particular interest. The first, a probable printing

error, is a missing slur under the four sixteenth-notes of beat four of m. 98 – Abato and Black tongue

each note; Mule and Rousseau add the slur. The second, also a probable printing error, is a missing

flat to the F's of mm. 100 and 102 – only Abato plays F-natural rather than F-flat. The third area is a

change of articulation in mm. 121-122 – Abato articulates the measures as they are written; Black

12

slurs the first beat of m. 121 only, tonguing each of the notes which follow; Mule and Rousseau slur

the first beat into the first note of the next beat in m. 121 and tongue each of the notes which follow.

In each of the performances a breath is taken on the downbeats of mm. 109 and 111; Black

articulates each of the syncopated notes in these measures. Mule breaks the slur over beat one in m.

114 to tongue the second sixteenth-note.

In the approach to the cadenza (mm. 143-147), Abato briefly stops the trill on D in m. 144 to

rearticulate the beginning of m. 145. All players perform the passage in tempo except Black, who

accelerates in m. 147.

The cadenza contains four fermatas before a diminished seventh arpeggio on B; it is assumed that

each player breathes during the rest which follows the third fermata. Mule and Rousseau breathe

after each of the first two fermatas; Abato breathes after the first only and Black after the second

only. Black is the only player to breathe after the fourth fermata; as was the case in the second

movement, this may be related to the difficulties of the altissimo register. Following the

descending sequence of eighth-notes after the second fermata, Abato and Mule breathe after the low

D and Rousseau breathes after the next note, G-sharp. None of the saxophonists performs the

indicated slap-tongue. All the soloists play an extended version of the diminished seventh arpeggio.

In the recapitulation (mm. 149-225) there are two minor deviations from the score – Black breaks

the slur to breathe on the downbeat of m. 154 and Mule breaks the slur in m. 155 to articulate the

octave F-sharps. An interesting problem of articulation results from printing inconsistencies in

obviously related passages. Mm. 178 and 180 are the same in mm. 194 and 196 (a perfect fourth

lower) except for different articulations; the situation is further complicated in that m. 196 has yet a

different articulation. Abato, Mule, and Rousseau perform mm. 178 and 180 as they are written by

tonguing the downbeat of each measure. In the second analogous passage Abato and Rousseau slur

through the downbeat of m. 194 and change m. 196 to the same by slurring through the downbeat of

that measure as well. Mule changes the articulation of both mm. 194 and 196 to conform with mm.

178 and 180, that is, the downbeats are tongued in all four instances. Black, on the other hand,

changes each of the first three measures in question to conform to the fourth, m. 196 – articulate the

dotted eighth-note downbeat, slur the three following sixteenth-notes, then slur the remaining two

sixteenth-notes.

In the coda (mm. 202ff) Abato chooses to slur mm. 214 and 216 and Black chooses to tongue the

four sixteenth-notes of the second beat of m. 222. Only Mule breathes within the final passage, on

the tied note into m. 219.

Errors and Discrepancies

Saxophone score

Listed below are variants which occur between the saxophone score and the full orchestral score, the

saxophone score and the piano reduction, or both the full score and the reduction. The score source,

full or piano, is given in parentheses after the variants. Also listed are measures in which changes or

corrections are commonly made but which are the same in the different scores. It should not be

assumed that anyone of the various scores is necessarily correct.

Both the full and the miniature scores bear the same publisher's engraving number (A.L. 19,203),

which indicates that the same engraving plates were used for both scores. An examination of the

two scores shows them to be the same.

13

First movement

m. 11: continue slur through C-sharp (full, piano)

mm. 51-52: all notes are slurred (full)

m. 151: G-natural, not G-sharp, for the last sixteenth-note is found in each of the scores


m. 191: continue slur through A (full, piano)

m. 191: E to F-sharp is slurred in each of the scores

m. 199: E to F-sharp is slurred in each of the scores

m. 225: C-sharp to G is "double slurred" in the full and the saxophone scores, but not in

the piano

m. 225: E to E-flat is slurred (full, piano)


mm. 245-247: trill is not slurred in any of the scores

Third movement

m. 21: first note is staccato (full)

m. 98: last group of four sixteenth-notes is slurred (full)

mm. 100, 102: F-natural is found in the full and the saxophone scores; F-flat, a common

correction, is found in the piano score


mm. 143-144: trill is not slurred in any of the scores

Cadenza: after third fermata, A-natural, not A-sharp (full)

after third fermata, no indications to play slap-tongue (full)

(a)

(b)

Example 4.7.

