Quartet

Sponsoring Committee: Professor Esther Lamneck, Chairperson
Professor Paul Cohen

Professor Robert Rowe
LYRIC-FORM ARCHETYPE AND THE EARLY WORKS FOR SAXOPHONE
QUARTET, 1844-1928: AN ANALYTICAL AND HISTORICAL CONTEXT
FOR SAXOPHONE QUARTET PERFORMANCE
Timothy J. Ruedeman
Program in Music Performance

Department of Music and Performing Arts Professions
Submitted in partial fulfillment

of the requirements for the degree of
Doctor of Philosophy in the
Steinhardt School of Culture, Education, and Human Development
New York University
2009
UMI Number: 3361972
Copyright 2009 by
Ruedeman, Timothy J.
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Copyright © 2009 Timothy J. Ruedeman
ACKNOWLEDGEMENTS
I would like to take this opportunity to thank the many people who
contributed to the completion of this dissertation. First, I would like to thank the
members of my committee, Dr. Esther Lamneck, Dr. Paul Cohen, and Dr. Robert
Rowe, for their help and guidance.
As part of the Founder's Fellowship for Doctoral Studies at NYU, Dr. Esther
Lamneck served as my mentor, and also as my dissertation chairperson. I would
like to thank her for the many hours she spent proofreading and helping me to edit
my dissertation. Her support and encouragement was integral in the completion
of my studies. I would also like to thank Dr. Lamneck for inspiring me as a
performer. I will always relish the time we spent together performing with the
New Music Ensemble at NYU, especially our time spent together in Pisa. Thank
you Esther for broadening^ my musical landscape, for exposing^ me to so much
New Music, and for helping me to grow as a performer.
I would like to thank Dr. Robert Rowe for his help and support, especially
in regard to the musical analysis contained in this dissertation. His keen insight
and suggestions helped me tofocusmy research, and to ultimately complete the
dissertation. Thank you Dr. Rowe for all of your help and guidance.
iii
Dr. Paul Cohen has been my teacher, colleague, and friend for over fifteen
years. He has nurtured my saxophone playing since my time as an undergraduate
at the Oberlin Conservatory. For the past decade I have had the honor of sharing
the stage with Paul Cohen many times. We have performed together in the New
Hudson Saxophone Quartet for over a decade. Dr. Cohen has been a staunch
supporter of my performing activities, my academic pursuits, and my teaching.
It was in Dr. Cohen's home, during our many long conversations, that I
first settled on the topic for my dissertation. I conducted my first research
amongst the vast collections of his personal library and archives. Dr. Cohen was
there at the very beginning of my research, and he saw me through to the end of a
very long journey. Thank you Paul, for all mat you have done for me,fromthe
bottom of my heart.
Thank you to Dr. James Noyes, my colleague at William Paterson
University for the past eight years. Thank you Jim for generously sharing your
research iUHlMslorical materials with me, but most of aH thank you for our
Wednesday night talks in the WPU parking lot. Those pep talks gave me the
encouragement to persevere when I thought of throwing in the towel.
I would like to thank Dr. Lawrence Ferrara, Dr. John Gilbert, Dr. Paul
Horan, and the rest of the faculty and administration of the NYU Department of
Music and Performing Arts Professions. Thank you to Nancy Hall and Joe
Eversole for their help in preparing and editing my dissertation. Thank you to
David Regner for his help with the preparation of the musical examples. Thank
iv
you to my sisters, Sharon and Vanessa. Thank you to my colleagues at NYU,
WPU, and CW Post. And, thank you to all of my students.
Lastly, I would like to thank my wife Lynne to whom this dissertation is
dedicated. Lynne, you are my inspiration. Your love and support kept me going
when I feared I could no longer continue. Thank you for the countless evenings,
dinners, and car rides that you spent listening to me ramble on about my
dissertation. Whether it was helping me to work out new ideas, editing, easing
my fears and anxiety, or just to listen you were always there. As I write this, I
realize that I have been working on my PhD as long as we have known each
other. How wonderful it is to know that as I complete this leg of my journey, I
can look forward to a lifetime shared with you. Thank you.
v
TABLE OF CONTENTS
ACKNOWLEDGEMENTS iii
LIST OF TABLES ix
LIST OF FIGURES x
LIST OF MUSICAL EXAMPLES xi
CHAPTER
I INTRODUCTION 1
Need for Study 1

Time Frame of Study 15
II THE REPERTOIRE 21
Number of Works 21
The Size of the Early Saxophone Quartet Repertoire in
Context 24
The Creation of the Saxophone Quartet Repertoire 28
The Circle of Adolphe Sax 29
Operatic Influence 31
Operatic Influence in Context 34
III INDIVIDUAL ENTRIES ON COMPOSERS 38
Jean-Georges Kastner (1810-1867) 41

Fromental Halevy (1799-1862) 43
Jean-Baptiste Singelee (1812-1875) 45
Jerome Savari (1819-1870) 47
Jules Cressonnois (1823-1883) 48
Emile Jonas (1827-1905) 49
Adolphe-Valentine Sellenick (1826-1893) 51
Jean-Baptiste Mohr (.1823-1891) 52
continued
vi
Oscar Comettant (1819-1898) 53
Louis Mayeur (1837-1894) 54
Victor Sambin (??-18??) 56
Henri Escudie (1816-1881) 58
Leon Kreutzer (1817-1868) 59
Armand Limnander de Nieuwenhove (1814-1892) 60
Caryl Florio (1843-1920) 61
Raymond Moulaert (1875-1962) 64
GustavBumcke (1876-1963) 65
Jean Cras (1879-1932) 66
Maurice Schoemaker (1890-1964) 67
INTRODUCTION TO ANALYSIS, METHODOLOGY 69
Categorization of the Early Works for Saxophone Quartet 69

Operatic Inspired Works 70
The Bridge Pieces 77
Methodology for Analysis 80
Development of the Lyric-form Archetype 82
Functional Elements of the 16-bar Archetype 87
Application of the Lyric-Form Archetype for the Early
Works for Saxophone Quartet 89
ANALYSIS 90
Lyric-form Archetype and the Saxophone Quartet 90

Normative Procedures: Ternary and Binary Shape 100
Variation within the archetype 111
Elision, Fusing of the Functional Elements 112
Expansion 116
Contraction and Compression 131
Budden's Verdian Pattern 137
Rossini and the lyric-form archetype 149
ABA and da capo structure 157
Lyric-Form Melody and Structure in the Early Works for
Saxophone Quartets 189
ADOLPHE SAX AND THE EARLIEST SAXOPHONE
QUARTET PERFORMANCES 207
THE SAXOPHONE QUARTET CROSSES THE ATLANTIC 218
continued
vii
P.S. Gilmore, E.A. Lefebre, and the New York Saxophone
Quartette Club 218
The Business Bands and the Saxophone Quartet 232
Amateur Bands and the Saxophone Quartet 249
The Concert Saxophone Quartet 260
The Lefebre Saxophone Quartet 271
VIII THE LYCEUM AND CHAUTAUQUA CIRCUITS 294
The 19th Century through the 1910's 294

The Apollo Concert Company 314
The Concert Bands of Chautauqua 343
The 1920's and beyond 347
XV CONCLUSION 354
The Repertoire 355

Analysis 357
Performance History 358
Applications for Saxophone Quartet Performance 361
Areas for Further Study 363
BIBLIOGRAPHY 365
viii
LIST OF TABLES
1 Tally of Saxophone Quartet and Ensembles, 1844-1928 21
2 Instrumentation of Saxophone Works, 1844-1928 22
3 Chronological Listing of Saxophone Quartet and Ensembles,

1844-1928 38
4 Categorization of Saxophone Quartets and Ensembles, 1844-1928 70
ix
LIST OF FIGURES
1 Side by side comparison of Kerman and Huebner analysis of

"L'atra magion vedete?"fromVerdi's Simon Boccanegra 178
2 ABA structure in Savari's Quintette de saxophones and Verdi's
"L'atra magion vedete?"fromVerdi's Simon Boccanegra. Verdi
example shown twice with separate analysis by Kerman and
Huebner. 183
3 ABA structures created through an internal expansion of the

lyric-form archetype, with a reprise of the opening phrase, Verdi,
Mayeur, and Sambin. 189
4 Emile Jonas Priere. ABAC Structure created through additive

process of lyric-form melodies 196
5 Structure of Singelee Premiere Ouatuor Mvt. II. Form created

through delay of resolution/closure of ryric-form melody. 202
6 Schematic of Savari Ouatuor pour saxophones Mvt. I, quasi

sonata-form. 206
x
LIST OF MUSICAL EXAMPLES
1 Verdi Nabucco "Anch'io dischiuso un giorno," melody conforming

to the lyric-form archetype, A A' B A. 93
2 Jean Baptiste Singelee Grand Ouatuor Concertante m.28-43.

saxophone quartet melody conforming to lyric-form archetype,
AA'BA". 95
3 Victor Sambin Cinq Ouatuors pour Saxophones Mvt. II m.5-20.

lyric-form melody in a saxophone quartet, AA'BA". 98
4 Emile Jonas Priere m.56-72, lyric-form melody in a saxophone

quartet, A A'BC. 99
5 Verdi Nabucco "Anch'io dischiuso un giorno," ternary shape

lyric-form melody, 102
6 Verdi Attila "Ella in poter del barbaro!" Ternary shape lyric-form

melody. 103
7 Singelee Grand Ouatuor Concertant m.28-43. ternary shape

lyric-form melody in a saxophone quartet. lt)4
8 Sambin Cinq Ouatuors pour saxophones Mvt. H m.5-20, ternary

shape lyric-form melody in a saxophone quartet. 105
9 Donizetti Roberto Devereux "Un tenero core," binary shape

lyric-form melody. 106
10 Louis Mayeur Premiere Ouatuor Mvt. II m. 1 -16, binary shape

lyric-form melody in a saxophone quartet. 108
11 Jean-Baptiste Mohr Ouatuor m.l 17-133, binary shape lyric-form

melody in a saxophone quartet. 109
xi
12 Savari Quintette de saxophones Mvt. HI m.I-I7. binary shape
lyric-form melody in a saxophone quartet. 110
13 Mayeur Premiere Ouatuor Mvt. II m. 1 -16, fusion of development

and closure function within lyric-form melody 112
14 Vineenzo Bellini Norma Act I "Si, fa core e abbraccia mi," fusion

of development and closure function in lyric-form melody. 115
15a Verdi Ernani "Ernani! Ernani, involami," internal expansion of

lyric-form melody. 117
15b Verdi Ernani "Ernani! Ernani. involami." internal expansion of

lyric-form melody, Kerman's analysis: A A' B 8 A" 8 A" 8 . 119
16a Sambin Cinq Quatuors pour saxophones Mvt. Ill m. 1 -24, internal
expansion of lyric-form archetype, A A' BB' A A". 121
16b Sambin Cinq Quatuors Mvt. Ill, 6/8 section, internal expansion of
lyric-form archetype, A A' B B' A A". 122
17 Verdi Luisa Miller "Sacra la scelta." expanded closing phrase to a

full 8-bar period, A A'BAA" Coda. 123
18 Savari Quintette de saxophones Mvt. I m.47-66, expanded closing

phrase to a full 8-bar period, A A ' B C C. 125
19 Verdi II Trovatore "Ah si, ben mio," expanded development and

closing phrases, Kerman's analysis: A A' Bio C8. 127
20 Savari Quatuor pour saxophones Mvt. I m.24-47, expanded

development and closing phrases, A A'3 B$ Cs. 128
21 Mayeur Premiere Ouatuor Mvt.I m. 1-32, doubled phrase-lengths,

A 8 A' 8 B 8 A" 8 . 129
22 Verdi II Trovatore "Di quella pira," doubled phrase-lengths,

A 8 A' 8 B 8 A" 8 . 131
23a Verdi Un ballo in maschera "Alia vita che t'arride," contracted

lyric-form melody, Kerman's analysis: A A' C. 132
xii
23b. Verdi Un ballo in maschera "Alia vita che t'arride," contracted
lyric-form melody, Huebner's analysis; fusion of b and c
phrases. 133
24a Singelee Grand Ouatuor Concertant m. 1-12, contracted lyric-form

melody, A A ' B 2 C2. 135
24b Singelee Grand Ouatuor Concertant m/66-77, contracted lyric-form

melody, A A'B 2 C 2 . 136
25 Mayeur Prelude m. 7-20, contracted lyric-form melody, closing

phrase contracted from four to two measures, A AA B A"2. 137
26a Verdi Giovanna d'Areo "Sempre all'alba ed all sera," expanded

lyric-form, Budden' s Verdian pattern, al a2 b a3 c a3. 138
26b Verdi Giovanna d'Arco "Sempre all'alba ed all sera," expanded

lyric-form, Huebner's analysis: 2nd development area followed by
integrated return. 141
27a Sambin Cinq Ouatuors Mvt. I m.21-43, saxophone quartet melody

similar to Budden's Verdian pattern, A A' B 2 B' 2 C B" 3 C'5. 144
27b Sambin Cinq Ouatuors Mvt. I m.21 -43, functional analysis of

expanded lyric-form melody. 145
28 Singelee Premiere Ouatuor Mvt. I m.9-40, saxophone quartet

melody similar to Budden's Verdian pattern,
A A' B 2 B' 2 <ext. develop) C 5 C' 5 D2. 147
29 Rossini Semiramide "Oh! come da quell di," lyric-form melody in

music of Rossini 151
30 Rossini Semiramide "Alle piu care immagini," lyric-form melody

with extended closing section. Balthazar's analysis:
AA'Bl2Bl'3B22Ci7. 153
31 Singelee Premiere Ouatuor Mvt. I Introduction, lyric-form melody

with a Rossinian expanded closing section, A A' Bio Ci6 coda6. 156
32 Verdi Les Vepres siciliennes "Au sein la puissance," expansion of

lyric-form to ABA form. Kerman's analysis:
A A f B.i2 Cio | middle-section 14-bars | A Ar Bi 2 Cio coda. 158
xiii
33a Mayeur Premiere Ouatuor Mvt. I m.48-79, contrasting middle
section of ABA structure. 161
33b Mayeur Premiere Ouatuor Mvt. I m.81-97, reprise of opening-block

with coda. 162
34 Savari Quintette de saxophones Mvt. I m. 1-46, expanded lyric-form

melody that is 1st outer section of ABA form, A A' B B'9 B"12 C C. 163
35a Verdi Simon Boccanegra "L'atra magion vedeteT* ABA structure

created by delaying closure of lyric-form melody. Kerman's
analysis:AA 5 'B8[DD'Eg|AA 5 'B8'C|. 167
35b Verdi Simon Boccanegra "L' atra magion vedete?" Huebner' s

analysis: ternary form, in which third section is a small binary shape. 172
36 Savari Quintette de saxophones Mvt. I, m.1-46, ABA structure created

through delay of closure of lyric-form. 179
37 Verdi Un ballo in maschera "Morro, ma prima in grazia," ABA

structure created through expanded lyric-form, Kerman's analysis:
AA'B 3 A"|8-bars|ACcoda. 184
38 Mayeur Premiere Quatuor Mvt. II, ABA structure created through

expanded lyric-form, A A ' B C | 6-bar middle-section| A A" coda. 186
39a Sambin Cinq Quatuors Mvt. I, lyric form melody that is the 1st outer-
section of an ABA form, AA'BC. 188
39b Sambin Cinq Quatuors Mvt. I, lyric form melody mat is the final
outer-section of an ABA form, 188
40 Verdi II Trovatore"Tacea:1a notte placida." Huebner's analysis:

lyric-form with expanded closing section, which itself is a small
binary structure. 191
41 Donizetti Roberto Devereaux "Un tenero core," binary structure

created by elision of two lyric-form melodies 193
42 Savari Quintette de saxophones Mvt. Ill m. 1-33, binary structure

created through the elision of two lyric-form melodies. 194
xiv
43 Donizetti Lucia de Lammermoor "Regnava nel silenzio," large
structure created through delay of resolution of lyric-form melody. 197
44a Singelee Premiere Ouatuor Mvt. II m. 1 -20, lyric-form melody with
normative twelve opening bars and modulation in closing phrase,
preventing integrated return. 199
44b Singelee Premiere Ouatuor Mvt. II m.36-50, lyric-form melody with

normative twelve opening bars and modulation in closing phrase,
preventing integrated return. 200
44c Singelee Premiere Ouatuor Mvt. II m.78-84, reprise of

developmental and closing phrases, B C, lyric-form melody,
followed by an extended dominant pedal 201
44d Singelee Premiere Ouatuor Mvt. II m.95-end, resolution and

integrated return of lyric-form melody, A" codag. 202
45a Savari Ouatuor pout saxophones Mvt. I m. 1^23, Expanded lyric-form

melody without closure/resolution, no perfect authentic cadence in
tonic key. 203
45b Savari Ouatuor pour saxophones Mvt. I m.80-end, return of

