University of Iowa Iowa Research Online Theses and Dissertations 2008 Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers Michael Wade Lichnovsky University of Iowa Copyright 2008 Michael Wade Lichnovsky This dissertation is available at Iowa Research Online: https://ir.uiowa.edu/etd/30 Recommended Citation Lichnovsky, Michael Wade. "Australian sonatas for alto saxophone and piano: new editions and performance guides for three works by major australian composers." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2008. https://doi.org/10.17077/etd.zqux3yml Follow this and additional works at:https://ir.uiowa.edu/etd Part of theMusic Commons AUSTRALIAN SONATAS FOR ALTO SAXOPHONE AND PIANO: NEW EDITIONS AND PERFORMANCE GUIDES FOR THREE WORKS BY MAJOR AUSTRALIAN COMPOSERS by Michael Wade Lichnovsky An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the Graduate College of The University of Iowa May 2008 Essay Supervisor: Associate Professor Kenneth Tse Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL ___________________________ D.M.A ESSAY ___________ This is to certify that the D.M.A essay of Michael Wade Lichnovsky has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree at the May 2008 graduation. Essay Committee: ___________________________________________ Kenneth Tse, Essay Supervisor ___________________________________________ Maurita Murphy Mead ___________________________________________ Brian Hand ___________________________________________ Jerry Cain ___________________________________________ Nicole Esposito To Karen and Daniel i i The demarcation between a positive and a negative desire or action is not whether it gives you an immediate feeling of satisfaction but whether it ultimately results in positive or negative consequences. His Holiness the Dalai Lama, The Essence of Happiness ii i ACKNOWLEDGEMENTS My sincere thanks to Professor Kenneth Tse, who managed to see me through difficult times. Your kind spirit and willing manner are an example to all. To the friends made in Iowa City who helped me when I was down, I thank you. There is always an open door to welcome you. To the University of Iowa, who gave me the opportunity to study in America, I hope that my future deeds will speak well of you. To Gina Cole, runner of messages and depositor of forms, a warm thank you, for without your help I’d still be trying to graduate. The kind words and support received from the families of Dulcie Holland and Margaret Sutherland provided marvelous encouragement in getting this project off the ground. Thanks also go to EMI Music Publishing Australia for assistance in getting this edition of William Lovelock’s Sonata published, and to Trevor Barnard for his incredible enthusiasm for the project. But most of all, I dedicate this essay to my wonderful wife Karen, and my baby boy Daniel. Completion of this project signals a new beginning for us, and without your help and love I would surely have failed. iv ABSTRACT This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as a part of a well rounded, international exposure to the very best repertoire available. Saxophonists in Australia will be able to place themselves in a relevant world context only when they are fully aware of the heritage their instrument has in their own country. The present editions (created using the type-setting software Sibelius 4) seek to make performance considerably easier by eliminating the need to use the composer’s autograph manuscripts, which are sometimes difficult to read and understand, due to poor hand-copying or repeated photocopying which has subsequently made some pages illegible. The accompanying performance guides are designed as introductions, the first step for the young student wishing to tackle these national treasures. v TABLE OF CONTENTS LIST OF TABLES...........................................................................................................viii LIST OF EXAMPLES.......................................................................................................ix INTRODUCTION..............................................................................................................1 CHAPTER I DULCIE HOLLAND SONATA FOR ALTO SAXOPHONE AND PIANO (1945): A GUIDE FOR PERFORMANCE.......................4 Dulcie Holland – A brief biography...................................................................4 Overview of the Form.........................................................................................6 Movement I – Con moto.....................................................................................6 Movement II – Scherzando...............................................................................12 Movement III – Andante...................................................................................15 Movement IV – Tempo Scherzando (II) – A Tempo Allegro..........................21 CHAPTER II WILLIAM LOVELOCK SONATA FOR ALTO SAXOPHONE AND PIANO (1974): A GUIDE FOR PERFORMANCE..........26 William Lovelock – a brief biography..............................................................26 Overview of the Form.......................................................................................27 Movement I – Adagio sempre liberamente e rubato – Allegro........................28 Movement II – Molto vivo e leggiero...............................................................37 Movement III – Adagio liberamente – Allegro vigoroso.................................43 CHAPTER III MARGARET SUTHERLAND SONATA FOR ALTO SAXOPHONE AND PIANO (1942): A GUIDE FOR PERFORMANCE.........................................................................50 Margaret Sutherland – a brief biography..........................................................50 Editorial Note....................................................................................................51 Overview of the Form.......................................................................................53 Section I – Allegro, with considerable breadth.................................................53 Section II – tempo parlando – Appassionata – freely – poco meno mosso, rubato..............................................................................................................62 Section III – Allegro – poco meno mosso – meno mosso – freely...................65 APPENDIX A. NEW EDITION OF HOLLAND SONATA...........................................74 APPENDIX B. NEW EDITION OF LOVELOCK SONATA.........................................95 APPENDIX C. NEW EDITION OF SUTHERLAND SONATA..................................132 vi BIBLIOGRAPHY...........................................................................................................154 vii LIST OF TABLES Table 1. List of Awards and Honours................................................................................5 Table 2. Author's Suggested Approach to Dynamics......................................................55 viii