Ibert, Concertino da Camera, Mvt. III, end of cadenza.

(a) saxophone score (b) miniature score.


add eighth-rest before final five notes (full)

m. 186: G-flat is not slurred and only the optional lower note is staccato; no optional note

in the piano score

m. 205: first note is C-natural, not C-sharp, therefore there is no natural on the last note (full)

14

m. 208: no forte marking (full)

m. 222: each group of four sixteenth-notes is slurred (full)

m. 223: each pair of sixteenth-notes is slurred (full)

m. 224: two arpeggiated grace notes, not five as in the piano and saxophone scores, are

found (full)

m. 225: F-sharp an octave lower than in the piano and saxophone scores is found (full)

Full score

Inconsistencies within the full score are listed below and should be considered for inclusion.

m. 27: add "sf" to string parts (as in m. 25)

m. 39: add decrescendo to violin II

m. 43: add tenuto to horn E

m. 51: add "ff" to cello

m. 58: add staccato to cello C

m. 59: add staccatos to cello C-F-C-G

m. 60: add tenuto to violin I and II half-notes

m. 103: add "sf" on cello half-note

m. 105: add "sf" to all strings (as in m. 103)

m. 109: A-natural, not A-flat, in clarinet

m. 111: add staccatos to trumpet B-flat and B-natural

m. 116: C-sharp, not C-natural, in violin I

m. 119: add tenuto to violins I and II and viola half-notes

m. 156: add tenuto to cello and bass half-notes

m. 161: add staccato to bassoon F

mm.168-176: articulation in woodwinds should probably match the saxophone articulation

in mm. 9-10

m. 226: add "sf" to violins I and II first eighth-note

m. 228: add "f" to bassoon

m. 232: add tenuto to clarinet G

Third movement

m. 12: add staccatos to flute eighth-notes on third beat

m. 62: add tenuto to oboe B-flat

m. 96: add staccato to viola B

m. 105: add tenuto to horn E

mm.122-123: continue trumpet decrescendo to eighth-note in m. 124

m. 139: add “f” to bassoon and horn

m. 154: add staccato to bassoon D

m. 162: articulation in clarinet should probably match the saxophone articulation in m. 154

m. 167: add staccato to clarinet F-sharp

m. 186: A, not F, for flute last eighth-note

m. 190: clarinet should slur to G-sharp on second beat (as in m. 174)

mm. 196-197: reverse the measures in the bass

m. 213: add tenuto to viola G

m. 216: add tenuto to violin I A

Piano score

The indications listed below are found in the full score. It is recommended that the piano score be

changed to conform with the full score. Relatively minor differences of dynamic markings which

15

reflect the difference between a piano and an ensemble and changes for obviously pianistic reasons

(such as mm. 72-76 and mm. 172-174 in the third movement) are not listed.

First movement

mm. 13-14: add crescendo and decrescendo

mm. 21-22: add crescendo and decrescendo

m. 27: add sforzandos (as in m. 25)

m. 29: add "ff"

m. 41: beat two of left hand is A, not D

m. 44: top note of last chord is A, not C

m. 48: "mf," not "p"

m. ll8: lowest note of first chord in the left hand is E-flat, not D-flat

mm. 120-121: delete slur from m. 120 to m. 121

m. 137: first note of triplet is G octaves, not G and F

m. 174: third eighth-note in left hand is D-flat and B-flat, not D-flat and B-natural

m. 185: fourth sixteenth-note in right hand is F, not E

m. 187: third sixteenth-note in right hand is A-natural, not B-natural

m. 194: add "f" on the second chord of the right hand; add "mf" on the second beat of the

left hand

mm. 196-197: continue slur 1n right hand to A-natural and D-natural

m. 197: add decrescendo

m. 202: add "f" on the second chord of the right hand; add "mf" on the second beat of the

left hand

m. 208: add sforzandos (as in m. 206)

m. 220: lowest note is tied F, not E slurred to F; add decrescendo

m. 222: beat 2 of left hand is A, not D

m. 225: top note of last chord is A, not C

Second movement

m. 22: add crescendo

m. 23: top note of last chord is A-flat, not G

m. 32: first chord of right hand is E, G-sharp, and B, not E-sharp, G-natural, and B

m. 38: beat 3 of left hand is E-flat, not F-flat

m. 43: left hand is F-flat (half-note) and F-natural (quarter-note), not F-natural (dotted

half-note)