lyric-form melody with perfect-authentic cadence. 205
xv
CHAPTER I
INTRODUCTION
Need for Study
Saxophone Quartet performance practices vary widely. As compared with
other chamber ensembles, the approach that performers take to the saxophone
quartet's repertoire is inconsistent, both in style and in the standard of
performance. The saxophone's lack of a strong orchestral tradition, its jazz
heritage, its role in popular music, the wide array of equipment and mouthpieces
available to the modern saxophonist, and saxophone pedagogy are all contributing
factors to the inconsistency in the standards and style of saxophone quartet
performance.
Of the standard chamber ensembles, the saxophone quartet is most similar
to the string quartet. Both ensembles are based on a family of instruments and
have a homogenous sound and blend. These similarities are strong, but there are
important differences in how the two ensembles are received by audiences and
important differences in how they are approached by performers. The string
quartet is the quintessential chamber ensemble. The saxophone quartet is often
marginalized and relegated to the outskirts of classical chamber music playing.
The string quartets of Beethoven, Haydn, Mozart, Schubert, Brahms, and other
1
great masters form the foundation and lineage of the chamber music repertoire.
The saxophone quartet repertoire does not have any pieces by the acknowledged
Classical and Romantic Era masters. The nineteenth and early twentieth-century
saxophone quartet repertoire is limited and its composers are relatively unknown.
Twentieth and twenty-first-century works for string quartet are part of a lineage of
composition and performance traditions that extend back to the classical era.
String players are aware of this lineage, and their approach to the modern string
quartet repertoire is duly informed by this tradition. The saxophone quartet lacks
such a lineage of repertoire and performance traditions; it lacks the consistent
approach to chamber music that exists for the string quartet
The saxophone quartet is not the only chamber ensemble that lacks the
strong lineage of the string quartet. In fact, no chamber ensemble comprised of
wind instruments has the same uninterrupted lineage in their repertoire as the
string quartet. The woodwind quintet repertoire is made up mostly of twentieth-
century works. There is a small group of woodwind quintets dating from the first
half of the nineteenth century. These pieces were written when the woodwind
quintet first emerged as a chamber ensemble, and are made up of the quintets of
such composers as Anton Reicha, Franz Danzi, and Giuseppe Cambini (Saylor,
Secrist-Schmedes). Besides that group of pieces, from 1800-1820, there are few
works for woodwind quintet written before the I920*s (Ibid). Rare examples of
nineteenth-century works for woodwind quintet produced after 1820 include the
quintets of Franz Lachner, Paul Taffanel, Charles Lefebvre and August
2
Klughardt, but they are few in number and rarely performed (Saylor). Paul
Hindemith's Kleine Kammermusik. Op. 24/2,1922 inspired renewed interest in
the woodwind quintet, and many pieces were composed for woodwind quintet
throughout the twentieth century (Ibid.).
The woodwind quintet repertoire lacks the continuity of the string quartet
repertoire, however, the twentieth-century repertoire of the woodwind quintet is
easily understood to participate in the classical traditions of chamber music.
Because all the instruments of the woodwind quintet were permanent members of
the orchestra by the turn of the nineteenth century, performers can call on the
orchestral traditions of their instruments in the performance of woodwind quintet
music. So strong are the orchestral traditions of woodwind performers that, as a
matter of course, they bring the same consistent approach to the woodwind
quintet repertoire that they bring to the orchestral and operatic repertoire. The
brass quintet repertoire is made up almost exclusively of twentieth-century works,
however, on the basis of the strong orchestral traditions of the brass instruments,
the brass quintet participates in that same tradition of classical chamber music
performance.
In A Performer's Guide to Music of the Romantic Period, scholar and
trombonist Trevor Herbert highlights the importance of orchestral training and
orchestral performance traditions for wind instruments. He notes that while solo
works were written for each of the woodwind and brass instruments during the
Romantic period, that few of them are by "really great composers" (61).
3
However, the great composers of the era wrote for woodwind and brass in their
orchestral and operatic music. As a result, solo and chamber wind playing
developed in the context of the symphony and opera (Ibid.). Chamber music
playing and performance practices are informed by the orchestral traditions of
those instruments, more so than relying on a lineage within their chamber
repertoire.
The development of the repertoire of the saxophone quartet is in many
ways analogous to that of the woodwind quintet. At its inception, the saxophone
quartet inspired the creation of a small group of works, composed between 1844
and 1870. As with the woodwind quintet, these initial pieces for saxophone
quartet were followed by sporadic examples of works written throughout the
remainder of the nineteenth century and the first two decades of the twentieth
century. In the same manner that Hindemith's Kleine Kammermusik inspired
renewed interest in the woodwind quintet, saxophone quartets by composers such
as Glazunov, Bozza, and Francaix, ushered in a period of renewed interest in the
saxophone quartet beginning in the 1930's. Since then there has been an ever-
increasing proliferation of new works written for saxophone quartet through the
twentieth and twenty-first centuries.
The development of the saxophone quartet and woodwind quintet
repertories is therefore similar. Both ensembles inspired an initial, small output of
pieces at their inceptions. Those pieces were followed by a sporadic production
of new works throughout the remainder of the nineteenth Century. Both
4
ensembles experienced renewed interest and a subsequent proliferation of
repertoire in the twentieth century. Despite these similarities, there are
fundamental differences in how the saxophone quartet and the woodwind quintet
have been approached by performers, and differences in how these ensembles
have been understood and received by performers and audiences alike.
Unlike the instruments of the woodwind quintet, the saxophone does not
have a strong orchestral tradition. Although originally intended by Adolphe Sax
as a voice for the orchestra, the saxophone never achieved its inventor's goal of
becoming a regular member of the orchestra. Instead the saxophone is an
occasional guest in the orchestra. The saxophone plays an important role in some
of the standard orchestral repertoire including works by Bizet, Debussy, Strauss,
Prokofiev, Ravel, Ibert, Shostakovich, Gershwin, Britten, MiUiaud, Berg,
Schoenberg, and Copland, but it has never been a permanent member of the
orchestra. Consequently, the saxophone lacks a strong orchestral performance
tradition as compared to the other woodwinds and orchestral brass. So while
Trevor Herbert points out that nineteerith-century solo wind playing, "developed
in the context of the symphony and opera orchestra," that statement is not
necessarily true for the saxophone or the saxophone quartet (61). In part, this
situation explains why the saxophone quartet and its repertoire do not enjoy the
same lineage of classical chamber music and performance traditions, as do other
chamber ensembles.
5
Some modern saxophone quartets have attempted to emulate the sound
and performance traditions of other classical chamber ensembles, with varying
degrees of success. More often than not the sounds, style, and articulation of a
saxophone quartet are, at best, more reminiscent of a jazz saxophone-section than
a classical chamber ensemble. At worst the sound, style, and articulation of many
saxophone quartets simply do not measure up to the performance standards of
other classical chamber ensembles. The saxophone's lack of a strong orchestral
tradition is a contributing factor to this situation.
Another contributing factor to saxophone quartet performance practices
and standards is the saxophone's strong jazz heritage. The strongest performance
traditions and models for the saxophone arefromjazz music. The saxophone was
not only accepted as a permanent voice in jazz music, it has become synonymous
with jazz itself; arguably the most recognizable jazz instrument (Ingham,
Lindemeyer). So powerful is the saxophone's presence in jazz that it
overshadows its classical roots, Consequently, a jazz-approach to performance
and jazz-equipment (mouthpieces) are often inappropriately employed in
saxophone quartets, regardless of the context. In his dissertation, An Acoustical
Study of Alto Saxophone Mouthpiece Chamber Design. Frederick Wyman calls
attention to the inappropriate application ofjazz tone and style in the concert band
and the orchestra. The saxophone section is heard through, rather than blending
with the other woodwinds (3). He states that, "there is often no effort made
towards uniformity of tone quality through the use of similar mouthpiece
6
chambers by all members of the saxophone section" (Ibid.). The situation that
Wyman describes in the concert band and orchestra exists in many saxophone
quartets as well.
The inappropriate application ofjazz inflection, tonal-concept, and
equipment are contributing factors to the marginalized status of the saxophone
quartet in the realm of chamber music. However, the saxophone's prominent role
in jazz music is in large part responsible for the instrument's popularity. It is
important for the performers in a saxophone quartet to understand the jazz-
heritage of their instrument. Many modern composers make use of jazz elements
and style in their compositions for saxophone quartet Saxophonists must possess
knowledge and understanding of both jazz and classical performance traditions
and techniques. The modern saxophone quartet repertoire often calls on
performers to move seamlessly between both traditions and many works
capitalize on the saxophone's flexibility and diversity. The problem lies in the
incongruous situation between the jazz and classical traditions of the saxophone.
The jazz traditions of the saxophone are firmly established, but the classical,
chamber music roots of the saxophone quartet are not.
Historically the saxophone was a relative latecomer to jazz music. The
clarinet was established in the lineup of the Dixie Land band, long before the
saxophone became a popular jazz instrument (Ingham 125-6). Clarinets, flutes
and other woodwind instruments were much more widely available and
considerably less expensive than the newer, more rare, and mechanically
7
complicated saxophones (Ibid.)- Yet, the saxophone quickly became the
woodwind instrument of choice for jazz musicians. The saxophone not only
became the main woodwind instrument in jazz, it became the most popular jazz
instrument. Why the dominance of the saxophone in jazz?
The capacity for a unique, individualized sound is neatest on the
saxophone, and it is this capacity for a personalized sound and expression that
attracted so many jazz musicians to the saxophone (Horwood, Ingham, Liebman,
Lindemeyer). The saxophone* s large conical bore combined with a wide array of
mouthpiece chamber designs allows for a much greater diversity and individuality
of tone quality than any of the other acoustic instruments employed in jazz music
(Cohen "Vents, Waves [...]," Liebman, Rascher "Top Tone [...]," Wyman).
That is not to say that pianists, trumpeters, trombonists and other jazz
instrumentalists have not achieved an individual and unique style. The question is
not one of artistry, but timbral flexibility; it's in the sound itself that the
saxophone is special. Many jazz aficionados can pick out a specific performer on
any instrument based on their improvisational style or the content and phrasing of
their playing. A jazz saxophonist can be identified based on sound alone.
The saxophone's tonal flexibility, the very strength that makes it the
quintessential jazz instrument, contributes to the problems that exist for the
saxophone in a classical context, such as the saxophone quartet. A good
saxophone sound, whether it be jazz or classical, requires that the performer have
a clear understanding of voicing, tonal registration, and the demands that the large
8
conical bore of the saxophone make on intonation. Tonal flexibility must be
controlled by a player's intention of sound. The player must have a clearly
defined model of sound in order to harness and focus the tonal flexibility inherent
in the large conical bore of the saxophone (Ibid). A player's concept and
intention of sound is a more important factor even than the chamber size of the
mouthpiece (Liebman, Wyman).
Saxophonists have numerous models of jazz sounds, a music where
individuality of tone is prized. Saxophonists have fewer models for an orchestral
sound, where tonal purity and the ability to blend are the primary goals.
Clarinetist,flutistsand other woodwind players have over time cultivated an
understanding of pitch and tonal registration based on orchestral performance;
they make subtle adjustments in their voicing and fingerings in order to develop
control of sound and pitch. This type of nuanced playing is not often found
among saxophonist (Ibid.). One of the primary reasons for this situation is that
most saxophonists dp not associate their instrument with the other orchestral
woodwinds. Consequently, voicing, blend, nuanced tonal control, and intonation
are not generally emphasized in the saxophone pedagogy, the way they are
emphasized in the pedagogy of the other woodwinds. Wyman explains that some
of the problems that the saxophone can have in a classical setting are the results of
a combination of saxophone pedagogy, equipment, and the artistic approach of
saxophonists, which often differs from other woodwind players.
The present lack of acceptance of the saxophone tone for use in the
symphony orchestra and the tone quality and intonation problems
9
it causes in the concert band are the result of a lack of application
of artistic values to the judgment of saxophone tone. It seems that
the saxophone player is not taught to be as critical in matters of
tone quality or intonation as other instrumentalists are. The matter
of "blending" in bands and other ensembles has been hampered by
the search over the past thirty years for a more brilliant sound.
What has been gained in one direction has caused sacrifice in
another. (21)
This situation is compounded by the saxophones role in popular music.
The saxophone experienced a wave of popularity during the 1-910's and 1920's.
Authors and historians have dubbed this era the "saxophone craze" (Hemke,
Horwood, Lindemeyer, Vermazen). The saxophone was embraced by Vaudeville
performers, multi-instrumentalists, and traveling Chautauqua and Lyceum groups
(Ibid.). Groups such as the Six Brown Brothers used the saxophone in their acts
and enjoyed enormous success and popularity. These groups often accentuated
the vulgarity of the saxophone* incorporating various tricks and sound effects for
popular appeal (Ibid.).
The saxophone's ever-increasing popularity with performers and
entertainers created a new demand from amateur musicians for saxophones. And,
as the popularity of the saxophone grew so did its production. American
manufactures, such as the Conn Company, began mass-producing saxophones.
New saxophones such as Conn's "New Wonder Saxophones" and Buescher's
"True-Tone" saxophones were lower in cost and of comparable quality to
European produced saxophones. The saxophone was more popular, and more
widely available than ever before (Cohen "Saxophone Instrument Sales ...",
Hemke, Horwood, Lindemeyer).
10
During this period many of the advertisements by instrument makers were
based around the concept that the saxophone was easy to play, and that anyone
could pick up a saxophone and be able to play it in only a few weeks. The tenor
saxophone in C, commonly known as the C-melody saxophone, became
especially popular with amateurs. It could be used to play a vocal line, violin
music, or the top line of piano music without any transposition necessary, and was
popular for home music-making. Saxophones could be heard in community
bands and orchestras, and could be found in households everywhere (Cohen
"Saxophone Instrument Sales ...", Hemke, Horwood, Lindemeyer). Ensembles,
rangingfromthree to twenty or more saxophones, professional and amateur alike
could be found across the United States.
Soon the masses of amateur and commercial players of the saxophone
eclipsed the number of trained saxophonists (Hemke, Horwood, Lindemeyer,
Vermazen). This surge in saxophone playing had lasting effects on public
perception and performance trends. The following passage from Wally
Horwood's book Adolphe Sax cites some of the effects the saxophone craze had
on the image of the saxophone.
From about 1920 onwards, the writing of the world of legitimate

music are full of snide, often uninformed and inaccurate remarks
about the saxophone. On reading them one might wonder: Is this
the same instrument over which eminent composers went into
raptures? Is this the achievement on which we base our Subject's
claim to immortality?
The fact is that the impact on public awareness of hordes of
inept, plangent electric-'guitarists in the 'sixties was but a pale
shadow besides the furore [sic] created by the saxophone in the
'twenties. Something happened to change this obscure, little-
11
known but well-regarded instrument almost overnight into what
many saw as a hideous monster created to corrupt the morals of
youth. (165)
One result of the saxophone's increase in popularity among amateurs was
a systematic lowering of the performance standards of the instrument, and an
ever-increasing association of the saxophone with commercial music, vaudeville,
and unskilled amateur playing. These associations contributed greatly to the
saxophone's loss of identity in classical music.
The following quote is from the eminent nineteenth-century composer
Hector Berlioz. Berlioz wrote these remarks after first hearing the saxophone in
1842.
...As to the sonority, it is of such a nature that I do not know of any