Third movement

m. 11: second chord of the left hand is on, not off of, the beat

mm. 17, 19: add "sf"

mm. 18, 20: add" fp"

m. 52: last chord of the right hand is D and A-flat (as in m. 50), not B-flat and A-flat

m. 66: sixth sixteenth-note of the right hand is A-flat, not A-natural

m. 101: add "sf" (as in m. 99)

m. 104: first chord is A-natural, D-natural, and B-sharp, not A-flat, D-natural, and B-natural

m. 105: add "sf" to second beat of the left hand

m. 110: last chord of the right hand is A and D, not C and D

mm. 149, 150: lowest note of last chord is E, not D

m. 163: third eighth-note of the left hand is A and E, not A and F

m. 178: "mf," not "p"

16

m. 186: add "f sub."

m. 194: add "mf"

mm. 200-201: add crescendo

mm. 210-212: add "p" and crescendo

m. 213: add" ff"

mm. 224-225: notes are in bass clef, not treble clef

Orchestral scores

The indications listed below are found in the full score. It is recommended that the respective

orchestral parts be changed to conform with the full score.

Flute

First movement

m. 30 (6 after [30]): add staccato on F

m. 96 (2 after [8]): add staccato on B

Third movement

m. 186 ([43]): last eighth-note is A, not F

Oboe

First movement

m. 16 (1 before [2]): tongue, do not slur, E

m. 17 ([2]): add staccato on C

m. 23 (2 before (3): add staccato on D-sharp

m. 30 (6 after [3]): add staccato on D

m. 33 (2 before [4]): add staccato on D

m. 40 (6 after [4]): add slur to D

m. 60 (9 after [5]): add tenuto on E

m. 208 (1 after [20]): add staccato on C

m. 232 (1 before [22]): add tenuto on D

Second movement

m. 48 (5 after (27): half-note should be dotted to receive three counts

Third movement

m. 57 ([32]): add tenuto on A-flat

m. 58 (1 after [32]): add tenuto on B-flat

m. 60 (4 after [32]): add staccato on B-flat

m. 66 (2 before [33]): add staccato on C

m. 205 (4 after [44]): add staccato on D-flat

m. 214 (3 before [46]): add tenuto on A


Clarinet

First movement

m. 28 (4 after [3]): add beam to make three eighth-notes

m. 30 (6 after [3]): add staccato on B

m. 97 (3 after [8]): add staccato on C-sharp

m. 109 (3 before [10]): first note is A-natural, not A-flat

m. 198 ([19]): add staccato on A

m. 204 (3 before [20]): add tenuto on F-sharp

m. 206 (1 before [20]): add staccato on B

17


m. 214 (2 before [21]): add staccato on B

Third movement

m. 68 ([33]): add staccato on F-sharp

m. 134 (5 before [39]): add staccato on D-f1at


Bassoon

First movement

m. 47 (5 before [5]): add tenuto on A-flat

m. 66 (1 after [6]): add crescendo and decrescendo

m. 97 (3 after [8]): add staccato on G-sharp

m. 190 ([18]): add staccato on C

m. 206 (1 before [20]): add staccato on F-sharp

m. 216 ([21]): add martelé (v) to staccato D

m. 225 (10 after [21]): add tenutos to E-f1at and D

Second movement

m. 41 (3 before [27]): add decrescendo

Third movement


m. 181 (6 after [42]): add staccato on C-sharp


m. 204 (3 after [44]): add staccatos on B-flat and E-flat

Horn

First movement

m. 9 ([1]): add staccato on B

m. 15 (2 before [2]): add staccato on G

m. 111 (1 before [10]): notes should be beamed

m. 155 (1 before [15]): add staccato on B-flat

m. 187 (3 before [18]): add tenuto on C


m. 206 (1 before [20]): add staccato on F-sharp

m. 224 (9 after [21]): quarter-note should be dotted to receive one-and-a-half counts

Third movement

m. 63 (7 after [32]): add tenuto on D-flat

m. 101 (4 before [36]): add tenuto on E

m. 139 ([39]): add “f”