low instrument presently in use which can in this regard compare
to it. It is full, mellow, vibrant, with an enormous power and easy
to play sweetly ^ more over it is altogether new and does not
resemble any of the timbres one hears in the present orchestra... In
its upper register it produces notes of an impressive sound which
can be pleasantly applied to melodic expressive lines. Without
doubt it will never be appropriate for rapid passages or for
complicated jarpeggios; but low instruments were not meant for
such nimble movements [Berlioz is describing a bass saxophone].
Instead of complaining^therefore, we must rejoice that it is
impossible to abuse the saxophone and destroy its majestic
character by giving it musical futilities to perform, (qtd. in Hemke,
23)
Contrast Berlioz's quote with the following quote from the London Times,
circa 1926. It offers a. vulgar description of the saxophone, but unfortunately this
article is not atypical of the reception that the saxophone often received after the
1920's.
The Saxophone is a long metal instrument bent at both ends. It is
12
alleged to be musical. As regards markings, the creature has a
series of tiny taps stuck upon it, apparently at random. These taps
are very sensitive; when touched they cause the instrument to utter
miserable sounds suggesting untold agony. Sometimes it bursts
into tears. At either end there is a hole. People, sometimes for no
reason at all, blow down the small end of the saxophone which
then shrieks and moans as if attacked by a million imps of torture.
The shrieks issuefromthe large end. So do the moans. The
saxophone comesfromwhere the black-eyed Susans and coal-
black mammies flourish. The consensus of opinion is that it
should have stayed there, (qtd. in Horwood, 165)
In addition to an effect on public perception, the saxophone's role in
popular music had effects on equipment, most notably the mouthpieces. In an
effort to attain brighter, edgier, and louder sounds changes were made to the
saxophone mouthpiece. Changes in baffle design and chamber size have the
greatest effect on the sound (Wyman 13). By decreasing the size of the chamber
of the mouthpiece higher overtones are emphasized and a brighter, louder sound
is produced. However, there is less uniformity of tone quality and an increase in
intonation problems (Cohen "Vents, Wave ...", Wyman). Changes in mouthpiece
design began around the turn of the twentieth century. Up until that time
saxophone mouthpieces were much less varied. The chamber was consistently as
large, or larger than the bore size of the neck of the saxophone (Ibid. 14). The
changes in mouthpiece design were so ubiquitous mat the original design of
Adolphe Sax virtually disappeared in the manufacture of newmoumpieces. Sax
was explicit in the original patent for the saxophone that the chamber of the
mouthpiece be larger than the end of the bore of the instrument (Hemke,
Horwood, Wyman). Today there is a wide array of mouthpieces on the market.
13
Very few of these mouthpieces, even those marketed as classical mouthpieces,
resemble the older, large-chamber mouthpieces suitable for orchestral playing
(Wyman). Wyman describes most modern saxophone mouthpieces as, "a far cry
from the original design of Adolphe Sax" (3).
The confusion concerning saxophone mouthpiece chamber size is
compounded by ignorance on the part of saxophone teachers and ambiguity and
omissions in saxophone method books (Levinsky). Most modern saxophone
methods recommend a medium lay and medium chamber, without providing an
explanation of what a "medium chamber is" (Wyman). And, there continues to
be confusion among saxophone players and teachers on this subject Mouthpiece
selection is often based upon the latest model or the model that a particular
performer uses, not upon a musical evaluation of the results in tone quality and
intonation (Cohen "Vents, Waves,...", Liebman, Wyman).
In summary, it is clear that there are a number of factors that inform the
performance practices of the saxophone quartet AH of these factors contribute to
how the saxophone quartet is viewed and understood in the context of classical
chamber music. The saxophone's lack of a strong orchestral tradition, its role in
jazz, its role in popular music, the saxophone's pedagogy, and choices in
mouthpieces and reeds are all contributing factors to the current state of
saxophone quartet performance. Understanding the nineteenth-century roots of
the saxophone quartet and studying its early repertoire is therefore essential for
the modern saxophone quartet. Study of the early works and understanding them
14
in their proper context grants saxophonists access to the classical performance
traditions of chamber music, that are often thought not to include their instrument.
Saxophonists can draw on the fact that the saxophone quartet is indeed a part of
that tradition. Once the early works for saxophone quartet are understood in the
context of nineteenth-century music, saxophonists will be encouraged to look to
other classical chamber ensembles, such as the string quartet, woodwind quintet,
and brass quintet for models of tone-production and blend, as well as standards in
articulation, intonation, and interpretation. A performance tradition of chamber
music that is informed by orchestral traditions and standards of performance is not
historically exclusive of the saxophone quartet It is a tradition that is often
eclipsed or overshadowed by the saxophone's role in jazz, popular and
commercial music* and the resulting changes over time in public perception of the
saxophone. Access to mat tradition is made even more elusive by the diversity of
modern mouthpiece design and saxophone pedagogy that often does not measure
up to the standards of the other orchestral woodwinds. The historical, critical, and
analytical evidence presented in this dissertation will encourage saxophone
quartets to develop an orchestral approach to chamber music, and to participate
more fully in the world of classical chamber music.
Timeframeof Study
The Early Works for Saxophone Quartet and Ensemble are defined in this
study as the collection of works written for saxophone quartet or saxophone
15
ensemble between the years 1844 and 1928. Adolphe Sax first invented the
saxophone in 1840 (Hemke, Horwood). 1844 is the year that Georges Kastner
published his Methode complete et raisonee de Saxophone, which included his
Sextour. the first original work for an ensemble of saxophones (Hemke, Horwood,
Lindemeyer, Rascher Georges Kastner). The earliest music composed for a
saxophone quartet was in 1852 by the French composer Fromental Halevy. He
included a quartet of two altos, one baritone, and one bass saxophone in C, in the
fifth act of his grand opera, Le Juif errant. The first original work specifically
composed for saxophone quartet alone was Jean-Baptiste Singelee's Premier
Ouatuor. first published in 1857.
The first boundary of this study is the invention of the saxophone and the
appearance of the saxophone in an ensemble context in the 1840's. The second
boundary is 1928. The year 1928 is a watermark in the history of the saxophone
quartet. 1928 was the year of the first performances of Marcel Mule and the
Quatuor de Ja Garde de Republicaine. That date is also significant in that it
roughly corresponds to the end of the saxophone craze. Both the saxophone craze
and the establishment of Mule's saxophone quartet had lasting affects on the
saxophone quartet and its repertoire.
The 1910's and 1920's were the height of the saxophone craze in the
United States and Great Britain. It was a period that saw tremendous changes in
saxophone mouthpiece design, public perception of the saxophone, and
performance context of the saxophone; a swelling of the ranks of amateur
16
saxophonists; and a surge in the number of saxophone produced, bought, and sold
(Cohen "SaxophoneInstrument Sales ..." Horwood, Vermazen). The saxophone
craze while raising awareness of the saxophone and thrusting the instrument into
the spotlight of popular music, overshadowed the saxophone's spare, but well-
respected tradition in the classical music of the nineteenth century (Ibid.).
As the saxophone craze came to an end, the saxophone was firmly
entrenched in popular music, and beginning to be taken up by jazz musicians. In
the late 1920's and early 1930's, Sigurd Rascher and Marcel Mule were
championing the saxophone as a concert instrument. In 1928 Marcel Mule and
his saxophone quartet began to perform. In large part Marcel Mule is responsible
for reintroducing audiences to the saxophone quartet in a classical music context.
After attaining prominence in his native France, Mule went on to achieve an
international reputation as one of the greatest proponents of the classical
saxophone. A large body of works have been written for and dedicated to Marcel
Mule, perhaps more than any other saxophonist with the possible exception of
Sigurd Rascher. As a performer and teacher Mule has influenced generations of
saxophonists. In 1942 Mule was appointed professor of saxophone at the Paris
Conservatoire. Mule was the first to hold this prestigious post since Adolphe Sax
himself taught the saxophone class at the Conservatoire in the late nineteenth
century. In the late I92(Ts Mule formed a saxophone quartet with three of his
colleagues, the Quatuor de la Garde Republicaine. Mule and the Quatuor de La
Garde de Republicaine precipitated a flurry of saxophone quartet activity in Paris
17
that began in 1928, and continued for decades. The efforts of the Quatuor de la
Garde Republicaine yielded an expanded repertoire for the saxophone quartet.
During the 1930's works by Glazunov (1932), Bozza (1938), Absil (1937),
Clerisse (1930), Francaix (1937), Joseph Jongen (1937), Rivier (1938), Vellone
(1929) and Pierne (1936), were written for Marcel Mule's saxophone quartet.
These early pieces were followed by saxophone quartets by Florent Schmidt
(1941), Leon Jongen (1942), Rueff (1955), Pascal (1961), Descenclos (1964), and
second saxophone quartets by Bozza (1946) and Absil (1954). These works have
come to form the core of the French saxophone quartet repertoire.
The repertoire that Mule and his saxophone quartet inspired, has not been
perceived by saxophonists and historians, as an expansion of the previously extant
repertoire. Mule and his colleagues were apparently unaware of the nineteenth
and early twentieth-century saxophone quartet repertoire. Their early concert
programs were made up entirely of transcriptions (Rousseau 20). Their programs
were eventually peppered with the original repertoire that Mule commissioned,
but transcriptions continued to form the bulk of the quartets repertoire throughout
the 1930's and into the 1940's. A concert programfromthe 1938-39 season lists
works by Haydn. Mozart, Schumann, Glazunov, Tchaikovsky, and Rimsky-
Korsakov (Ibid.). Only one of these pieces, the Glazunov, is an original work for
saxophone quartet. A discography of Marcel Mule's saxophone quartet
recordings shows that about half of the recorded works are transcriptions (Ibid.
147-9).
18
It has been mistakenly thought that Marcel Mule and the Quatuor de la
Garde Republicaine were the genesis of the saxophone quartet. This
misconception is in large part due to the eclipsing of the saxophone quartets
classical roots by the popularity of the saxophone in popular and jazz music.
Eugene Rousseau expresses this common misconception in his book, Marcel
Mule: His Life and the Saxophone.
By 1928, they had firmly established the soprano, alto, tenor, and
baritone instrumentation. Finally, they began regular rehearsals
that would result in the world premiere of the saxophone quartet on
December 2,1928, in La Rochelle. The members of Le quatuor de
la musique de la Garde Republicaine, in addition to Marcel Mule
on soprano saxophone, were Rene Chaligne, alto; Hippolyte
Poimboeuf, tenor; and Georges Chauvet, baritone.
It is difficult now to recapture the significance of this event.
Never before had there been a saxophone quarter; there was no
repertory. So swift has been the development of this medium and
so abundant is its present repertory that it hardly seems possible it
is only ahalf-century old. (16-17)
The saxophone quartet was not first heard in the late 1920's. The
emergence of the Quatuor de la Garde Republicaine and the work of Marcel Mule
in popularizing and reestablishing the saxophone quartet as a serious concert
medium cannot be disputed. However, the earliest saxophone quartets were
performing nearly seventy years before the Quatuor de la Garde Republicaine's
first performances. The era of saxophone quartet performance associated with
Mule and his saxophone quartet was a renaissance of the saxophone quartet It
was during the nineteenth century that the saxophone quartet first developed as a
chamber ensemble. During the second half of the nineteenth century and the first
decades of the twentieth century there were professional, touring saxophone
19
quartets; numerous amateur and semi-professional saxophone quartets; a small,
but growing repertoire of original works; and myriad arrangements of classical,
operatic, religious, and popular works for saxophone quartet. Mule's saxophone
quartet was certainly not the first saxophone quartet to perform serious chamber
music in a concert setting. Groups such as the New York Saxophone Quartette
Club, Lefebre Saxophone Quartet, American Saxophone Quartet, California
Saxophone Quartet, the saxophone quartets of Louis Mayeur, and those organized
by Adolphe Sax all preceded the emergence of Mule and Le Quatuor de la Grade
Republican.
Mule's saxophone quartet and the repertoire they inspired mark the
beginning of the modern era of the saxophone quartet. Their emergence in 1928
and the creation of new works for saxophone quartet by established composers
such as Glazunov, Francaix, and Bozza is analogous to Hindemith's Kleine
Kammermusik ushering in the modern era of the woodwind quintet. Thus 1928,
the year of the first performances of the Quatuor de la Garde Republicaine marks
the second boundary of this study.
20
CHAPTER II
THE REPERTOIRE
Number of Works
There is evidence of the existence of twenty-eight works for an ensemble
of four or more saxophones, composed between the years 1844-1928. Scores,
parts, and or a recording exist for nineteen of those twenty-eight works. Those
nineteen works include fourteen saxophone quartets, a quintet for saxophone
quartet and piano, a concerto for saxophone quartet and chamber orchestra, two
saxophone quintets, and a saxophone sextet. There is evidence to suggest that an
additional nine saxophone ensemble pieces were written during this time period,
bringing the total number of works to twenty-eight. To date, neither scores nor
parts for these nine pieces have been found. They are presumed lost. These lost
or missing pieces include four saxophone quartets, a quintet for saxophone quartet
and piano, a saxophone quintet, a saxophone sextet, a saxophone septet, and a
saxophone octet.
Table 1: Saxophone Quartets and Ensembles, 1844-1928
Total number of works 28
Number of works with scores, parts, or recordings 19
Number of missing or lost works 9
21
Table 2: Instrumentation of Saxophone Works, 1844-1928
Saxophone Quartet 18
SATB (soprano, alto, tenor, baritone) 14
AATB (alto, alto, tenor, baritone) 1
Other 2
Unknown 1
Saxophone Quartet (SATB) with piano 2
Saxophone Quartet (SATB) with Orchestra 1
Saxophone Quintet 3
Saxophone Sextet 2
Saxophone Septet 1
Saxophone Octet 1
There is also a body of original works for saxophone quartet comprised of
marches, popular songs, and light-classical pieces that were written in the first
decades of the twentieth century. Clay Smith and G.E. Holmes of the Apollo
Saxophone Quartet composed a number of original saxophone quartetsfromturn
of the century through the 1920's. On the cover of the 1911 publication of a G.E.
Holmes arrangement for saxophone quartet of the "Sextette" from Donizetti's
Lucia there is a listing of original pieces and arrangements for saxophone quartet.
Of the twenty-nine pieces listed seven are original marches or light-classical
works for saxophone quartet: "Master Builder March," "Primrose Intermezzo,"
"Incense, Morceau Characteristic," "Alkahest March," "Memories of Stephen
Foster," all by G.E. Holmes, and "The Messenger March" by C.L. Barnhouse
22
(Donizetti, an*. Holmes). A 1922 publication of an original saxophone duet with
piano accompaniment entitled True Tone Echoes. Valse Caprice by Clay Smith
and G.E. Holmes lists several other original light-classical pieces for saxophone
quartet, nine by Holmes and one by Barnhouse (Smith and Holmes, True Tone
Echoes).
In addition to these original light-classical pieces there were myriad
arrangements for saxophone quartet of classical pieces, symphonic excerpts,
opera arias, operatic overtures, waltzes, popular songs, marches, and dances.
Some of the earliest saxophone quartet arrangements were done by the eminent
saxophone virtuoso, E.A. Lefebre. An 1898 publication of Lefebre's arrangement
of Terschak's "Wedding Processional" for AATB saxophone quartet, lists twelve
other arrangements for saxophone quartet including works by Donizetti, Dvorak,
Gounod, and Verdi (Terschak arr. Lefebre). G.E. Holmes was responsible for
many arrangements for saxophone quartet of waltzes, marches, opera arias and
excerpts, and classical pieces and symphonic excerpts. An array of five
advertisements, dating from 1898-1935, lists well over one hundred arrangements
for saxophone quartet. Operatic composers such as Bellini, Bizet, Donizetti,
Gounod, Massanet, Meyerbeer, Offenbach, Rossini, Suppe, Verdi, Wagner, and
Weber appear most often among the arrangements, with the Italian Opera
composers being the most often represented. There were also arrangements of
classical pieces and symphonic excerpts by Beethoven, Brahms, Dvorak, Eigar,
Liszt, and Schubert (Donizetti arr. Holmes, Dvorak arr. Holmes "Humoreske,"
23
Dvorak air. Holmes "Largo," Smith and Holmes, True Tone Echoes. Terschak
arr. Lefebre). Neither the original light-classical pieces, nor the arrangements and
transcriptions for saxophone quartet are included in the tally of the early works
for saxophone quartet above.
The Size of the Early Saxophone Quartet Repertoire in Context
Of the twenty-eight works discussed in the dissertation, twenty-four of
those pieces were written during the nineteenth century. The remaining five
pieces were written after 1900. The relative scarcity of nineteenth-century
saxophone quartet repertoire was not atypical of the chamber music trends in
France and the rest of Europe during the era. The amount of chamber music
written in the nineteenth century decreasedfromthe past century. In the
eighteenth century chamber music represented the textural paradigm for the
instrumental music. The interplay of solo and tutti in the eighteenth-century
concerto and symphony exhibit the lightness, even the transparency of chamber-
music textures. The nineteenth century saw a shift in emphasis, and the heavier
sounds of the piano and orchestra became the norm for sound and texture (Ratner
85-86, Rosen). While important chamber works were certainly created during the
nineteenth century, a number of the major composers of the era, Chopin, Liszt,
Berlioz, Verdi, Wagner, Bruckner, and Mahler, produced little or no chamber
music (Ibid.).
24
Chamber music also received little attention in the music manuals and
treatises of the era, especially compared to the extensive coverage given to piano
music. In his book Romantic Music. Sound and Syntax. Leonard Ratner cites
some specific examples. Adolf Bernhard Marx included only a few short
paragraphs concerning chamber ensembles (trios, quartets, quintets, etc.) in
Musical form in the age of Beethoven (1851). Czerny's School of Practical
Composition (1848) quotes excerpts from quartets by Haydn, Mozart, Beethoven,
but only one contemporary composer, George Onslow (Ratner 86).
Despite the decrease in output by contemporary composers, chamber
music enjoyed a heightened stature in the nineteenth century. It is during this era
that chamber music made its way out of the home and into the concert hall.
However, much of the nineteenth-century attitude toward chamber music was
retrospective. Ironically, chamber music was held in a heightened status, but the
amount of chamber music being produced by contemporary composers declined
(Abraham, Baker, Cooper, Finson, Einstein, Ratner).
A listingfromthe German nineteenth-century periodical the AHgemeine
Musikalische Zeitung for 1829-1840, which lists more than three hundred
performances of quartets of Haydn, Mozart, and Beethoven illustrates the
frequency with which 18th century chamber works were performed during the
nineteenth century (Ratner 86-7). While older music flourished, works by
contemporary composers were met with much less enthusiasm. In 1885, French
25
composer Camille Saint-Saens wrote of the plight of the contemporary French
composer of chamber music.
A French composer who was daring enough to venture into the

terrain of instrumental music had no other means of having his
work performed than to give a concert himself and invite his
friends and critics. As for the general public, it was hopeless even
to think about them. The name of a living French composer had
only to appear on a poster to frighten everybody away. (Qtd. in
Finson218)
As the nineteenth century neared its end the situation improved somewhat
for French composers of instrumental music. In 1871 a group of composers that
included Cesar Franck, Camille Saint-Saens, and Gabriel Faure founded the
Societe Nationale de Musique. The purpose of this organization was to present
chamber and orchestral music of French composers to Parisian musicians and
audiences (Abraham, Cooper, Finson, Longyear). The movement begun by these
composers has been dubbed the Ars Gallica. Chamber music series began to
appear in Paris such as Dancla's Concerts and 'Seances,' those of the Societe des
Demiers Quatuors de Beethoven, and Societe des Quatuors de Mendelssohn
(Cooper). A few series focused on French contemporary music including the
Societe des Quatuors Francais, 1862-5, which was founded to perform French
chamber music composed within the previous thirty years, and the famous Societe
Nationale de Musique, founded 1871, that promoted contemporary French music,
concentrating on chamber and orchestral works (Ibid.).
Even in the midst of this increased attention toward chamber music,
Teutonic influence and the music of the eighteenth century still dominated the
26
chamber music landscape in France, and elsewhere in Europe. Thus chamber
music in the Romantic era was in a position of elevated status, while
concentrating primarily on the works of the previous centuries (Abraham, Finson,
Ratner).
Nineteenth-century chamber music for wind instruments is considerably
scarcer than that written for strings. The nineteenth century saw many advances,
innovations, and inventions in the area of wind and brass instruments. However,
these changes primarily manifested themselves in an expanded orchestral palette
and as new effects for opera and music drama, rather than as solo or chamber
music for winds (Abraham, Herbert, Ratner, Robertson).
In Music in the Romantic Era. Einstein concurs with Herbert's statement
that the primary music written for wind instruments in the nineteenth century is to
be found in the orchestral repertoire. Romantic composers made more and more
exclusive use of strings and the piano (198-199).
The virtuosi on the clarinet, bassoon, flute, horn, and the trumpet,
did not die out as did those on the Jew's harp or the glass
harmonica, but no further literature for them came into being
except in their parts in the orchestra, and in the works of very
lesser divinities among the pantheon of composers. (Ibid.)
In his historical account, Chamber Music. Alec Robertson cites Brahms'
clarinet quintet {in which the clarinet is the only wind instrument), as one of the
finest examples of chamber music including windsfromthe Romantic era. He
also notes that very few other works for winds came from this period, and goes as
far as to say that, "After this fine work nothing else of comparable distinction was
27
written for wind [sic] in the nineteenth century" (310). Jonathan Saylor states
that after the woodwind quintets of Anton Reicha that the repertoire for this
ensemble, "suffered severe neglect, and from the relatively small output of
quintets composed throughout the nineteenth century, only three are performed
with any regularity: the quintets by August Klughardt, Paul Taffanel, and Charles
Lefebvre" (viii). The scarcity of repertoire produced for the woodwind quintet
was typical of the treatment of chamber music for winds in the nineteenth century
(Baron, Ratner, Saylor).
The relatively small number of original, nineteenth-century works for
saxophone quartet is therefore typical of the era. No wind group, including the
woodwind quintet, had many new works written for it during the period. While
the number of early works for saxophone quartet is limited, these pieces have
special significance for the modern saxophone quartet.
The Creation of the Saxophone Quartet Repertoire
The initial, and largest, source of inspiration for the early saxophone
quartet repertoire was the inventor of the saxophone, Adolphe Sax. Sax was an
active promoter of his new instruments. He commissioned numerous composers
to write music for his instruments. Sax owned and operated a publishing house
that published many of these works, as well as works for military band and piano
pieces. Included in the collections of Sax's publishing house are the earliest
works for saxophone quartet. An inventory of the plates for Sax's publishing
28
house from 1878 lists twelve original pieces for saxophone quartet (Haine 182-6).
The pieces commissioned, published, and inspired by Sax's efforts comprise a
large portion of the early works for saxophone quartet.
Sax's contributions, while significant, were not the only source of
repertoire for the saxophone quartet. As the saxophone quartet developed as an
ensemble, professional saxophonists and saxophone quartets emerged. A number
of these performers inspired the creation of new works. Some of these new
saxophonists also composed works of their own for saxophone quartet. Other
pieces for saxophone quartet were written without specific performers in mind, or
it is unknown for whom those works were written. These works represent the
increasing establishment of the saxophone quartet as a genre, as composers began
to write for the medium rather than a specific musician or organization.
The Circle of Adolphe Sax
Many of the composers of the early works for saxophone quartet were
colleagues, friends, and associates of Adolphe Sax. These composers were of
French heritage. Their affiliations with Sax were through the Paris Conservatoire,
where Sax taught the saxophone class; or the French military bands, for which
Sax supplied the instruments; ortiheParis opera community in which Sax was a
conductor, presenter, performer, and supplier of instruments. All of these
composers were influenced by opera, the dominant musical genre of their time,
and for most of them opera or operetta was their primary compositional and
29
professional focus. The earliest works for saxophone quartet were composed by
Sax associates. Oscar Comettant, composer of one of the early works for
saxophone quartet, knew Adolphe Sax well. In 1860 he authored and published a
book about Sax's instruments, innovations, and inventions, entitled Histoire d'un
inventeur au 19 siecle: Adolphe Sax, ses ouvrages et ses lutes. Through his work
as a music critic, Comettant maintained close connections to the Paris opera
community and to the French military bands (Slonimsky 350). He interacted with
Sax in these arenas often. Emile Jonas was a French composer of opera and
operetta. Jonas was one of the earliest contributors to Offenbach's theatre de
Bouffes Parisiens (Lamb "Jonas" 186, Fetis 28). He was also professor of solfege
at the Paris Conservatoire and professor of harmony at the Gymnase militaire, the
branch of the Conservatoire affiliated with military music and home to Sax's
saxophone class. Jonas knew Sax through their interactions at the Conservatoire
and the opera community. Jean-Baptiste Mohr was a well-respected conductor
and French hornist. He most likely met Sax through his ties with the military
bands and the Paris Conservatoire. In 1853 Mohr conducted a concert featuring
the instruments of Sax. A review of that concert by Leon Kreutzer entitled,
"Concert De La Musique Sax" was printed in Le Revue et Gazette Musicale on
July 24,1853. Georges Kastner was a closefriendand colleague of Adolphe Sax.
Kastner was among the first composers to utilize Sax's instruments in his
orchestral and operatic compositions. He wrote the earliest saxophone ensemble
piece, scored for six saxophones, in 1844. Kastner wrote favorably of Sax's
30
instruments in the Parisian music journals and authored the very first saxophone
method (Fetis, Hemke, Horwood). Jules Cressonnois, another of the composers
of the early works for saxophone quartet, studied composition at the
Conservatoire with Kastner. Like Jonas, Cressonnois was primarily a composer
of opera. He made his debut at 1'Opera Comique in 1858 (Fetis 216). In 1847 he
became the director of the Gymnase militaire, home to Sax's saxophone class.
Leon Kreutzer, another of the composers, was also a close Sax associate, and
included Sax's instruments in his orchestral and operatic music. Kreutzer also
wrote about Sax and his instruments in his capacity as a music critic. Another
composer, Louis Mayeur was one of Sax's first students in the saxophone class at
the Conservatoire.
Operatic Influence
Operatic music was a common influence amongst this group of
composers. This influence is apparent in their works for saxophone quartet, but
also in their other pieces. For many of these composers operatic melody was a
point of departure for composition. The practice of setting operatic melodies was
not uncommon, and composers often used operatic themes and melodies as the
basis for their instrumental compositions. Oscar Comettant published numerous
transcriptions of operatic arias, overtures, and ensemble pieces for piano (Bakers
350). He also composed a number of fantasies for piano based upon operatic
themes, including French and Italian opera themes from Rossini's Robert Bruce.
31
Adolphe Adam's Giralda, Auber's L'Enfant Prodigue. Mozart's Don Giovanni
and Halevy's Le Juif Errant (Fetis 341). Savari, composer of one of the early
works for saxophone quartet, as well as many other saxophone compositions,
utilized operatic melodies as the basis for a number of his compositions. The
most famous example of this practice is his Fantaisie sur motifs du Freyschutz for
alto saxophone and piano based on motivesfromWeber's opera. All of Savari's
compositions for saxophone, including his saxophone quartet were published by
Sax. Jean-Baptiste Singelee, composer of two of the early saxophone quartets,
also utilized operatic melodies as the basis for theme and variation pieces and
fantasies. Singelee was a violinist and wrote many works based on operatic
themes for unaccompanied violin and for violin and piano. Rossini, Donizetti and
Bellini are among the composers that Singelee chose operatic themes to base his
violin pieces on (Fetis 46).
Saxophonist and composer Louis Mayeur, composer of two of the early
works for saxophone quartet, wrote twenty-eight compositions for saxophone and
piano based on operatic themes (Greenwood 42). Mayeur was thoroughly
immersed in operatic music. He played both clarinet and saxophone in the
orchestra of 1'Opera in Paris. In his saxophone method, Grand methode de
saxophone (1867), Mayeur utilized operatic melodies in the sections on phrasing
and musical interpretation. In her dissertation An Analysis and Comparison of
Early Saxophone Methods Published Between 1846-1946. Gail Levinsky points
out that the inclusion of operatic melodies as a means to teach interpretation was
32
common in early saxophone methods. The saxophone methods by Kastner, 1844;
Mayeur, 1867; Fitzgerald, 1903; Kappey, 1925; and Bumke, 1926; all maintained
that including operatic melodies was integral to beginning studies (96).
Mayeur's involvement with opera as an instrumental performer and
conductor is not unique among the composers of the early saxophone quartets.
Jean-Baptiste Mohr in addition to being a composer was an active and well-
respected conductor and horn player. Mohr was a member of the faculty at the
Paris Conservatory and performed in the Concerts Populaires series in Paris. He
also conducted the orchestra for the Champs-Elysees series in Paris. Operatic
overtures and selections from French and Italian opera were a regular part of both
concert series (Cooper 91). Singelee was affiliated with a number of operas in
both France and Belgium as violinist and conductor.
For many of these composers, opera was a large focus of their
compositional efforts. Emile Jonas' and Jules Cressonnois' primary
compositional output was operatic music. Both men had their work performed
regularly in Paris. Cressonnois made his compositional debut in 1858 at 1'Opera-
Comique with his one act opera Chapelle et Bachaumont. He continued to have
his operas staged at 1'Opera-Comique as well as at 1'Odeon in Paris (Fetis 216).
Jonas was one of the early contributors to Offenbach's Bouffes-Parisiens. The
one-act operas and operettas that Jonas produced there included Le duel de
Benjamin (1852), Le roi boit (1857YLes deux arlequins (1865) and Le carnard a
trios bees (1869) (Lamb "Jonas" 186). Jean Cras, Caryl Florio, Kastner, Kreutzer,
33
Armand Limnander Nieuwenhove, and Adolphe Sellenick, all composers of early
works for saxophone quartet, composed operas.
The composers of the early works for saxophone quartet were also
immersed in the operatic world in their capacity as critics and writers. Comettant,
Kastner, and Kreutzer all wrote extensively about operatic music in the leading
Parisian music periodicals (Bakers, Charlton, Fetis, La May).
Operatic Influence in Context
The influence of opera on this group of composers was not atypical for
their era, especially in Paris. Opera dominated the landscape for the nineteenth-
century listener. In his book Nineteenth-Century Music: The Western Classical
Tradition Jon Finson calls attention to the ubiquitous presence of opera in the
musical landscape of Europe and the United States. He also notes the influence of
opera in instrumental music via overtures, excerpts and instrumental arrangements
of vocal selections.
However much composers of the first Viennese school

predominate in "modern" music history, they did not hold center
stage during their time [...} outside of Germany [...]. In France,
Italy, and England opera was all the rage. Whether freely adapted
and retexted, or arranged for instruments alone, a broad stream of
opera excerptsfloodedprinting presses and reached even into the
recesses of the provincial United States. A collection of
nineteenth-century sheet music from small-town America might
contain a few simple Beethoven piano pieces, but it would surely
include a large number of selections from operas by Rossini,
Bellini, and Donizetti, [...]
[...] German aestheticians may have labored to establish
the claims of instrumental music, but opera reigned supreme in the
musical life of major urban centers through the first half of the
34
nineteenth century and remained important in the second half. The
styles and devices of opera must play a substantial role in any
history of this era's music. (57-9)
Composers of Grand Opera such as Meyerbeer and Halevy were an
influence on composers of the day, as were the composers of Operetta such as
Offenbach. However, the biggest influence on composers and the listening public
was Italian Opera (Abraham, Colas, Finson, Longyear, Ratner, Senici). The
Italians invented opera, and their opera either predominated or maintained a
strong influence in much of Europe throughout the eighteenth century and the
first-half of the nineteenth century (Colas, Finson, Senici). The composers of
Italian opera not only circulated widely, but they also created prodigiously. The
repertory of the opera houses had not yet solidified into a select-group of often-
repeated pieces (Ibid.). There was high demand for new operas, and the rate of
production was sometimes "break-neck." (Finson 59).
Of all the composers of Italian Opera, Rossini's influence was the greatest.
He was a model for Italian Opera composers, and his influence could be felt
throughout Europe.
It is hard to imaginefromour vantage point the centrality of

Gioachino Rossini (1792-1868) to the history of opera in the
nineteenth century. Today he is represented mainly by one comic
masterpiece, The Barber of Seville,... But Rossini's thirty-nine
operas were ubiquitous on the Continent beginning in the teens and
twenties, and he was arguably the most celebrated composer of his
day. (Ibid. 60)
Rossini was Europe's most famous composer in the first half of the
nineteenth century. His music was heard not only via performances of his operas,
35
but also in concert halls, or played in countless arrangements printed for all sorts
of performing forces. Consequently Rossini's music was heard more often than
any other composer's music (Finson, Longyear, Senici). Nineteenth-century
musical culture cannot properly be understood without taking Rossini into
prominent account. Emanuel Senici reinforces the importance of Rossini's music
stating that, "any history that relegates Rossini to a secondary role must to some
extent ignore the tastes of those who inhabited the period" (1).
The dominance of Rossini and his music was such that he influenced a
generation of composers including Donizetti, Bellini, Pacini, Mercadante, and the
young Verdi (Colas, Finson, Senici). It is this group of composers, the primo
ottocento, that was most influential on the composers of the early works for
saxophone quartet.
The influence of Italian Opera continued to be important in the second half
of the nineteenth century. In France, there were many overlapping compositional
trends. Some were progressive, but the bulk of the musical establishment was not
progressive in nature (Abraham, Cooper, Finson, Longyear, Ratner). The musical
landscape was dominated by the conservatism of the Paris Conservatoire and the
influence of opera. The saxophone quartet composers were a part of this musical
establishment. The world of Opera and the Paris Conservatoire were the arenas in
which these composers operated. As such their saxophone quartets, despite then-
composition dates in the second half of the nineteenth century, are best
understood in the opera-dominated context of the first half of the nineteenth
36
century. They should certainly not be placed in the context of the progressive
French composers of the last decade of the 1800's such as Faure, Franck, or
Debussy. The musical establishment did not change at the Paris Conservatoire
until Faure became director in 1905 (Longyear 269). In his discussion of French
composers of the late nineteenth century, Longyear states that, "the major French
post-Romantic composers [...] were outside the prevailing musical
"Establishment," which stressed opera as the highest form of musical expression
(Ibid.).
37
CHAPTER in
INDIVIDUAL ENTRIES ON COMPOSERS
The following section contains entries on each of the composers who
composed early works for saxophone quartet or saxophone ensemble. The entries
are listed in the chronological order of the pieces. In cases where the composition
date of a particular piece is unknown or inexact, the composers are listed in
approximate order and position. For composers who wrote multiple works they
are listed in order of their earliest work discussed in the dissertation.
Table 3: Chronological listing of Saxophone Quartets and Ensembles, 1844-1928
Date Title Composer Nationality Instrumentation
1844 Sextour Georges French Sextet:
Kastner SSABsBsCb
1857 Premiere Jean-Baptiste Belgian Quartet: SATB
Quatuor Singelee
1861 Pifferari Jules French Quartet:
Cressonnois SABBs
1861 Priere Emile Jonas French Quartet: SATB
1861 Quatuor Mohr French Quartet: SATB
38
1861 Quatuor Jerome Savari French Quartet: SATB
1861 Scherzo Oscar French Quartet: SATB
Comettant
1862 Grand Jean-Baptiste Belgian Quartet: SATB
Quatuor Singelee
Concertant
1864 Andante Adolphe French Quartet: SATB
Religioso Valentine
Sellenick
1864 Quatuor Leon Kreutzer French Quartet: SATB
1867 Impromtu Louis Mayeur French Quartet: SATB
186? Andante Henri Escudie French Quartet: SATB,
plus piano
186? Octet Jerome Savari French Octet
186? Prelude Louis Mayeur French Quintet:
SAATB
186? Premiere Louis Mayeur French Quartet: SATB
Quatuor
186? Quintet Armand Belgian Quintet
Limnander
Nieuwenhove
186? Quintette Jerome Savari French QuintetSSATB
39
186? Septet Jerome Savari French Septet
186? Sextet Jerome Savari French Sextet
186? Tambourin Jules French Quartet
Cressonnois
18?? Cinq Victor French Quartet: SATB
Quatuors Sambin
1879 Allegro de Caryl Florio American Quartet: SATB
Concert
1879 Quintette Caryl Florio American Quartet: SATB,
Concertante plus piano
188? Menuet et Caryl Florio American Quartet: AATB
Scherzo
1907 Andante, Raymond Belgian Quartet: SATB
Fugue et Moulaert
Finale
1908 Zwei Gustav German Quartet:
Quartette Bumke ATBBs
1924 Danse Jean Cras French Quartet: SATB
1928-1929 Sinfonia da Maurice Belgian Quartet: SATB,
camera Schoemaker plus orchestra
40
Jean-Georges Kastner (1810-1867)
Georges Kastner was a French composer, conductor, and critic. He
studied composition and counterpoint with Anton Reicha and H.M. Berton at the
Paris Conservatoire. Later he taught composition, counterpoint, and fugue at the
Conservatoire. Kastner is best remembered for his writings on music, writing on
a number of musical topics including aesthetics, instrumentation, and
composition. He was a regular contributor to the French music periodicals Revue
et gazette musicale. Le menestrel. Revue e'trangere. and to a number of German
periodicals. His works on instrumentation. Traite general d'instrumentation
(1837) and Cours d' instrumentation (1839), were some of the first works of their
kind and were adopted by the Paris Conservatoire as standard texts. Kastner was
a champion of Adolphe Sax's instruments and innovations. He included some of
the earliest illustrations of Sax's instruments, including the saxophone, in his
Manuel general de musique militaire (1848) (Fetis, Hemke, Horwood, La May).
In 1844 Kastner wrote the earliest saxophone method, Methode complete et
raisonee de Saxophone (Rascher "Georges Kastner").
Kastner was a prolific composer, his works included operas, symphonies,
overtures, music for winds, a piano concerto, military band music, and a large
number of marches and waltzes. While in Paris he wrote five operas of which
only one, La maschera (1841), was staged (Fetis, Hemke, Horwood, La May).
Kastner included Sax's instruments, including the saxophone, in many of his
works. The inclusion of a bass saxophone in C in the score of Kastner's 1844
41
opera, Le dernier roi de Juda, was the first use of a saxophone in an original score
(Rascher "Georges Kastner").
Also in 1844, Kastner wrote Ms Sextour for saxophones. It was published
as part of Kastner's saxophone method. Also included in Kastner's method was
another original work, Variations Faciles et Brillantes pour Saxophone alto en Mi
b and piano, and fourteen pages of melodies from composers such as Cimarosa,
Mozart, Rossini, Auber, Weber, Bellini, and others (Ibid.). The inclusion of
operatic melodies in his saxophone method as a means for students to approach
musical interpretation was typical of many of the early saxophone methods
(Levinsky). And, both of Kastner's original compositions included in the method
reflect an operatic influence and Kastner's immersion in operatic music both as a
composer and critic. The instrumentation of the Sextour is two soprano
saxophones in C, one alto in F, two basses in C, and a contrabass in F. Kastner's
Sextour actually predated the production of all of the saxophones that it called for.
In 1844, at the time of its publication, Adolphe Sax had as yet only produced a
bass saxophone in C. Kastner wrote for a number of instruments that had not yet
been produced. He knew of Sax's plans to produce two full families of
saxophones, one pitched in C and F for orchestral use and another pitched in B-
flat and E-flat for military band. Sigurd Rascher rescored Kastner's Sextour for
the saxophones in common usage today. That arrangement is available from Ethos
Publishing and is rescored for two sopranos in B-flat, an alto in E-flat, a tenor in
B-flat, a baritone in E-flat, and a bass in B-flat.
42
Fromental Halew (1799-18621
Fromental Halevy was a French composer, teacher, and writer on music.
As a student he studied at the Paris Conservatoire as a pupil of Cherubim. In
1816 and 1817 he won the second prix in the Prix de Rome, and the premier prix
in 1819. While in Italy he composed a number of works, including an Italian
opera, Marco Curzio. In 1822, while in Vienna, he met Beethoven on several
occasions. Halevy returned to Paris and concentrated primarily on opera. He
enjoyed a long, successful career as a composer. He was also a prominent
teacher. In 1827 he was appointed professor of harmony and accompaniment at
the Conservatoire, in 1833 of counterpoint and fugue, and in 1840 of composition.
Among his pupils at Conservatoire were, Gounod, Masse, Deldevez, Bizet,
Lecocq, and Saint-Saens. From 1826-1829 he was chef du chant at the Theatre
Italien, and from 1829-1845 he held the same position at the Opera (Macdonald).
Halevy's first few operas were not produced. His first major success came
at the Opera-Comique in 1829 with the production of Le dilettante d'Avignon.
That opera remained in the repertory of the Opera-Comique for many years. In
1830 several of his ballets played at the Opera. He wrote four more operas
comiques before attempting his first serious grand opera, La Juive. La Juive
became the greatest success of Halevy's career, much or all of his fame rests on
this single work. La Juive became one of the central pieces in the French
repertory. Another success in 1830 at the Opera-Comique with L'eclair cemented
Halevy's reputation and ensured him of a commanding position in the principal
43
opera houses of Paris for the rest of his life. Among Halevy's most successful
operas are the grand operas Le reine de Chypre (1841) and Charles VI (1843) and
the comic operas Le sheriff (1839). Le guitarrero (1841), Les mousquetaires de la
reine (1846), Le val d' Andorre (1848), and Jaguarita 1'Indienne (1855) (Ibid.).
Halevy's music has been described asfluentand professional. His style
owed much to Italian music, and has been compared favorably to that of
Meyerbeer. His work displays many of the mannerisms associated with French
and Italian nineteenth-century opera: block choruses, triple meters, dotted
rhythms, large ensembles built out of a single dramatic movement, and fondness
for local color (Ibid.). As an orchestrator Halevy was considered an innovator
and earned praise from Berlioz. He was especially known for his writing for
woodwinds and his use of chromatic brass (Ibid.).
Halevy included a saxophone quartet in the orchestration of his 1852
grand opera, Le Juif errant. Halevy's opera is the earliest original music for a
saxophone quartet Although part of a much larger orchestra, Halevy only
utilized the saxophone quartet alone as a self-contained unit in the final act of the
opera. The saxophone quartet is comprised of a soprano saxophone in B-flat, two
alto saxophones in E-flat, and a bass saxophone in C. Le Juif errant premiered at
the Paris Opera in 1852 and held the stage for two seasons, achieving forty-nine
performances (Jordan 159). The plot of the opera is based on Eugene Sue's
popular novel (Ibid.). Halevy and Adolphe Sax were colleagues. In fact, Sax
played the bass saxophone part in the premiere performances ofLe Juif errant
44
The full orchestral score of Le Juif errant is currently out of print. Microfilm
copies exist at the Library of Congress and the Paris Library. A vocal/piano
version is currently available from Musik-Edition Lucie Galland.
Jean-Baptiste Singelee (T812-1875)
Jean-Baptiste Singelee was a Belgian violinist, conductor, and composer.
He studied violin with Nicolas-Lambert Wery at the Royal School of Music in
Brussels. Upon graduating Singelee traveled to Paris, where he played violin in a
number of theater orchestras. He was appointed solo violinist with the orchestra
at the Theatre nautique and when that orchestra failed, he joined the Orchestre de
l'Opera-comique. Singelee returned to Belgium in 1839, where he was appointed
solo violinist with the Theatre Royal. While in Belgium he composed a large
amount of music for the theater's productions. In the 1840's Singelee returned to
France to accept a conducting position. In 1852 he returned once again to
Belgium as conductor of the Orchestre du theatre et du casino de Gand, in Ghent.
Subsequently, he held several other conducting positions in France and Belgium
(Ronkin 38-41).
Singelee composed approximately one hundred forty serious compositions
in his lifetime. His works include two ballets, two violin concertos, many
fantasies for violin and piano, overtures, dance music, and a large number of
pieces for other instruments. As was customary during the period, Singelee based
many of his fantasies and variations on opera themes by other composers. These
45
pieces include themes from the operas of Bellini, Auber, Herold, Verdi, Donizetti,
Rossini, Meyerbeer, and Weber (Ibid.).
Singelee composed a large number of works for saxophone, most of which
were published by Adolphe Sax. Singelee's Sax publications include twenty-one
pieces for saxophone and piano and two saxophone quartets. Singelee also wrote
a Fantasie pastorale for alto saxophone and piano and two pieces for tenor
saxophone and piano published by Molenaar (Ibid.).
Singelee composed two saxophone quartets, Premiere Ouatuor (1857) and
Grand Ouatuor Concertant (1862). His Premiere Ouatuor Opus 53 is believed to
be the first-ever original work for saxophone quartet It is scored for SATB
saxophone quartet and has four movements: andante et allegro, adagio sostenuto,
allegro vivace, and allegretto. The Premiere Ouatuor is the best known of the
early works for saxophone quartet. The work is often programmed by modern
saxophone quartets, and has been recorded by well over twenty saxophone
quartets. The Grand Ouatuor Concertant Opus 79 is a one-movement work for
SATB saxophone quartet. Both works are clearly influenced by Opera,
particularly the primo ottocento composers such as Rossini, Donizetti, Bellini,
and Verdi, all of whom Singelee borrowed opera melodies from for his
instrumental fantasies and variations. Both pieces were originally published by
Adolphe Sax. The Premiere Ouatuor is currently available from Molenaar Edition
and the Grand Ouatuor Concertant is availablefromEditions Henry Lemoine.
46
Jerome Savari (1819-1870^
From 1861-1862, Adolphe Sax published eleven pieces for various
combinations of saxophones, attributed to the composer Savari. There is debate
as to the identity of this composer. Some sources credit Jean-Nicholas Savary
(1786-1850) the French bassoon maker and bassoonist as the composer of these
pieces (Mastropietro, Ronkin). Other sources credit Jerome Savari (1819-1870)
Music Director of the 34th Regiment Band in France (Hemke, Quatuor Ars
Gallica). In part, the confusion exists because the original sax publications do not
list a first name (Haine). Additionally both spellings, Savari and Savary, can be
found in different sources.
It seems most likely that Jerome Savari is the composer of these works for
saxophone. Adolphe Sax was supplier to the French military at the same time
Jerome Savari was musical director of the 34* Regiment band. It is possible that
Savari met Sax through their shared military affiliation. The publishing dates of
the pieces are 1861-1862. If Jean-Nicholas Savary, the bassoon-maker, were the
composer of these works that would mean all of the works were published
posthumously. Jerome Savari's death date is eight-years after the last publishing
date of the pieces, making it more likely that he is the composer of the saxophone
pieces in question.
Very little is known about Jerome Savari beyond his military service. He
led the 34th Regiment in campaigns in Italy and Africa and died in 1870 while in
service in Bayonne (Mastropietro).
47
In total Savari composed eleven pieces for saxophone that were published
by Sax: four pieces for saxophone and piano, a saxophone duo, a saxophone trio,
a saxophone quartet, a saxophone quintet, a saxophone sextet, a saxophone septet,
and a saxophone octet. Savari's compositional style, like many of the composers
of the early works for saxophone quartet, was heavily influenced by opera. One
of his four works for saxophone and piano is a theme-and-variation based on a
themefromWeber's Per Freishutz. The saxophone ensemble pieces, including
the quartet and quintet, exhibit an operatic influence. In particular these works
reflect an influence of the primo ottoeento composers, Rossini, Bellini, Donizetti,
and VerdL Savari's Ouatuor is currently available from Molenaar Editions and the
Quintette is available from Editions Henry Lemoine.
Jules Cressonnois (1823-1883^
Jules Cressonnois was primarily a composer of opera. As a student at the
Paris Conservatoire he studied with Georges Kastner. In 1847 Cressonnois was
appointed the director of the Gymnase Militaire at the Paris Conservatoire, the
division of the Conservatoire that housed Sax's saxophone class. Cressonnois
made his debut at 1'Opera Comique in 1858 (Fetis 216). He continued to have his
operas staged at l'Opera-Comique as well as at l'Odeon in Paris (Ibid.).
Pifferari is one of two pieces that Cressonnois composed for saxophone
quartet. It was published by Adolphe Sax's publishing company in 1861.
Cressonnois' second piece for saxophone quartet, Tambourin is presumed lost.
48
Tambourin is listed and advertised in the scores of several other works that Sax
published and is listed in an inventory of Sax's publishing company from 1878
(Haine 184). However, no known copies of the score exist.
Copies of the original parts for Pifferari still exist in the Paris Library.
The piece is also currently available in a modern publication by Editions Cerbere
arranged and edited by the French saxophonist, Serge Bertochi. Cressonnois'
original instrumentation is an unusual combination of soprano, alto, baritone, and
bass saxophones. He omits the tenor saxophone, and replaces it with the bass
saxophone in B-flat, pitched one octave below the tenor. Bertochi's version is
scored for the conventional combination of SATB saxophone quartet However,
the parts are not transposed or rescored for that instrumentation. Bertochi's
arrangement simply takes the bass saxophone part, note for note, and has it played
by the tenor saxophone, effectively raising that voice one octave while keeping
the rest of the parts in their original ranges. Pifferari is a short, one-movement
work, reminiscent of a simple dance that might be heard in an operetta setting
such as those composed by Offenbach.
Emile Jonas (1827-1905)
Emile Jonas was a French composer and conductor of opera and operetta.
He entered the Paris Conservatoire in 1841, winning the second prize for harmony
in 1846, and first prize in 1847. In 1849, Jonas won the second ever-awarded
"Prix de Rome" (Lamb, "Jonas"). From 1847 to 1866 Jonas was professor of
49
solfege at the Conservatoire, and from 1859 was professor of harmony for
military bands. He was also the director of music at the Portuguese synagogue,
and published a collection of Hebrew tunes in 1854 (Ibid.)-
Jonas was a prolific composer. His primary genre was operetta in the style
of Offenbach and Herve. Jonas contributed to Offenbach's early success and had
a hand in some of Offenbach's earliest productions.
The works of Offenbach's repertory were initially little more than
satirical sketches with just a few musical numbers, as in Les deux
aveugies (1855). However, the improbable plots and the wit and
sparkle of the productions, composed not always by Offenbach
himself but also by such men as Adam, Emile Jonas, and Delibes,
made them the rage of Paris. Within a couple of years Offenbach
was able to tour not only in France but abroad. (Lamb, 'Operetta'
2)
Jonas also had productions of his own works staged at Offenbach's
theater, Bouffes-parisiens. The one-act operas and operettas that Jonas produced
there included Le duel de Benjamin (1852), Le roi boit (1857) Les deux arlequins
(1865) and Le carnard a trios bees (1869) (Lamb, 'Jonas'). Success in Paris and
abroad with his one-act operettas led Jonas to receive commissions for larger
works, such as the three-act Cinderella the Younger (1871), produced first in
London and then later in Paris. However, his three-act operas-comiques achieved
little success.
50
Emile Jonas' only known work for saxophone is his Priere for saxophone
quartet, published by Adolphe Sax in 1861. Sax also published a number of
Jonas' other pieces, including Entrees triomphales for vocal choir, and a number
of marches, fanfares, and other works for military band (Haine 182-186). It is
likely that Sax and Jonas met at the Paris Conservatoire where both were
professors in the military band school, Sax the teacher of saxophone and Jonas the
professor of harmony.
Jonas' Priere is a one-movement work, scored for SATB saxophone
quartet. It has been compared to the morceaux's of Tekla Badarczewska and to
Rossini's Peches de viellesse (Mastropietro). It is in the character of many of the
great "prayers" of opera, which often were scored for winds alone (Ibid). Priere
clearly reflects Jonas' affiliation with opera and operetta. Originally published by
Adolphe Sax, Priere is currently availablefromEditions Cerbere.
Adolphe-Valentine Sellenick (1826-1893)
Adolphe Sellenick was a French conductor and composer. He composed a
large amount of military band music, popular marches, and a comic-opera,
Crespin rival de son maitre which was premiered in Paris at the Theatre-Lyrique
in 1860. Also in 1860 he was named conductor of the orchestra of the Theatre
Strasbourg, and in 1873 he was appointed to the prestigious post of music director
and conductor of the Garde Republicaine, Paris' most prominent concert band
51
(Fetis 509). A few of Sellenick's pieces remain part of the modern band literature
including his most famous march, Marche Indienne.
Sellenick's Andante Religioso (1861) is scored for SATB saxophone
quartet and is a short one-movement piece. It is reminiscent of military band
music, and reflects the influence of vocal and operatic music. Originally
published by Adolphe Sax, Andante Religioso is currently available from Editions
Cerbere.
Jean-Baptiste Mohr (1823-1891^
Jean-Baptiste Mohr was a well-respected conductor and French hornist
(Fetis). He studied composition with Michelle Carafa, the Neapolitan opera
composer who had settled in Paris and was a close friend of Rossini's
(Mastropietro). Mohr was appointed horn soloist with the Paris Opera, and later
teacher of French horn at the Paris Conservatoire (Quatuor Ars Gallica). He also
conducted the orchestra for the Champs-EIysees series in Paris. Operatic
overtures and selections from French and Italian opera were a regular part of both
concert series (Cooper 91). Mohr also conducted a concert featuring Sax's
instruments in 1853 (Kreutzer "Concert de La Musique Sax"). His obituary in the
Musical Times and Singing Class Circular from May 1,1891 said the following:
JEAN BAPTISTE VICTOR MOHR,