Trumpet

First movement

m. 204 (3 before [20]): add tenuto on G-sharp

Second movement

m. 29 (4 before [26]): begin descrescendo

Third movement

m. 143 (5 after [39]): add staccato on A

m. 214 (3 before [46]): add tenuto on C-sharp

m. 216 (1 before [46]): add tenuto on C-sharp

m. 225 (last measure): add martelé (^) to staccato C-sharp

18

Violin I

First movement

m. 105 ([9]): add "sf" on B-natural

m. 107 (3 after [9]): add "sf" on B-natural

m. 116 (5 after [10]): last eighth-note is C-sharp, not C-natural

m. 224 (9 after [21]): quarter-note is not dotted (unclear in part)

m. 226 (11 after [21]): add "sf" on first chord

Third movement

m. 41 ([31]): add staccato on D-flat; add "pp"


m. 67 (1 before [33]): add staccato on E

Violin II

First movement

m. 39 (5 after [4]): add descrescendo

m. 55 (4 after [5]): first ledger line is missing on C (second sixteenth-note)

m. 60 (5 before [6]): add tenuto on A-flat

m. 194 (4 before [19]): add staccato on D

m. 220 (5 after [21]): add staccato on F

Second movement

m. 23 (2 before [25]): being decrescendo on third quarter-note

m. 30 (3 before [26]): being des crescendo on third quarter-note

m. 36 (4 after [26]): add tenuto on B-flat

Third movement

m. 9 (14 before [29]): add staccato on E

m. 99 (6 before [36]): add "sf"

m. 178 (3 after [42]): add "mf"



Violas

First movement

m. 52 ([5]): rehearsal number is missing

m. 60 (9 after [5]): add tenuto on dotted half-note

m. 111 (1 before [10]): add staccato on eighth-note E

m. 201 (4 after [19]): second eighth-note is D-sharp, not D-natural

Third movement



m. 208 (2 before [45]): add staccato on A

m. 213 (4 after [45]): add tenuto on G


Cellos

First movement

m. 43 (9 after [4]): add tenuto on F

m. 44 (10 after [4]): add tenuto on D (no staccato)

19


m. 59 (8 after [5]): add staccatos on C, F, C, and G

m. 119 (3 before [11]): add tenuto on D

m. 156 ([15]): add tenuto on E-flat

m. 225 (10 after [21]): add tenuto on D

Third movement

m. 112 (4 before [37]): add slur to B from m. 111


m. 216 (1 before [46]): add tenuto on eighth-note

Basses

First movement

m. 122 ([11]): rehearsal number is missing

m. 247 (next to last measure): “fff,” not “ff”

Third movement

mm. 195-201 (7 before [44]): should be with cellos

Fingerings and Suggestions

First movement

m. 9: mezzo-forte, not forte; omit "p sub."

m. 11: extend slur from m. 10 through C-sharp

m. 15: Right Side Key 1 (RSK 1) B-flat fingering

m. 17: "re-announce" the theme, perhaps with an accented downbeat

m. 19: breathe after C-sharp

mm. 19-20: open low D-flat key to play G-sharp; leave open through low D-flat

m. 20: covered D-flat fingering (octave key and ring finger of left hand, first, second, and

third fingers of right hand)

m. 21: Side Key (SK) G-flat fingering

mm. 26, 28: breathe on downbeat

m. 31: "5" A-sharp fingering

m. 35: SK F-sharp fingering

mm. 40-42: breathe on sixteenth-rests

mm. 43, 48: SK F-sharp fingering

mm. 50-51: slur into first sixteenth-note of m. 50 (D-sharp) and play staccato the notes

that follow

m. 62: mezzo-forte, not mezzo-piano

m. 64: caesura indicates only the end of "raIl. molto"

Play gradually louder from [6] to [11]

m. 71: breathe after the tied G

mm. 83, 87: breathe after the tied D

mm. 97, 100: breathe on tied E-sharp; use SK F-sharp fingering for last note

m. 101: slightly separate E-sharp and G-sharp

m. 106: breathe on tied D

m. 111: breathe on tied G

mm. 119-121: broaden the tempo slightly, resuming tempo at [11]

20

Play gradually louder from [11] to [15]

mm. 134, 135: SK F-sharp fingering

mm. 138, 140, 142, 144, 145: covered C-sharp fingering

m. 151: play last note as G-sharp, not G-natural

m. 164: trill may be played sixteenth-note triplets

mm. 164-165: slur into first sixteenth-note of m. 165 (E-flat) and play staccato the notes

that follow

m. 189: D may be played with Left Side Key 2 (LSK 2) fingering; caesura indicates only the

end of "raIl."