an eminent horn-virtuoso and professor of his instrument at the
Paris Conservatoire, died at that capital last month, aged sixty-six.
The deceased artist, whose brother, Nicholas Mohr, is an equally
distinguished clarinetist, was for a number of years the principal
horn at the Grand Opera.
52
Sax published a number of Mohr's compositions including his saxophone
quartet, pieces for French horn, and a number of works for military band (Haine).
Mohr's Ouatuor. for SATB saxophone quartet, was published in 1861. It is the
first movement of a piece, which is presumed to have never been finished. The
piece has been described as an homage to Rossini, and has drawn direct
comparisons to Cenerentola. Semiramide. L'ltaliana in Algeri. and II Barbiere di
Siviglia (Mastropietro). Mohr's connection to opera and operatic music are many
including his tenure as principle hornist in the Paris Opera, his affiliations with
Michelle Carafa, and his conducting experience. Both the original Adolphe Sax
publication and Editions Cerbere publication of Mohr's Ouatuor are currently out
of print.
Oscar Comettant (1819-1898^
(Jean-Pierre) Oscar Comettant was a French music critic, composer, and
pianist. He entered the Paris Conservatory in 1839, where he studied composition
with Elwart and Michelle Carafa. After graduation Comettant lived in Paris
working as a popular salon pianist. From 1852 to 1855 he lived in America where
he continued to work as a pianist. While in America he also composed a large
amount of salon music. Upon returning to France Comettant worked primarily as
a music critic and writer. He became the music feuilletoniste for Le Siecle. and
was a contributor to musical periodicals including Le musee des familes. La
gazette musicale. La melomanie. Le menestral. La France musicale. L'art
53
musical. Le luthfrancais.L'almanach musical, and Le siecle. Comettant made a
number of foreign tours on behalf of the French government to study indigenous
musics. He authored books on a number of subjects. Among his principle works
are Histoire d'un inventuer au XIXe siecle: A. Sax (1860). Musique et musicians
(1862). Les musicians, les philosophes et les gaites de la musique en chiffres
(1870). La Norvege musicale a Paris (1889), and La Musique de la Garde
Republicaine en Amerique (1894) (Chouquet, Fetis, Slonimsky).
Comettant's compositional output includes a large number of popular
songs and marches, chamber music, and choral music. He also published piano
transcriptions of operas, and composed a number of variations and fantasias for
piano based on operatic melodies. His Marche des travailleurs (1848) was
dedicated to the Orpheon de Paris, and Comettant won a prize for its composition
(Slonimsky). A work by Comettant for SATB saxophone quartet entitled Scherzo
(1861) is listed in the catalogue of Adolphe Sax's publishing company (Haine,
Jonas). No score or partsfromthis piece have ever been located. The listing of
the piece in the catalogue is the sole evidence of its existence.
Louis Maveur (1837-1894)
Louis Mayeur was a saxophonist, clarinetist, conductor, composer, and
pedagogue. Mayeur was a clarinet student of Klose (Greenwood 11), and one of
the first of Sax's saxophone students at the Paris Conservatoire (Gee 209).
Mayeur's contemporaries described him as one of the earliest saxophone
54
virtuosos (Fetis). He played both clarinet and saxophone in the orchestra of
l'Opera in Paris (Greenwood). Mayeur was among the very first performers to
play in a saxophone quartet. He performed Jean-Baptiste Singelee's Premiere
Ouatuor on multiple occasions as part of a tour organized by Adolphe Sax and at
Sax's concert hall in Paris (Hemke, Horwood).
Mayeur composed twenty-eight compositions for saxophone and piano
based on opera themes (Greenwood 42). He also wrote one of the earliest and
most comprehensive saxophone methods, Grand methode de saxophone (1867).
As did a number of other authors of early saxophone methods, Mayeur used large
numbers of operatic melodies in his method. It was believed that the study of
operatic melodies was particularly instructive in areas of phrasing, tone
production, and musical interpretation (Levinsky 96). Mayeur wrote two original
works for saxophone quartet, a saxophone quintet, and an arrangement of a
Beethoven string quartet for saxophone quartet.
Mayeur's Premiere Ouatuor is scored for SATB saxophone quartet, and
was composed sometime during the 1860's. It is in three movements, allegro non
troppo, andante, and scherzo. The influence of opera and the primo ottocento is
readily apparent in the Premiere Ouatuor. Mayeur's performance experience in
the Paris Opera and his experience using operatic melodies in his compositions
for saxophone and piano are reflected in the compositional style of his saxophone
quartet. Mayeur's other saxophone quartet, Impromtu. was included as part of his
1867 saxophone method. It is scored for SATB saxophone quartet. Impromtu is
55
written in a vocal style and allows each of the four saxophones an extended solo,
before its tutti conclusion.
Mayeur also composed a piece for saxophone quintet entitled Prelude. It
is scored for a SAATB saxophone quintet. This short work like Mayeur's other
pieces is written in a vocal style. Like Mayeur's other saxophone works the
influence of opera and the primo ottocento is readily apparent. The piece is in B-
flat minor, with a simple ABA structure.
The Premiere Ouatuor is currently availablefromRubank and the Prelude
is currently availablefromEditions Henry Lemoine. The Impromtu was
published as part of Mayeur's Grande Methode de Saxophone and has never been
published separately.
Victor Sambin f??-18??^>
Little is known about the French composer Victor Sambin. His Cinq
Ouatuors pour Instruments de Cuirve ou 4 Saxophones is among the earliest
works for saxophone quartet. The exact date of composition is unknown,
however it seems likely that it was written sometime between 1860-1900. The
Italian Saxophone Quartet, Quartetto di Sassofoni Accademia lists Sambin's
quartet amongst the repertoire on their website, and marks the date as pre-1900
(Quartetto Accademia). World Cat First Search Electronic Database lists the date
for this work as between 1800-1900. There are no listings for Sambin in the
56
major music encyclopedias. Nor are there any listings for Sambin in nineteenth or
early twentieth-century sources such as Fetis, Riemann, or Bakers.
In addition to his saxophone quartet, there has been reference to several
other works by Sambin. The International Clarinet Association lists in its
collection a work for clarinet and piano by Victor Sambin entitled, 2 Aires Varies
published in Paris by L'Alliance Musicale (www.accademiasax.com). There is
also a published arrangement by Sambin of a duo based on themes from Bellini's
La Sonombula. That arrangement can be played in a variety of formats, including
saxophone and piano, clarinet and piano, oboe and piano, two saxophones and
piano, two clarinets and piano, and oboe and piano with either saxophone or
clarinet (World Cat). Sambin also authored a treatise on band music entitled,
Petit Traite d' instrumentation elemetaire pour Harmonie et Fanfare, which was
published in Paris in 1894 (Anesa).
It is unclear as to whether Sambin knew Sax. However, he was certainly
aware of Sax's instruments. Sambin's quartet can be performed by a quartet of
saxophones or by brass instruments. The version for brass calls specifically for an
alto saxhorn, a piston bugle, a baritone horn, and a bass horn in C or in B-flat, all
instruments built by Sax.
Sambin's works for saxophone and piano and clarinet and piano establish
an operatic influence similar to many of the other composers of the early works
for saxophone quartet. His Duo sur la Sonnambule is an arrangement of a melody
from Bellini's opera of the same name.
57
Cinq Ouatuors pour Instruments de Cuivre ou 4 Saxophones is in five
movements. The saxophone version is scored for soprano, alto, tenor, and
baritone saxophones. The influence of the primo ottocento composers is reflected
in this piece. The fourth movement is takenfromRossini's Tancredi. Sambin
composed no new music for this movement. It is an excerpt from the opera
arranged for saxophones with no additions. Sambin's Cinq Ouatuors was
published by Lafleur in Paris. The published version is parts, with no score. It is
currently out of print.
Henri Escudie (1816-1881)
Little is known about the life and work of Henri Escudie. In 1860 Escudie
wrote one of the earliest saxophone methods, Les Premieres pas du saxophoniste
and a collection of twenty-five etudes in varied keys and tempi. The method did
not contain any instructional material or biographical information about Escudie
(Levinsky 97,245). Escudie wrote several pieces for saxophone and piano, based
on opera melodies. Escudie was also the dedicatee of a solo saxophone piece by
Klose that was published by Adolphe Sax in 1859 (Haine, Levinsky).
Escudie's Andante is scored for SATB saxophone quartet and piano. The
piece is written in a vocal style, and reflects a clear operatic influence. Its florid
melodies are reminiscent of an operatic vocal line. Andante was published by L.
Billaudot in Paris. It is currently out of print.
58
Leon Kreutzer (1817-18681
Leon Charles Francois Kreutzer was a French music critic and composer.
He was the son of Jean Nicolas August Kreutzer and the nephew of the famous
French violinist, Rudolphe Kreutzer. Leon Kreutzer wrote for a number of
prominent French musical periodicals. In 1840 he began writing for L'union
concentrating on opera and operatic history. His series of articles "De l'opera en
Europe" was published in the Revue et gazette musicale de Paris between
February 4* and September 23rd of 1849. His writings also appeared in Revue
contemporaine. L'opinion publique. and Le theatre (Charlton, Fetis). In
collaboration with Edouard Fournier he wrote the articles "Opera" and "Opera-
Comique" for the Encvcolpedie du XIXe siecle. which were later published in
Paris in 1849 as Essai su Tart lvrique au theatre (Ibid.).
Kreutzer enjoyed success as a composer during his lifetime. He composed
string quartets, piano trios, piano sonatas, chamber music, over fifty art songs, a
symphony, and two operas, Serafine and Les filles d'azur (Charlton). Fetis spoke
favorably about his compositions in a number of reviews (Ibid.). Performances of
Kreutzer's music attracted attention in the press. His compositions were reviewed
in Revue et gazette musicale de Paris and L'art musicale. Despite moderate
success as a composer much of Kreutzer's music remains unpublished. Neither of
his operas were published or performed (Ibid.). His Symphony in F minor, which
was privately published in Paris circa 1860, has been described as showing
adherence to Beethoven's symphonic form and style. It is notable for the
59
inclusion of six saxophones and five saxhorns, brass instruments designed by
Adolphe Sax, in its second and fourth movements (Ibid.).
It is possible that Kreutzer composed a saxophone quartet. To date no
score or parts for the piece have been located. Ouatuor (1864) for SATB
saxophone quartet composed by Kreutzer is listed in a catalogue of Adolphe Sax's
publishing company (Haine, Mohr). In addition to that listing there is a letter
written by Sax to Kreutzer on May 18,1861 in which Sax refers to the saxophone
quartet. The letter is in the private collection of SUNY-Buffalo alumnus Kenneth
Kowalski, who has provided the French text, English translation, and an image of
the manuscript to the SUNY Buffalo saxophone studio website. The brief
contents of the letter are reprinted below.
Mon cher Leon,

Dis-moi ce que tu veux faire pour Bordeaux car le temps marche et
donne-moi, je te prie, des nouvelles du quatuor de saxophones.
Mille chose amiables a la femme de la part de ton ami.
Adolphe Sax
My dear Leon,
Tell me what you want to do for Bordeaux because time is
marching and give me, I beg you, news of the saxophone quartet.
A thousand best wishes to your wife on the part of your friend.
Adolphe Sax
Armand Limnander de Nieuwenhove (1814-1892)
Armand Limnander Nieuwenhove was a Belgian composer of primarily
opera and vocal music. He studied first at the Jesuit College in Switzerland and
then music with Fetis in Paris. He founded a choral society in Belgium for which
he wrote a large number of choral works. His first opera Les Montenegrins was
60
premiered at the Opera Comique in Paris in 1849. It was received with great
success. His subsequent operas were less successful. Nieuwenhove also
composed a symphony and other instrumental works, as well as a large number of
choral compositions ("Obituary: Armand Limnander de Nieuwenhove).
Nieuwenhove composed a quintet for saxophones. Neither the score nor the parts
have ever been located. The only evidence that this work ever existed is a listing
in an Adolphe Sax catalogue from 1864 (Haine). Nieuwenhove was the dedicatee
of Jean-Baptiste Singelee's Fantaisie brillante sur un theme original. Op. 86.
which was published by Adolphe Sax (Ronkin 50). Singelee composed two of the
early works for saxophone quartet.
CarvlFlorioa843-1920>
Caryl Florio was the pseudonym of William James Robjohn. Robjohn
was born on November 2,1843 in Tavistock, Devon, England. As a young
teenager, William was brought to New York by his parents circa 1858. He had
been diagnosed with consumption, for which his doctor said the only cure was a
sea voyage. The trip was successful, and his consumption cured. William's
father, also named William, was a mechanic-inventor and organ builder by trade.
Once in New York, the Robjohns stayed on, with the elder Robjohn joining his
brother in the organ-building business (Jackson 304-5).
The young William Robjohn became the first boy soloist at New York
City's Trinity Church, a position he held for about a year and a half. He
61
subsequently took a series of jobs as organist, choirmaster and for a brief time
toured as an actor. A successful musician, Robjohn settled permanently in the
United States (Ibid.)-
In 1870 William Robjohn assumed the pseudonym, Caryl Florio. In later
years he wrote to his aunt saying, "I was disgracing the family name and doing
general social damage to all who had the misfortune of being related to me. So to
save 'the family name' I abandoned it" (Ibid.).
Florio composed a good deal of music. His works included church
anthems, hymns, a piano trio (1866), four string quartets (1872-1896), a piano
concerto in A-flat (1875-1886), two symphonies (both 1887), a light opera
entitled Mercury's Tricks (1869), and two grand operas: Gilda (1879) and Uncle
Tom's Cabin (1882) which was performed in Philadelphia in 1882 (Ibid.).
From the years 1896-1901 Florio held a position as Kapellmeister, in
charge of music at Biltmore, George Vanderbilt's estate near Asheville, North
Carolina. After a brief return to New York City between the years 1901 and
1903, Florio returned to Asheville, occupying positions as choirmaster and
teacher. He remained in North Carolina until his death at the age of seventy-
seven (Ibid.).
Florio's music received attention from the contemporary press. The
following appeared in the New York Times on April 31,1880.
Mr. Florio, who has been all his life identified with the
performance of music in New York, has modestly and
conscientiously worked at his profession, and has shown a constant
development [...] he is a writer of ability, with good ideas and a
62
poetical fancy which finds expression in graceful musical forms.
His characteristics as a composer are more those of a quiet student
than the bold and original thinker [...] Mr. Florio is a musician of
culture and ability, [...]. (5)
The New York Daily Tribune wrote of Florio,
He has many gifts and accomplishments of a writer of music. On

the technical side, he possesses knowledge and dexterity; on the
intellectual side he is to be credited with a delicate taste, a poetic
fancy, a love of whatever is elegant and dainty, and a natural
aptitude for graceful expression both in melody and in words [...].
(30 April 1880, 5)
Caryl Florio composed four works for saxophone, all unpublished in his
lifetime: a quintet for saxophone quartet and piano Quintet Concertante. a
concerto for alto saxophone and chamber orchestra, an SATB saxophone quartet
Allegro de Concert, and an AATB saxophone quartet Menuet and Scherzo. All
four pieces were written for the great saxophone virtuoso Edward Lefebre.
The Allegro de Concert is the only one of Caryl Florio's three works for
saxophone quartet that survives today. The piece is now available from the
publisher C.F. Peters Corporation. Allegro de Concert is one of the few
nineteenth-century works for saxophone quartet that is performed by modern
saxophone quartets with any regularity. This piece has been recorded many times
by professional quartets, including the Rascher Saxophone Quartet, New Hudson
Saxophone Quartet, New Century Saxophone Quartet, Sassofoni Accademia
Quartet, The Israeli Saxophone Quartet, and a number of other American and
European saxophone quartets. Florio's other works for saxophone quartet remain
missing or lost.
63
Raymond Moulaert (1875-19621
Belgian composer Raymond Moulaert was born in Brussels on February
4 th , 1875. He studied piano and theory at the Brussels Conservatory, but was self-
taught in composition. After graduation he taught at the Conservatory for forty-
three years, mostly as professor of counterpoint. He was also professor of
harmony and counterpoint at the Chapelle Musicale Reine Elisabeth (Vanhulst).
In 1955 he was elected to the Belgian Royal Academy and in 1958 he received
the Prix Quinquennial of the Belgian government (Ibid.). Moulaert's music has
been compared to that of Faure and Bartok.
As a composer, he excelled in songwriting, and his best work in

the genre (the five cycles of Poemes de la vieille France) recalls
Faure. He wrote for the orchestra in a Bartokian manner, often
using variation techniques within strict forms, as in the Symphonie
de fugues. (Ibid.)
The Belgian Center for Music Documentation contains the following
description of Moulaert's music on its website.
Influenced by his former masters Arthur De Greef, Edouard

Samuel, Joseph Dupont and Edgar Tinel he remained true to the
classical tradition. On the other hand he tried to avoid in his own
compositions the spell of Franck and Wagner. He also remained
distant from the impressionistic idiom. Nothing in his work is
dictated by fashion.
He was a composer of great culture which is reflected strongly
in his music. Essentially attracted by vocal art and old French,
Flemish, Italian, German, and English texts, he created a large
number of compositions based on ancient modes and forms.
He wrote also symphonic works, compositions for brass-band
and chamber music. (CeBeDem "Moulaert")
Moulaert wrote his Andante. Fugue et Finale for saxophone quartet in
1907. There are two versions of the work, the saxophone quartet scored for
64
soprano, alto, tenor, and baritone saxophones and a double-reed quartet scored for
oboe, oboe d'amore, English horn, and hecklephone. Both pieces are available
from CeBeDem.
Gustav Bumke (1876-1963)
Gustav Bumke is largely credited with introducing the saxophone to
Germany. Bumke studied composition and theory with Max Bruch and Engelbert
Humperdinck in Berlin. In 1902 he was appointed as teacher of composition and
theory at the Stern Konservatorium in Berlin. While in Paris, Bumke had the
occasion to meet the son of Adolphe Sax, Adolphe Sax Junior. Bumke returned
to Germany with a set of five saxophones, soprano through bass, and began to
encourage others in his native country to take notice of these new instruments. In
1902 Bumke made use of the saxophone in a performance of one of his own
symphonies at the Conservatory in Berlin (Ventzke).
In the coming years and decades Bumke remained dedicated to the
saxophone. He taught himself how to play, and was active as a saxophonist,
teacher, and composer. Bumke wrote numerous works utilizing the saxophone.
He scored for the saxophone in his large works for orchestra, wrote a large
number of chamber works featuring the saxophone, and from 1927-1931
published a number of tutors and collections of etudes for the saxophone. In 1931
Bumke founded and was conductor of a large saxophone orchestra, composed of
seventeen players, featuring almost the entire family of saxophones ranging from
65
the bass in B-flat through the soprano in B-flat. Bumke was also the founder and
baritone saxophonist of the Berlin Saxophone Quartet, which was active primarily
during the 1930's. The other members were Emil Manz and Ingrid Larssen, alto
saxophones and Karl Petzelt on tenor saxophone (Ibid.).
Bumke was also an influence on the great saxophone virtuoso, Sigurd
Rascher. Rascher wrote the following of his experiences with Gustav Bumke.
Since the first decade of this century, a tireless saxophone

enthusiast, Professor Gustav Bumke of the Stern'sche
Konservatorium, was active in Berlin. Among other activities, he
had a saxophone quartet, and even a large saxophone ensemble.
Since there were very few works for saxophone then (for any
setting), he composed several in a charmingly romantic style
himself. Included in their number are several chamber-music
works of various combinations, all with saxophone. Thanks to
numerous performances, I can say that they are yet to lose their
attraction. I looked up Gustav Bumke soon after I went to Berlin,
and even played in his quartet (he played baritone); there was a lot
to learn. We do well to be thankful to those who have promoted
our instrument earlier. (Rascher, "Saxophone Playing in Germany:
Past and Present")
Bumke's first work for saxophone quartet, Zwei Quartette op.23 was
written in 1908. It is currently available from German publisher Ries & Eiler.
Jean Cras (1879-1932^
Jean Cras was a prolific composer. He was also a career naval officer,
scientist, inventor, and philosopher. Cras' life and music is the subject matter of
PaulrAndre Bempechat's dissertation (Boston University 2000). Cras was self-
taught as a composer. His musical output includes five operas, works for
orchestra, concerti, numerous chamber works, solo piano music, choral works and
66
over seventy songs. In 1921 his opera Polypheme won First Prize in the Concours
musical de la Ville de Paris. It was produced at the Opera-Comique in Paris in
December of 1922. Cras' works were performed by leading interpreters and he
was befriended by many of the most prominent musical, literary and political
figures of the times (Bempechat). He also published several articles on musical
topics in the French music periodicals, Monde musical and Courrier musical
(Ibid.). Naval obligations necessitated Cras' absencefromParis for much of his
life, but he remained fully aware of artistic developments. His music has been
described as an eclectic Impressionism, combining folk and sacred elements with
exoticism that he encountered in his many travels (Ibid.).
Cras composed his Danse for saxophone quartet in 1924. The piece is
scored for SATB saxophone quartet and is available from Edition Henry
Lemoine.
Maurice Schoemaker (1890-1964*)
Maurice Schoemaker was a Belgian composer. He studied composition
with Paul Gilson. In 1925 he founded a group of leading progressive composers
made of former pupils of Gilson, called the Synthetistes. His music has been
described as chiefly tonal, with a preference for classical forms and romantic
lyricism. The choice of his titles often reveals his Flemish character. In all his
works he achieved a great unity of style (CeBeDem, Mertens). Schoemaker's
67
compositional output includes works for orchestra, an opera, concerti, vocal
works, piano pieces, and chamber music (Ibid.).
Schoemaker composed his Sinfonia da camera in 1928-1929. The piece is
available for rentalfromCeBeDem.
68
CHAPTER IV
INTRODUCTION TO ANALYSIS, METHODOLOGY
Categorization of the Early Works for Saxophone Quartet
The early works for saxophone quartet and saxophone ensemble can be
divided into two categories: the operatic-inspired works and the bridge works.
The operatic-inspired category includes twenty-one pieces, and the bridge
category includes seven pieces. The operatic-inspired works were composed
approximately between 1844 and 1870 and were heavily influenced by the music
of the nineteenth-century masters of Italian Opera. There are fourteen operatic-
inspired saxophone works for which scores, parts, or recordings exist. There are
seven piecesfromthis category that are missing or presumed lost. Those missing
pieces are placed in the operatic-inspired category based upon the milieu,
compositional style, and output of their composers.
The seven pieces in the bridge category were written between 1879 and
1928. These pieces were not necessarily influenced by the primo ottocento or
operatic music of any kind. They represent a variety of compositional styles and
nationalities, and include the first saxophone quartets by American and German
composers. These seven pieces form a bridge between the first group of original
works for saxophone quartet and the modern saxophone quartet repertoire.
69
Scores, parts, or recordings exist for five of the seven bridge pieces. There are
two pieces that are presumed lost. The American composer Caryl Florio
composed both pieces.
Table 4: Categorization of Saxophone Quartets and Ensembles, 1844-1928.
Total number of works 28
Works with scores, parts, or recordings 19
Missing or lost works 9
Operatic-inspired works 21
Bridge pieces 7
Operatic-inspired works with scores, parts, or recordings 14
Missing or lost operatic-inspired works 7
Bridge pieces with scores, parts, or recordings 5
Missing or lost bridge pieces 2
The Operatic-Inspired Works
In 1969 Friedrich Lippmann introduced the lyric-form archetype in his
study of the music of Vincenzo Bellini. Since then, Lippmann's archetype and
melodic phrase analysis have become the standard analytical tools for research
concerning the primo ottocento repertoire. Lippmann's archetype and the
subsequent research that it influenced and inspired is described in detail in the
methodology section of this dissertation: chapter four, pages eighty-one through
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ninety. Lyric-form melodic structure is commonly found in primo ottocento arias
and other set pieces. However, not all pieces in an opera have this type of
melodic structure, nor does every aria contain lyric-form melodic structure. Still,
the lyric-form archetype and melodic phrase analysis are useful tools to analyze
and discuss a large swath of the primo ottocento operatic literature. The operatic-
inspired saxophone quartets are consistent with the primo ottocento. While all of
the saxophone pieces in the operatic-inspired category exhibit a strong operatic
influence, not all of the pieces contain lyric-form melodic structure. The lyric-
form archetype and melodic phrase analysis are useful tools to discuss this group
of saxophone pieces.
Nine of the fourteen operatic-inspired saxophone works for which scores,
parts, or recordings exist are discussed in the analysis in chapter eight. The other
five pieces, Jules Cressonnois' Pifferari. Henri Escudie's Andante. Georges
Kastner's Sextour. Louis Mayeur's Impromtu. and Adolphe Sellenick's Andante
Religioso. are not included in the analysis. While these works do not feature
lyric-form melodic structure, other aspects and traits of the pieces, as well as the
milieu of their composers place these pieces in the operatic-inspired category. All
five of these composers were immersed in the operatic life of Paris, composed
operatic music, and displayed an operatic influence in their instrumental works.
The operatic influences of the composers of the early works for saxophone quartet
have been discussed previously in chapter two, pages 31 through 37.
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All five pieces share common traits with nineteenth-century opera: the
predominance of melody-accompaniment texture, complimented by the use of
tutti passages and harmony lines; regular and repetitive accompaniment patterns;
syntax dominated by regular, symmetrical periods; frequent use of dotted
rhythms; and an emphasis on melody over harmony or large-scale structure
(Blume, Celletti, Colas, Finson, Longyear, Pistone, Ratner, Rosen).
Melody-accompaniment was the most familiar and frequently employed
texture in nineteenth-century music (Longyear, Ratner, Reicha). This statement is
particularly true of the operatic music of the era, especially Italian opera. A
melody-accompaniment texture is suggestive of a vocal or operatic setting
(Gossett, Rosen). Melody-accompaniment texture pervades all of the operatic-
inspired saxophone quartets. These saxophone pieces also employ many of the
standard accompaniment patterns that were commonly found in an operatic
setting: full-chord support, punctuating bass, bass and offbeat chords, pedal tones,
and continuo type bass (Blume, Longyear, Ratner).
As pervasive as melody-accompaniment texture was in nineteenth-century
music, so was syntax of regular, symmetrical periods. That statement is
especially true of the primo ottocento (Blume, Colas, Finson, Ratner). In A
History of Bel Canto Celletti writes that the heritage of bel canto is observed,
"above all in symmetry of phrasing, in other words the tendency to construct
melody on the basis of musical periods that are often the same length" (147). The
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syntax of the operatic-inspired saxophone pieces is dominated by regular,
symmetrical periods.
Melody was the most important musical trait in the primo ottocento
(Celletti, Colas, Finson, Longyear, Rosen). Rossini in particular affirmed the
importance of melody and rhythm, not only over harmony and large-scale
structure, but also over the text (Colas). Some of the characteristics of primo
ottocento melody were florid vocal lines, prominent use of cadenzas, and a
tendency to employ dotted rhythms (Colas, Longyear, Pistone). These melodic
characteristics are ubiquitous in the operatic-inspired saxophone works.
Pifferari is a short, one-movement work. It opens with a short andantino
introduction of thirteen measures, followed by a brisk Bouree. The Bouree is a
simple dance movement with an A-B-A structure. The A-sections are in B-flat
major and the B-section is in the parallel minor. The texture is melody-
accompaniment throughout, with repetitive accompaniment patterns, reminiscent
of a vocal or operatic texture. The melody is set in one voice throughout, the
soprano saxophone, with the other three saxophones filling out the
accompaniment figures. In the B-section, the melody is harmonized in rhythmic
unison by the alto saxophone. Regular, symmetrical periodicity dominates the
syntax, and dotted-rhythms are used prevalently throughout. Overall the work is
reminiscent of a simple dance that might be heard in a nineteenth-century opera or
operetta. Cressonnois' compositional output was almost entirely opera. It is no
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surprise that his work for saxophone quartet shares many traits common to
operatic music.
Escudie's Andante is scored for SATB saxophone quartet and piano. The
piece is in 3A meter and remains primarily in its home key of g-minor throughout.
The texture is primarily melody-accompaniment, with the melody alternating
between the alto and soprano saxophones. The syntax is dominated by regular,
symmetrical periods and there is prevalent use of dotted-rhythms. The melodies
are rather florid, with a number of cadenzas and fermatas. The cadenzas in
particular are reminiscent of an operatic setting. In "Melody and ornamentation"
from the Cambridge Companion to Rossini, Damien Colas identifies two specific
types of cadenzas used by primo ottocento opera composers. The first he labels
as Rossinian, the second as Bellinian. The function of most of Rossini's cadenzas
was to provide an emphatic close to a melody. Bellini and the generation of
composers that followed Rossini often used cadenzas in the middle of strophes for
the purposes of suspense (114). Escudie's Andante contains examples of both
types of cadenzas. Escudie's melodies are suggestive of a vocal setting and the
fantasy structure of the work places emphasis on melody over structural or
harmonic relationships.
Georges Kastner's Sextour exhibits many of the traits that were typical of
the primo ottocento: melody-accompaniment texture, regular periodic syntax, and
prevalent use of dotted rhythms. The piece opens with an andante introduction in
4/4 meter, followed by a brisk rondo in 6/8 meter. This piece is not suggestive of
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an aria setting, but rather an operatic overture. There are numerous juxtapositions
of loud and soft dynamics and of melody accompaniment and tutti textures, both
of which suggest the influence of a Rossini overture (Gossett). Like the other
composers in this category Kastner was steeped in operatic music. He included
the saxophone in a number of his opera scores, and it is not surprising mat
Kastner's Sextour. is suggestive of operatic music.
Louis Mayeur's Premiere Ouatuor for SATB saxophone quartet and his
Prelude for SAATB saxophone quintet are discussed in the analysis section of this
dissertation. His second saxophone quartet, entitled Impromtu. does not contain
lyric-form melodic structure. It is written in a vocal style, and like Escudie's
Andante, features highly ornamented melodies that are suggestive of an operatic
setting. The piece is constructed by repetitions of a single melody that is further
ornamented with each repetition. Each of the saxophones plays the melody in
succession, starting with the baritone saxophone. After each saxophone has stated
the melody, that voice joins the accompaniment. Thus, with each successive
entrance the melody is further ornamented, and the accompaniment texture
becomes denser. It begins with solo baritone saxophone, and ends with the full
saxophone quartet. Its melody-accompaniment texture, regular periods and
syntax, and florid, ornamented melodies help to place Impromtu within the
operatic-inspired category. Mayeur's immersion in the Paris opera establishment
as a composer, conductor, and performer; his multitude of fantasies and variations
based on operatic themes; and the operatic influence that is evident in the
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Premiere Ouatuor and the Prelude also contribute to placing the Impromtu in this
category.
Sellenick's Andante Religioso for SATB saxophone quartet is a short one-
movement piece. It reflects Sellenick's background as a conductor of opera and
military band music. Similar to the Kastner Sextour, the juxtaposition of forte,
tutti textures with lighter, melody-accompaniment textures in the Andante
Religioso are reminiscent of a Rossini overture (Gossett). The piece does not
contain any lyric-form melodic structures, but its regular periods and syntax,
melody-accompaniment texture, vocal style melodic writing, and the milieu of
Sellenick all help to place it in the operatic-inspired category.
Also included in the operatic-inspired category are seven pieces that are
lost or missing. These seven works are included in the operatic-inspired category
based on the milieu of their composers and the rest of their compositional output,
both of which reveal an immersion in operatic music. The composers of these
seven lost works: Comettant, Cressonnois, Kreutzer, Nieuwenhove, and Savari,
and operatic influence on their music are discussed fully in chapters two and
three. The proceeding analysis helps to identify and establish a musical and
historical contextfromwhich to approach the early works for saxophone quartet.
And, while nine pieces are discussed specifically in the analysis, the operatic
context is applicable to all twenty-one pieces in the operatic inspired category.
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The Bridge Pieces
The works for saxophone quartet composed between 1879 andl928 form a
bridge between the very first opera-inspired works for saxophone quartet and the
modern saxophone quartet repertoire. These pieces can be seen as an analogue to
the woodwind quintet pieces that were written over the course of the mid-to-late
nineteenth century and early twentieth century. These woodwind quintets,
sporadically produced over a large time period, form a bridge between the first
works written for woodwind quintet including those by Reicha, Cambini, and
Danzi and the modern woodwind quintet repertoire that began with Hindemith in
the 1930's. The bridge group of saxophone pieces were written between 1879
and 1928, but includes only three nineteenth-century pieces, Caryl Florio's
Allegro de Concert from 1879, and two other works by Florio that are presumed
lost. The rest of the pieces are twentieth-century works. The bridge group
includes works by French, American, German, and Belgian composers. The
operatic-inspired works contain only works by French composers, and two
Belgian composers living and working in Paris at the time of the composition of
their works for saxophone quartet. The bridge works are more diverse in their
style, structure, and sphere of influence than are the operatic-inspired works.
Caryl Florio composed his Allegro de Concert for S ATB saxophone
quartet in 1879. The piece was written for the Dutch-born, American saxophonist
E.A. Lefebre and his saxophone quartet, the New York Saxophone Quartette
Club. Florio wrote two additional works for saxophone quartet, the Quintette
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Concertante for SATB saxophone quartet and piano and Menuet and Scherzo for
AATB saxophone quartet. Both pieces were written for Lefebre. The scores to
the Quintette and Menuet and Scherzo are missing or have been lost (Cohen
"Caryl Florio," Noyes).
Allegro de Concert is the earliest original work for saxophone quartet by
an American Composer. The piece is in two movements, Andante and Allegro. It
has been described as Mendelsohnian and is written in a neo-classical or post-
Mozartean style (Cohen American MuseV The writing for saxophones is
primarily contrapuntal, with overlapping voices rarely moving in rhythmic
unison. The second movement is a fugue. While the operatic-inspired saxophone
pieces reflect the influence of the first half of the nineteenth century, Florio's
saxophone quartet is reminiscent of the neo-classical works of the second half of
the century.
Raymond Moulaert composed his Andante. Fugue et Finale for SATB
saxophone quartet in 1907. It is a three-movement work, all of which are played
attaca, without pause. Motivic development and variation technique are used
throughout the piece. Moulaert combines traditional classical forms, such as the
fugue in the middle movement, with harmonic and melodic writing that is highly
chromatic and suggestive of later nineteenth-century French composers such as
Franck, Faure, or Saint-Saens. Moulaert's writing for the saxophone quartet is
more sophisticated than many of the works in the operatic-inspired category. In
addition to a prevalent use of chromaticism, the writing is rhythmically complex,
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rarely moving in rhythmic unison, except in those places where that technique
serves the music. Where the operatic-inspired saxophone works tend to employ a
melody-accompaniment texture, Moulaert employs a high-degree of contrapuntal
writing in his saxophone quartet.
Composer and saxophonist Gustav Bumke's first work for saxophone
quartet, Zwei Quartette op.23 was written in 1908. The work is in two
movements with a performance time of approximately eight minutes. The piece
is scored for the unusual combination of alto, tenor, baritone, and bass
saxophones. It is written in a contrapuntal, chromatic style and has been
describes as reminiscent of the music of Richard Strauss (Berlin SQ, Rascher).
Both movements have programmatic titles, "Evening Promenade" and
"Complaint."
Jean Cras composed his Danse for saxophone quartet in 1924. It is a
short, one-movement work, structured in an A-B-A format. It has a performance
time of approximately four minutes. The most notable feature of the work is an
odd-key signature used in the outer sections of the piece. The key-signature is
written as: f-sharp and g-sharp, with c-sharp absent. The resulting mode, whose
key-center is E, imbues those sections of the piece with a somewhat exotic
character.
Maurice Schoemaker composed his Sinfonia da camera during 1928-1929.
The piece is scored for S ATB saxophone quartet and chamber orchestra. The
performance time of this work is approximately twenty minutes. The piece is
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tonal, and written in a neo-romantic style. There is another version of the work
for mixed vocal quartet and chamber orchestra.
Methodology for Analysis
In his 1973 three-volume study The Operas of Verdi. Julian Budden
bemoaned the lack of attention that nineteenth-century Italian Opera had received
from scholars and in music education.
The primo ottocento (a term loosely used to cover the first half of
the nineteenth century in Italian music) has up to now received
scant attention from scholars; nor does it form any part of the
ordinary music student's education. Most professors with the
authority of Berlioz, Schumann, Mendelssohn and Wagner to
support them, have been content to dismiss it as a provincial
backwater, an era of decadence in taste and craftsmanship. (3)
There has never been a lack of interest in the music of the primo ottocento.
The operas of Rossini, Bellini, Donizetti, and Verdi have been and continue to be
staged with regularity in opera houses throughout the world. A lack of
scholarship concerning the primo ottocento may have been the case in 1973 when
Budden published his study, but there is certainly no longer any lack of
scholarship concerning this repertoire at present. Numerous scholars such as
Balthazar, Budden, Huebner, Kerman, Kimbell, Lawton, Tomlinson have turned
their attention to the music of Rossini, Bellini, Donizetti, Verdi and their
contemporaries. These scholars share a common trend: placing emphasis on
melody, rather than harmony. Traditional, harmonic-driven analysis associated
with the scholarship of the German symphonic and sonata traditions, yields little
80
insight into the primo ottocento repertoire. Because melody, not large-scale
harmonic structure, is of primary importance to the primo ottocento repertoire, it
follows that an analysis that focuses on melody and melodic structure is valuable
in considering this music. Budden contrasts the relatively tonally static designs of
Verdi and Bellini andantes, with the harmonic juxtaposition of tonic and dominant
that is characteristic of the German symphony and sonata (Ibid. 15). He describes
the binary and ternary forms of a German symphony or sonata as a "question put
then answered," and a Bellini andante as a "statement commented on and
confirmed" (Ibid.). Budden also notes that Italians were slower than Germans in
exploiting the tonic-dominant polarity, and that conversely the Germans who
wrote Italian Romantic Opera found it difficult to shed the symphonic habit of
thought (Ibid.).
In his article "Rossini and the Development of the Mid-Century Lyric
Form," Scott Balthazar cites melody as centrally important to Italian opera. A
contemporary librettist and critic of the primo ottocento, Guiseppe Carpanni,
1824-1875, cited melody as what distinguished the music of the primo ottocento
from foreign opera and as the highest achievement of his countrymen, "Cantilena,
e cantilena sempre, e cantilena bella, e cantilena nuova, e cantilena magica, e
cantilena rara" (qtd. in Balthazar "Rossini and the Development" 102).
81
Development of the Lyric-form Archetype
In his 1969 article, "Vincenzo Bellini und die italienische Opera Seria
seiner Zeit; Studien uber Libretto, Arienform, und Melodik", FriedrichLippmann
first introduced his lyric-form archetype, some times referred to as the lyric-form
prototype. Budden utilized Lippmann's archetype in the melodic-phrase analysis
in his seminal work The Operas of Verdi. Since then, melodic-phrase analysis
and the lyric-form archetype have become the standard analytic tools in the study
of nineteenth-century Italian Opera (Balthazar Evolving Conventions. Balthazar
"Rossini and the Development", Budden, Huebner, Kerman, Kimbell, Lawton,
Tomlinson).
Lippmann identified an archetypal melodic structure in the melodies of
Vincenzo Bellini. He used letter and subscript Arabic numerals to label phrases,
and distinguish motivic content. The lyric-form archetype begins with paired
four-measure phrases represented as: ai &2- Each phrase divides symmetrically
into two-measure segments. The opening eight-measures, two phrases of four
measures each, presents the principal ideas of the melody (and first four lines of
the text).
A contrasting four-measure section follows, represented as: b. The b-
phrase is often referred to as the medial phrase or development phrase. This
section usually consists of a two-measure idea that is repeated exactly,
sequentially, or with minor variations (and usually sets lines 5 and 6 of the text).
82
The presentation of the text is completed with a closing phrase of four
measures. The closing phrase either: recapitulates one of the opening phrases
literally, ai or ^2; draws motivesfromthe opening phrases to create a related
closing phrase, 83; or introduces new material, c. The closing phrase tends to be
an intensification of musical expression and excitement. In comparison to the
Opening and medial phrases the closing phrase features greater rhythmic activity,
more florid melody, and more prominent climaxes of melodic range. In its
complete statement the lyric-form archetype is represented as: ai a2 b &z
(Balthazar, Budden, Huebner, Kerman).
Julian Budden used Lippmann's lyric-form archetype in his study The
Operas of Verdi. Budden applied Lippmann's concept of melodic-phrase analysis
and the assignment of letters to represent structural elements of the melodic
phrases. He also introduced a variation of Lippmann's archetype, which he
identified as a specifically Verdian pattern: a1 a2 b a3 c a3 (Kerman 48).
Lippmann's archetype lyric-form and letter notation served as the basis,
with only minimal changes, for Joseph Kerman's, "Lyric Form and Flexibility in
Simon Boccanegra:" and Scott Balthazar's dissertation Evolving Conventions in
Italian Serious Opera and subsequent article, "Rossini and the Development of
Mid-Century Lyric Form." Kerman and Balthazar both use a more elaborate
alphanumeric system. Lippmann's Arabic numerals, used to represent musical
variations of thematically similar material, are replaced by primes. So, ai 82 b a2,
is instead, A A' B A'. Kerman uses lower-case letters and Balthazar uses upper-
83
case. Both writers add subscript numbers to represent the number of measures in
each phrase. When a phrase length is the four-bar norm the subscript numerals
are often omitted. For example, an opening-block of eight measures, a medial
section of three measures, and a closing section of six measures would be notated
as, A A' B3 Q . In addition to clarification and elaboration of the alphanumeric
system, Kerman and Balthazar identified the musical functions of the phrases
within the prototypical 16-bar lyric-form (Huebner 123).
Kerman introduces musical function in his discussion of ternary form
within the archetype lyric-form. Balthazar articulates the musical function of
each phrase and provides labels for each phrase unit. Balthazar identifies the first
two four-bar phrases as the "opening thematic block", the B phrase as the
"medial" or "developmental" phrase, and the last phrase as the "closing unit"
(Balthazar "Rossini and the Development" 107).
The lyric-form archetype was used by Lippmann and subsequent scholars
to differentiate the style of Bellini, Donizetti, and Verdi from their predecessor,
Rossini. Lippmann distinguished two categories in Rossini's melodies: open
melodies containing free successions of short phrases separated by pauses and
decorated with coloratura, and closed melodies incorporating longer phrases
arranged in more regular periodic groupings (Ibid. 102-103). According to
Lippmann, in contrast to Rossini's dual approach, Bellini, Donizetti, and Verdi
wrote closed melodies almost exclusively. Lippmann has also argued that
Rossini's closed melodies exhaust their thematic content in an initial pair of
84
antecedent-consequent phrases, A A', the opening-block of the lyric-form
archetype. Composers after Rossini tended to follow a longer, four-phrase
structure that usually involves thematic return A A' B A" (Ibid.).
Scholars such as Lippmann, Budden and Tomlinson point to Bellini's
nurturing of the mid-century lyric-form as the most meaningful way in which his
style, as well as that of Donizetti and Verdi, differ from that of Rossini. Balthazar
differs on this point. He asserts that Rossini's role in the development of the
lyric-form archetype has been minimized by scholars and that important
continuities between Rossini's style and that of later composers have been
obscured, in an effort to differentiate the style of Rossini's successors from the
great master (Ibid. 106-108).
Balthazar's work concerning the music of Rossini emphasizes musical
functions within the lyric-form archetype. He demonstrates that some of the
differences between Rossini's melodies and those of his successors are a result of
changing librettos, which became more standardized in later operas lending
themselves to the more tuneful, declamatory style of Bellini and Donizetti. While
the number and length of phrases in Rossini's music is much more diverse than
that of his successors, the musical functions of the lyric-form archetype are often
consistent with the musical function in Rossini's melodic-phrase structure.
Balthazar argues that when musical function is considered, the lyric-form
archetype can be seen as a direct progression from Rossini's music. Balthazar's
work expanded the relevance of melodic-phrase analysis and the lyric-form
85
archetype. In Balthazar's work, and in Kerman's work, the alphanumerical
notation reflects not only motivic and melodic content, but musical function as
well.
In his article "Lyric Form in 'Ottocento' Opera," Steven Huebner expands
on the work of Kerman and Balthazar. He proposes abandoning the alphanumeric
notations of letter analysis in favor of what he calls "functional analysis."
Huebner expands on Kerman and Balthazar's notion of ternary form in the lyric-
form archetype, as well as arguing for the existence of binary form in a number of
ottocento melodic phrases. He places a greater emphasis on harmonic
relationships and cadential elements rather than melodic elements. Huebner's
work adds detail to the melodic-phrase analysis of previous scholars, but his
arguments are not convincing enough to abandon phrase analysis or the
alphanumeric system of Kerman and Balthazar. Subsequent scholars such as,
Damien Colas, David Kimball, and David Lawton, continue to utilize letter
analysis and the lyric-form archetype. Huebner's terminology does add emphasis
to function, but by eliminating the letter-analysis altogether important elements of
motivic and melodic content are obscured.
The following is a synthesis of the functional elements of the 16-bar
archetype lyric-form taken from Huebner, Balthazar, and Kerman.
86
Functional Elements of the!6-bar Archetype
About three quarters of the melodies of Donizetti, Bellini, Verdi and
Rossini are launched by two four-bar phrases (A A') in an antecedent-consequent
relationship to form a period (Huebner 124). The antecedent and consequent both
begin with the same melodic material, almost always at the same pitch level, and
the consequent is articulated by a stronger cadence than the end of the antecedent.
The second or medial phrase has developmental function. The medial
phrase features fragmentation into two-bar segments that have parallel
beginnings, and refer to a key area other than the tonic. Balthazar credits David
Lawton with identifying the typical division of the medial section into two
phrases ("Rossini and the Development" 104). Lippmann and Budden generally
analyzed the medial section as a single phrase, B4, while subsequent scholars
often graph the medial section as two phrases or two sub-phrases, B2 B'2 (Ibid.).
Tonicization of the mediant or submediant and stepwise sequences of a two-bar
unit are common developmental techniques in the medial sections. The medial
sections also often have textural changes, such as changes in accompaniment,
rhythmic character, or orchestration.
According to Huebner, the closing material, A', A", or C, after the B-
phrase, is better understood in terms of a tonal return rather than a melodic return.
The medial phrase moves to another key area and the closing phrase is a root-
position return of the tonic chord. The specific instance where the closing phrase
is a root-position tonic chord is what Huebner calls, an integrated return. Huebner
87
states that the most important element of the closing phrase is not the
reappearance of a motive from the opening phrase, but the function of resolution
and closure by virtue of an extended cadential progression. Earlier scholars,
Lippmann, Budden, and Tomlinson emphasize motivic return in the closing
phrase. Kerman and Balthazar discuss both melodic/motivic return and harmonic
function and cadence of the closing phrase.
The closing phrase is often followed by a coda. The coda has the
following characteristics: an accompaniment role for the orchestra; confinement
to dominant and tonic harmonies or reiterated cadential progressions; repeated
melodic articulations of the first scale degree; literal repetition of two or four-bar
units; and a greater amount of coloratura, florid figuration, or ornamentation
(Balthazar, Budden, Huebner, Kerman).
Huebner makes a distinction between phrases that employ a ternary form
and those that employ a binary form. This distinction is based on specific tonal
criteria. He differentiates between an essentially ternary design: first part/period,
middle/ development, return/closure, and a binary design: first part/ period,
second part/development/closure. The ternary form features an antecedent-
consequent relationship in the first phrase. The binary form features equal
cadential emphasis in both four-bar phrases, what Huebner calls a balanced
phrase.
88
Application of the Lyric-form Archetype for the
Early Works for Saxophone Quartet
This study uses the lyric-form archetype and its functional elements in
considering the early works for saxophone quartet. The most significant influence
on composers of these early pieces was Italian Opera. It follows then that the
accepted analytical approach for Italian Opera would indeed yield insight into
these pieces. As with nineteenth-century Italian Opera, harmonic-driven analysis
yields little insight into many of the early works for saxophone quartet. That
statement is especially true of the works most influenced by operatic music,
however, melodic phrase analysis reveals much about the structure and function
of these saxophone quartets. The aspect of text and prosody, which is part of the
lyric-form archetype and the subsequent scholarship it helped to generate, is
irrelevant when considering works written for an instrumental ensemble such as
the saxophone quartet. However, the conventions of melody, and melodic-phrase
structure of the primo ottocento are relevant to the early works for saxophone
quartet. These pieces are a purely instrumental application of the melodic style
and convention of the operatic music of the primo ottocento.
89
CHAPTER V
ANALYSIS
Lyric-Form Archetype and the Early Works for Saxophone Quartet
In listening to many of the early works for saxophone quartet, it is
apparent that Italian opera composers, Rossini, Bellini, Donizetti, Verdi, were
major influences on the composers of these works. These composers were
immersed in the operatic-life of Paris. They had affiliations as composers,
conductors, or performers with the opera houses of Paris and with the Paris
Conservatoire, where opera dominated the musical landscape. Lippmann's lyric-
form archetype, designed to provide insight into the music of Bellini and his
contemporaries, proves to be an equally effective analytic tool for examining the
melodies of the early works for saxophone quartet. The influence of the primo
ottocento on these composers is apparent in their melodic language and the
structure of their pieces. Melodies that fit the criteria of the four-phrase, lyric-
form archetype abound in the early works for saxophone quartet. As with many
of the melodies of the primo ottocento, the lyric-form archetype can also inform
the understanding of melodies that do not conform to the archetype, and can
inform the understanding of structure in the early saxophone quartets.
90
For ease of comparison with the operatic musical examples, the saxophone
parts in all musical examples appear in the score at their sounding pitches, not at
their written pitches. The original keys, and range of all of the musical examples
remain intact. Some of the operatic musical examples have been reprinted from
the work of other scholars, some of which included harmonic analysis beneath the
score, some of which did not. In an effort to be consistent when comparing
examples to the work of other scholars the saxophone musical examples contain
harmonic analysis based on whether or not the opera examples they are being
compared to contain harmonic analysis.
As described in the methodology section, chapter four, there is some
variation in the alphanumerical notation used by various scholars in their work
regarding melodic structure and the use of the lyric-form archetype. The
alphanumerical graphs that appear in the text and musical examples of this
dissertation are consistent with those used by Scott Balthazar in "Rossini and the
Development of the Mid-Century Lyric Form," and similar to those used by
Joseph Kerman in "Lyric Form and Flexibility." Upper-case letters are used to
identify each phrase. Opening-block phrases are represented as A, developmental
phrases as B, and closing phrases as A or C depending on the motivic relationship
to the opening phrases. Primes are used to indicate related phrases. For example
A, A', A" would all be motivically related phrases, while A and C would be
motivically different. Subscript numbers represent the number of measures in
each phrase. When a phrase is four bars in length, the norm for the archetype, the
91
subscript numerals are omitted. For example, an opening-block of eight
measures, a medial section of three measures, and a closing section of six
measures where the closing section is motivically different or unrelated to the
opening-block, would be notated as: A A' B3 C6. A indicates an opening
antecedent phrase of four bars. A' indicates a consequent phrase of four bars that
is motivically related to the antecedent. B3 indicates a development phrase that is
three bars in length. C6 indicates a closing phrase of six bars that is motivically
unrelated to the opening-block phrases.
In addition to alphanumeric graphs the analysis in the dissertation also
utilizes Huebner's functional analysis labeling system.
In his article, "Rossini and the Development of the Mid-Century Lyric
Form" Scott Balthazar cites Abigaille's "Anch'io dischiuso un giorno" from act
two of Verdi's Nabucco as an example that illustrates the most important features
of the mid-century lyric-form. The example from Balthazar's article has been
reprinted below. Balthazar's alphanumeric analysis, which is in the text of his
article, but which he does not include in the original example, have been marked
above the score.
Musical Example #1 on next page
92
Musical Example #1: Verdi Nabucco "Anch'io dischiuso un giorno," melody
conforming to the lyric-form archetype, A A' B A.
Verdi, Nabucco, act 2
-JLA £5 Cantabile v ,. I I II I • I >=* =£=, „_
An - ch'i - o dis-chiu - so un gior - no eb - bi al-la gio - ia il