mm. 190-191: extend slur through A

m. 191: omit slur between E and F-sharp

m. 196: RSK 1 B-flat fingering

m. 198: "re-announce" the theme, perhaps with an accented downbeat

m. 199: omit slur between E and F-sharp

m. 200: breathe after C-sharp

mm. 200-201: open low D-flat key to play G-sharp; leave open through low D-flat

m. 201: covered D-flat fingering

m. 202: SK G-flat fingering

mm. 207, 209: breathe on downbeat



mm. 217-219: add crescendo, as printed in mm. 36-38

mm. 221, 222, 223: breathe on sixteenth-rests

m. 225: omit "extra" slur between C-sharp and G; omit slur between E and F-flat


mm. 230-231: slur into first sixteenth-note of m. 231 (D-sharp) and play staccato the notes

that follow

mm. 241, 243: trill may be played as sixteenth-note triplets; it is possible to slur one

additional sixteenth-note to B; add staccatos to the tongued sixteenth-notes

mm. 245-247: tie the trilled E's

Second movement

mm. 1-3: may be played each measure successively louder or with m. 2 as an echo or

with m. 2 as the loudest of the three measures

m. 4: covered C-sharp fingering

m. 5: covered C-sharp fingering; breathe after the C-sharp


m. 9: covered C-sharp fingering; breathe after the E

mm. 8-9: D-sharp-C-sharp-F-sharp-E may be considered as an echo in augmentation

m. 10: covered C-sharp fingering; may be played as

m. 13: breathe after G-sharp; covered C-sharp fingering

mm. 16-17: covered C-sharp-fingering

m. 18: breathe after G-sharp

m. 21: breathe after B


m. 24: mezzo-forte may be played more softly

m. 28: breathe after the tied A

mm. 49, 52: may both be played pianissimo with a very slight crescendo

21

mm. 50, 54: LSK 2 fingering; covered C-sharp fingering

Third movement

mm. 9-11: open low D-flat key to play A-flat; leave open through low D-flat in m. 11


mm. 15, 16: RSK 1 B-flat fingering

m. 35: breathe after F-sharp


m. 40: SK F-sharp fingering; RSK 1 B-flat fingering


m. 51: covered C-sharp fingering; breathe after the C-sharp

m. 53: SK F-sharp


m. 76: breathe after tied A

m. 80: caesura indicates only the end of "raIl."

mm. 86-88: RSK 3 D-sharp fingering; RSK 4 E fingering

m. 98: slur the last group of four sixteenth-notes

mm. 100, 102: play second note as F-flat, not F-natural

mm. 109, 111: breathe after tied E's



mm. 121-122: slur first five notes (through F-natural) and play staccato the notes that follow

mm. 143-144: tie the trilled D's; trill may be played with RSK 3 E-flat

mm. 145-146: play D using LSK 1 only

Cadenza: Breathe after second fermata, on rest after third fermata, after low D fourteen notes

later, and before the last five notes of the cadenza. After third fermata, play

A-natural (not A-sharp); play slap-tongue notes (indicated "+") staccato and play

staccato notes with air only (no tongue). LSK 2 D fingering

Example 4.8.

Ibert, Concertino da Camera, Mvt. III, end of cadenza.

Reprlnted wlth permission.

mm. 151, 152: "5" A-sharp fingering


m. 156: covered C-sharp fingering, then open C-sharp

22

mm. 177-178: extend slur from beat one of m. 177 through the first two sixteenth-notes of

beat two of m. 178


beat two of m. 178

mm. 179-184: SK G-flat fingering

mm. 182-185: RSK 1 B-f1at fingering



beat two of m. 196


m. 205: play last note as C-natural, not C-sharp


m. 215: RSK 1 A-sharp fingering


m. 217: slightly separate A and D

m. 219: breathe after tied E-flat

mm. 220-221: play trill with RSK 3 E-flat fingering


m. 223: RSK 1 A-sharp fingering, then bis key A-sharp fingering

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APPENDIX OF SUGGESTED FINGERINGS

A TEACHER’S GUIDE TO THE INTERPRETATION OF … DA CAMERA FOR ALTO … · Ibert returned to Rome...

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