G: I V7
Bi
r— 3-
J
^rp-pES*^l rrrf^rfrv p "J 0
m
di - a di san - to pian - ge - va all' al-tni-i
mo
I e: i iif
B'2 allarg.
io.
*=&m "> ~*>

a
pian to, sof-fri
sof-fri - va
va ddee .. gg||ii al-lri... duol; ah!
'4 V7 i G: ii| V V 7
chi del perdu - to ju . can
I V/ii u 117
IS con grazia
I^M tor
/C\
•PLMNfeEEE^S
un gior no sol?
V7
'J I
The opening-block presents the principle ideas of the melody. It consists
of paired four-measure phrases, often in an antecedent-consequent relationship.
93
Each of those phrases divides symmetrically into two-measure sub-phrases.
Generally, both phrases begin with the same melodic material, at the same pitch
level, and remain in the tonic key. This type of opening is typical of most
melodies written by Bellini, Donizetti, Verdi, and Rossini. (Balthazar "Rossini
and the Development", Huebner, Kerman). In musical example #1, Abigaille's
melody begins with paired four-measure phrases, A4 A'4. These eight measures
form the "opening thematic block" (Balthazar "Rossini and the Development"
106).
Next in the lyric-from archetype a contrasting four-measure medial section
follows. Typically this section consists of a two-measure idea that is repeated
exactly, sequentially, or with minor variations. In Abigaille's melody B2,
measures nine and ten, and B'2, measures eleven and twelve, both begin with an
upward leap, then descend, and conclude with a rocking motion, see musical
example #1 p.93 (Ibid.). Balthazar describes the inflection to e-minor in B2 and
the dominant chords in B'2 as giving an "expectant character" to the medial
section of Abigaille's melody (Ibid.).
The lyric-form melody typically ends with a closing section that
recapitulates an opening phrase literally: A'; draws motives from the opening
phrases: A"; or introduces new material: C. Closing phrases normally avoid or
de-emphasize the two-measure articulations that have prevailed in the previous
phrases. They also tend to provide culminating intensification of musical
expression and excitement by incorporating greater rhythmic activity, more florid
94
melody, and more prominent climaxes of melodic range (Ibid.). In Abigaille's
melody the A" phrase, measures thirteen through sixteen, acts as a four-measure
anchor for the end of the theme. It features a culmination of expressive intensity
by combining a melodic climax, appoggiaturas, and what Balthazar describes as
"piquant chromatic harmony" considering the diatonic context of the theme, see
musical example #1 p.93 (Ibid.).
Jean-Baptiste Singelee's Grand Ouatuor Concertante provides an example
of an early saxophone quartet melody that illustrates all of the same
characteristics of the lyric-form archetype. The melody begins in m.28. It
features each of the components of the lyric-form archetype and is diagramed as:
A A' B A". The section of music in the example below is in the key of E-flat
major, and is notated as such in the harmonic analysis beneath the score. The key
signature of the entire movement is A-flat major. The original key signature has
been retained in the example.
Musical Example #2: Jean Baptiste Singelee Grand Ouatuor Concertant m.28-43,
saxophone quartet melody conforming to lyric-form archetype, A A' B A".
Eb: I 16 ii V7 Vf/vi vi V/V V7
95
Musical Example #2 continued
V/ii ii V/iii iii \\
4^p^ r .TJiJ^r.iî-^g^jgi> II
16 v£ vii°/ii ii IV Ij V7 I
Singelee's melody opens with a conventional opening-block of two four-
measure phrases in an antecedent-consequent relationship, m.28-35. Each phrase
is composed of conventional, two-measure sub-phrases. Both phrases begin with
the same melodic material, at the same pitch level and remain in the tonic key of
E-flat major. These characteristics are all typical of the lyric-form archetype
(Huebner 124-5, Balthazar 106).
The medial or developmental phrase, m.36-39, is four measures in length.
It sub-divides into two, two-measure sub-phrases. Each sub-phrase begins with
the same motivic material, which moves sequentially up by whole step. The
medial phrase moves to a more distant key from the tonic, a briefly tonicized iii,
c-minor. The medial phrase of Singelee's melody conforms to the archetype
(Ibid.).
The closing-phrase features a return of melodic material from the opening-
block, as well as a return to the tonic key. The closing phrase features a more
96
florid melody, several fermatas, and a coloratura or cadenza-like passage in m.42.
In the same manner as the musical examplefromNabucco. Singelee's closing
phrase de-emphasizes the two-measure sub-phrases heard in the opening phrases,
thereby providing a four-measure anchor to complete the melody. All of these
characteristics of the closing phrase conform to the archetype (Ibid.).
The example from Singelee's Grand Quatuor Concertant is one of
numerous examples of melodiesfromthe early works for saxophone quartet that
conform to the lyric-form archetype. The opening of the second movement of
Victor Sambin's Cinq Quatuors is another example. After a four-measure
introduction, the sixteen-measure melody begins in m.5. That melody is
diagramed as: A A' B A". The opening-block begins with paired, four-measure
phrases in an antecedent-consequent relationship. Each phrase of the opening-
block begins with the same melodic material, and is structured in symmetrical
two-measure segments. The medial section is constructed of two, two-measure
sub-phrases. It moves harmonically away from the tonic key, to the tonicized
submediant, reaching a half-cadence in m.16. The closing phrase returns to the
tonic key and is the conventional, four measures in length. In contrast to the
opening-block, the closing phrase does not subdivide into two-measure segments,
thereby providing a melodic-anchor and closure to the melody. The closing
phrase features more florid melodic material than the rest of the melody, and ends
with a perfect-authentic cadence in the tonic key.
97
Musical Example #3: Victor Sambin Cinq Ouatuors pour Saxophones Mvt. II
m.5-20, lyric-form melody in a saxophone quartet, A A' B A".
Sop
^fTrjrrfprrTr v
F: I V7 I
^
^J- J- % J'N J- > U*j P " 3 J t 3 | j T ' '

T"? f T^~r r r r f V7 I
Sop
rf *
S * *
L£JJ T
IV V/iv IV ii V/vi
"f 0 r> ô u xnirj u m}\i ii

'S V7
Another example of a conventional lyric-form melody in an early
saxophone quartet comes from Emile Jonas' Priere (1861). There are a number of
lyric-form melodies in Jonas' one-movement work for saxophone quartet. The
following example begins in m.56.
Musical Example #4 is on next page.
98
Musical Example #4: Emile Jonas Priere m.56-72, lyric-form melody in a
saxophone quartet, A A' B C.
65
£
a *± •• , l r r n
£fefe
Alto Sax.
LCJ'CiLr Or—?LTJ ' t t r
The melody begins with a conventional opening-block of paired four-
measure phrases. Each phrase is composed of symmetrical two-measure sub-
phrases. The melody of the opening block is set alternatively between the
baritone and soprano saxophones. The alternation between saxophones coincides
with the two-measure sub-phrase structure. The medial phrase features new
motivic material and tonicizes theflat-submediant,D-flat major. It is constructed
99
of two, two-measure sub-phrases. The closing phrase begins with melodic
material that is different from the opening-block. Thus this phrase is labeled C
rather than A". The closing phrase features more florid melodic material than the
opening-block, and does not divide into the two-measure sub-phrases. The
closing phrase also contains the apex of the melody, which is reached by the leap
of a major-sixth and accompanied by a rallentando both of which provide closure
to the melody. The phrase closes with a trill on the leading tone calling attention
to the root-position authentic cadence in the tonic key, which ends the melody.
The entire melody is diagramed as: A A' B C.
Normative Procedures: Ternary and Binary Shape in Lyric-Form Melodies
In his article "Lyric Form in Ottocento Opera," Steven Huebner identifies
the "normative procedures" within the 16-bar archetype established by Lippmann
and used by subsequent scholars: Balthazar, Budden, Kerman, and Tomlinson.
Huebner identifies both ternary and binary shapes within the lyric-form archetype.
He defines ternary shapes as melodies that have a beginning section: a period with
antecedent-consequent; a middle section or development; and a closing section
with an integrated return. The binary shape is heard in two phases, a first part:
period, and a second part: development/closure. Huebner's criterion for
determining a ternary or binary shape is not melodic, but rather harmonic. The
ternary shape features a harmonic return of the tonic key at the start of the fourth
phrase, while the binary shape does not. The fourth phrase of the binary shape
100
provides closure to the melody, but does not feature a harmonic return. Specifics
of both the ternary and binary shapes are discussed below (Huebner 124-127).
The hallmark of the ternary shape is what Huebner calls an integrated
return. Huebner states that characteristically the third phrase refers to a key other
than the tonic (Ibid. 125). An integrated return is the return of the tonic key at the
beginning of the fourth phrase, or closing section. Huebner places emphasis on
harmonic return, rather than melodic return. This emphasis is in contrast to
previous scholars, Budden, Kerman, and Balthazar, who placed emphasis on
melodic return. Under Huebner's definition a ternary shape may exist in cases
where there is no melodic return in the fourth phrase, but in which there is a
return of the tonic key, after a departure in the development section. Thus both A
A' B A" and A A' B C melodies can have a ternary shape (Huebner 124-6).
The previous example from Verdi's Nabucco. see musical example #1
p.93, fits Huebner's definition of a ternary shape melody. The fourth phrase is an
integrated return, because of the return to the tonic key in m. 13. The melody
begins with the antecedent-consequent period, which establishes the tonic key of
G major. The middle section or development occurs in the third phrase and
moves to a, briefly tonicized, e-minor. The integrated return occurs at the
beginning of the fourth phrase with the return of the tonic key. In this case there
is also a melodic return of the material from the opening period. Balthazar's
alphanumeric phrase analysis has been replaced with a functional analysis using
Huebner's functional analysis labeling system.
101
Musical Example #5: Verdi Nabucco "Anch'io dischiuso un giorno," ternary
shape lyric-form melody.
Period/Antecedent
Cantabile'-
H
'»'jij J I , ^ J
0 ' 0
An - ch'i - o dis-chiu - so un
IQ^JJJ
gior - no
> ir> ^m
eb - bi al-la gio - ia il
G: I V7
Consequent
Development/Middle
V 0
j'nrp[2ftf&
di - a di san - to a mo
rrrw pian - ge -
\p *J
va all' al-tru-i
1 »6s
mm pian
>S V7
to,
i
p"
sof-fri
G: ii?
L^f
-
J
i ' J J LT I
va de-gli
> * ^
al-tri. duol;
V
ah!
7
4
Integrated Return/Closure
chi del perdu - to in - can to

I V/u a 117
W. con grazia
Q' Cv
1 J
tt
tor
^~~fi'»0
nr acrJ - î »
un gior no sol?
ii
V7 I
IS
Huebner cites another Verdi melody as an example of a ternary shape
within the lyric-form archetype. This example from Attila works in much the
102
same way as the previous examplefromNabucco. This example has been
reprinted from Huebner's article. The three sections of the ternary shape of the
melody have been labeled above the music.
Musical Example #6: Verdi Attila "Ella in poter del barbaro!" Ternary shape
lyric-form melody.
Ternary: Period/Antecedent
i
Andantino
j^Vtriptrmypr»irppppppjS
El - la in po-ter del bar-ba-ro! fra le sue schi-ave av - vin - ta!
F#: I y V 7
ii V7 I
Consequent
allar^f.
1
j ^ V f ) P pP'WP'flff»n p'tiirvnWtfitfPufm
achi_che men cru-do al-1'a-ni-ma, men cru-do fo-ra il sa-per - ti e - stin - ta
I V4/V V7 1 V I
Middle/Development
' M legato ' 'f\ ' —==:^ Z^=~dim.
JTM J p- pr rfli !>• pr-^J'iJ > p»^}7ir Q

Io ti ve-drei fra gl'an-ge-li al - men ne' so-gni al - lo - ra,
Of: I V7 I iv V| 5 i F#: V7
Integrated Return/Closure
moreado
13 '.— r-iT? <-i*
ih*
WrjTppnir p'iiprgi|>j>t[ir j f a ^ a
e in-vo-che-rei 1'au - ro ra dell'-im-mor - tal, im-mor-tal mi -o di
5
1 vi ii V7/V V§ 3 I
Many of the lyric-form melodies in the early works for saxophone quartet
feature a ternary shape. Musical examples #2 and #3, from Singelee's Grand
103
Ouatuor Concertant and Sambin's Cinq Ouatuors. both feature ternary shapes.
Both melodies feature an integrated return of the tonic key, as well as a motivic
return, in the fourth phrase. These examples have been reprinted below. The
alphanumeric analysis has been replaced by functional analysis using Huebner's
labeling system.
Musical Example #7: Singelee Grand Ouatuor Concertant m.28-43, ternary shape
lyric-form melody in a saxophone quartet.
2S
- Tempo
Alto Sax.
9n'JnjTTr pIf H j i i J J g j j p gup J J JL.
Eb: i 6 a v7 V6M V/V V7
Consequent
vf/iii iu
ins
Middle/Development
Efi-i l-Mjjjjl
V/ii V/iii
104
Musical Example #8: Sambin Cinq Quatuors pour saxophones Mvt. II m.5-20,
ternary shape lyric-form melody in a saxophone quartet.
r
ZJl > r • ?> I
Vrrr f »
f
V7 I
P-
Consequent
TT p~ TT" r V7
r
Middle/Development
Sop.
[Jjj v
IV V/iv IV ii V/vi
Return/Closure
n
0 f) JJJJiJJ Cr ffl-irjg ^ u ^ ^ i
V7
•I
Huebner also identifies binary shapes as part of the normative procedures
of lyric-form melodies. The ternary shape is heard in three discrete elements: first
part/period, middle/development, and return/closure. In the binary shape only
two elements are heard, the first-part: period; and the second-part:
development/closure. The binary shape melody lacks the integrated return that is
characteristic of the ternary shape. Instead, in the binary shape, the tonic key is
heard in the third phrase (Huebner 127). The fourth phrase fulfils the function of
105
closure, but not that of return. Huebner cites "Un tenero core"fromAct 1 of
Donizetti's Roberto Devereux as an example of a binary shape within the lyric-
form archetype.
Musical Example #9: Donizetti Roberto Devereux "Un tenero core," binary shape
lyric-form melody.
Elisabetta
BINARY: First Part - period/antecedent
Andante
îi a J' iji ji j> i n j t A ipTp i ^ J t J1

Un te - ne - ro co mi re - se fe li - ce pro-
D: I V
/consequent
J'IIJ' ji j iJHJ1 >HIP ff p ir'Trr^' ^

vai quel con ten - to che lab - bro non di
I V7/V
Second Part/development
n p T IP c gno cfa VI
»(i p
mi
IP
par - ve,
pg
ma il
mo - re
V !/ii ii6 V I
/closure
gm so - gno
6
di - spar
^
ve
1 1 _ ^ Ej H i ji
di - spar ve quel cor!
ii
vii 5/V I
In Donizetti's melody, after a conventional opening-block featuring a
period, the development section moves to the tonic key as part of a downward
106
sequence in m.12. The fourth phrase has conventional closure characteristics: a
more florid melody, a four-measure phrase structure without sub-phrases, and
fermata. However, it does not feature an integrated return. The harmony returns
to the tonic during the third phrase. There is also no return of melodic material in
the fourth phrase. If the harmony were to avoid the tonic key during the third
phrase, and return to the tonic at the beginning of the fourth phrase, then a three-
part shape would be created, I-x-I. In this case the tonic harmony in the third
phrase creates a two-part shape, I-I (126).
Lyric-form melodies with binary shapes can be found in the early works
for saxophone quartet The opening of the second movement of Louis Mayeur's
Premiere Quatuor is an example. The melody begins with a conventional
opening-block, two four-measure phrases that are the antecedent and consequent
of a period. The development section is conventionally structured in two, two-
measure sub-phrases. Like the Donizetti example, Mayeur's melody moves back
to the tonic in its third phrase. There is a second-inversion tonic harmony in m.10
and a root-position tonic harmony in m. 12. The closing phrase begins with
melodic material continuedfromthe development phrase, providing closure, but
not an integrated return. With no integrated return, and no return of melodic
material, this melody is a binary shape, as defined by Huebner. The continuation
of melodic materialfromthe development phrase into the closing phrase
contributes to the hearing of this melody in two parts rather than three.
107
Musical Example #10: Louis Mayeur Premiere Ouatuor Mvt. II m.1-16, binary
shape lyric-form melody in a saxophone quartet.
Binary Shape: first part/antecedent

Andante
TenSax
0 I .. i I
Pexpressivo
Eb: 1 V6
/consequent
^
<VJ w* r j ^ iJ J| i J JPu* * *
V 4/vi vi V7/V
second part/development
Sop. Sax.
iK > > >

r p n
i ifjiLitj " 'C-jcuci^^
V7 V7
/closure
> 2: 5
j A Q ' ^ Q ' i t f f f f f i f p r ir M I
PP
V7/ii V7
Another example of a binary shape lyric-form melody is found Jean-
Baptiste Mohr's Ouatuor. Like the Donizetti and Mayeur examples, Mohr's
melody opens with a conventional 8-bar period, A A'. During the development
phrase the tonic returns as part of a downward sequence. The tonic is heard in the
2nd inversion in the second bar of the development phrase. The closing phrase,
while it provides closure and resolution to the melody, does not have an integrated
108
return. Thus this melody is heard in two parts, and conforms to Huebner's
definition of a binary shape, lyric-form melody.
Musical Example #11: Jean-Baptiste Mohr Quatuor m.l 17-133, binary shape
lyric-form melody in a saxophone quartet.
Soprano Sax. ' ^ f t - 1$^k lF=r >irp i * s mm

Baritone Sax. Jf' V \, 6:
^ wm I V I V6/U
S.Sx. 'J^JJJ iffl

A'
3EEES m t » i;j J « J
B.Sx. * 1 » i If*
^ ^
III ^=*
\l v
S.Sx.
$fe£
v\, J J r •
£
B.Sx. •VA * * *
PI •a
V6/u
*
ii
P
V6
IB
\\ iij V6 iii 6 vi
S.Sx.
i^f^flfhff:^ ^ F%sps
B.Sx.
v i ; v7 i
109
A final example of a binary shape, lyric-form melody is found in Savari's
Quintette de saxophones. This example comes from the opening melody of the
third movement. Like the previous examples, this melody begins with a period,
followed by a developmental phrase that returns to the tonic key, and a closing
phrase that does not feature an integrated return or return of melodic material.
Musical Example #12: Savari Quintette de saxophones Mvt. Ill m.1-17, binary
shape lyric-form melody in a saxophone quartet.
Binary Shape; First Part-period/antecedent
Soprano Sax.
Eb: i V6
5
/consequent
-4-A, -~SS= := T — r — p ~»—~- •—vf 2 - —4-j
3'T
V7
m—-m*=
19
Second Part-development
B7/D#
/closure
110
Variation within the Lvric-form archetype
After the initial work of Lippmann, subsequent scholars have used the
lyric-form archetype and melodic-phrase analysis to inform their understanding of
ottocento melodies that do not conform to the archetype; melodies that are
variants of lyric-form melody. Budden, Kerman, Balthazar, Tomlinson, and
Huebner all address how the archetype can inform analysis of melodies which are
variants of the form, or simply retain the functional elements of the archetype. In
his article Lyric Form and Flexibility in "Simon Boccanegra" Joseph Kerman
details some of the ways that Verdi varied his lyric-form melodies. By changing
the relative weight of the phrase elements within the archetype, Verdi was able to
change the overall balance of the form. He experimented with different phrase
lengths, expanding or multiplying them, and less frequently contracting, eliding,
or omitting phrases (49).
Steven Huebner discusses how the archetype and normative procedures of
lyric-form melody can inform melodies that do not adhere to the archetype. In
fact that is Huebner's primary stated interest for his analysis. He states that
internal expansion, extension, and compression that are rooted in the 16-bar
archetype accounts for a large number of melodies in the repertoire. And, it is
these melodies that, "exhibit varying degrees of unconventionality, and
collectively provide elegant witness to both the musical wealth of the repertory
and the persistence of some fundamental syntactical properties" (131).
Ill
Elision. Fusing of the Functional Elements
One of the techniques that Kerman identifies is the elision of phrases and
phrase elements (48). Variation of the 16-bar archetype can occur when the
distinction between phrases is blurred. These variants can result in melodies
which are longer or shorter than the archetype, but also those that remain 16-bars
in length. Composers can use an elision to blur the functional elements of the
phrases within the archetype (Ibid.).
The opening of the second movement of Mayeur's Premiere Quatuor has a
melody that fuses the developmental and closing phrases. The closing phrase
begins with melodic material continuedfromthe developmental phrase. The
double-dotted eighth-note rhythm is extended into the first two bars of the c-
phrase.
Musicale Example #13: Mayeur Premiere Quatuor Mvt. II m. 1-16, fusion of
development and closure function within lyric-form melody.
Binary Shape: first part/antecedent

Andante
Ten. Sax.
f
Pexpressivo
nj 'j w
Eb: I V6
/consequent
'4m mm &
jJP^n&lyiy 1 l
v%l/vi vi V7/V
112
second part/development
i
CjCJCjv w UUCJ
mf
V7 I 4 V7
/c|psi<re
> §:" * •
13. ^ S- > ^
Ff f
^DDDi*' " ' i r P r ii iLy=i
V7/ii ii V7
In the Mayeur example it is unclear exactly where the B-phrase ends and
the C-phrase begins. A case could be made that this melody could be diagramed
as: A A' B5 C3; indicating an extended developmental phrase, and compressed
closing phrase. Melodically, that analysis makes sense. However, harmonically
the case for an extended development and compressed three-bar closing phrase is
not as convincing. The start of what would be the fourth phrase, m.13, moves to
an applied dominant of ii, and as such is part of the cadential progression that
closes the melody. Harmonically then, m.13 is heard as part of the closing phrase.
Huebner cites an example from Bellini's Norma that has a similar fusion
of development and closing function (131). Bellini's melody "Si, Fa core
abbraccia mi" opens conventionally with an opening-block of two, four-bar
phrases in an antecedent-consequent relationship. The opening-block is followed
by a developmental phrase in two-bar units, which melodically is extended for an
additional four bars. This phrase is followed by a closing phrase of four-bars.
113
Melodically the additional 4-bars is a simple extension of the development phrase
and could be diagramed as: A A' B$ C.
Huebner's analysis of Bellini's melody differs from the diagram above.
He cites harmonic and melodic reasons for an analysis in which the development
and closing phrases are fused together.
Following a conventional periodic first part, the second part begins

in a developmental vein, with characteristic movement to vi and a
breakdown into parallel two-bar units. The melody, as a whole is
heard as binary because dominant harmony, instead of root-
position tonic, is sounded at bar 13. And development function
seems to continue after that point with the initiation of two
additional parallel two-bar units. The second of these, however, is
adjusted to lead to tonic harmony in first inversion, the beginning
of a cadential progression (I6-IV-V-I), which brings the melody to
a close. In short, Bellini has expanded the second part of the
binary form by enlarging the developmental area and then fusing it
seamlessly with cadential function. Whereas the labeling of the
first three phrases as A4 AVB4 is scarcely problematic, the
alphanumerical analyst must also contend with the taxonomical
issue of which phrase to label 'C (closing)'. The material at bar 13
is more characteristic of medial B sections than of C phrases; yet
the phrase at bar 13 cannot be relabeled B for melodic-motivic
reasons. Moreover, the point at which the music is really heard as
'closing', bar 16 is not articulated as a new phrase. (131-135)
The example from Huebner's article has been reprinted on the next page.
114
Musical Example #14: Vincenzo Bellini Norma Act I "Si, fa core e abbraccia mi,'
fusion of development and closure function in lyric-form melody.
Norma
BINARY: First Part-period/antecedent
(moderate) assai) Piu animate
^ ^
JT~~1 i J~?£jv
H * CJ ir ^ J
Si, fa CO re e ab - brae - cia - mi Per do - no e ti com
C: I vi ii V
/consequent
jKm^ pian go, Dai

^CtQCtnin^^m
vo - ti tuoi ti Ii - be - ID, I
I
,pir
[J-LT"/Bji'r r >
tuoi le
3 ' 3
mi io fran - go; Al ca - ro
rrrrr rrrn
og - get - to u -
V I vf/vi
10
4 r l l £ f J ^ P l M rrrpp r ^ f r I r ^ i nr
Dl ta Vi - vrai fe - - - Ii - ce an cor. Al
vi V?/vi vi
(development continues)
jr fj-tfr c r c / i ^ ^ j »jir r^f-[jfli ta Vi - vrai fe - li - ce an-

ca - ro og - get
V7
/closure
tutta diforza
jr r rtirTOjf r t o ^ i ^ r r r p Vi Vi-
cor,. via l an - cor..
16 IV V§
115
Huebner's last point concerns the difficulty in labeling the C-phrase. The
point of closing is not necessarily heard as a new phrase, thus it is difficult to
decide where to label the C phrase. That same point can be made in the Mayeur
example, see musical example #13 p. 112. In the Mayeur, it is unclear where the
closing phrase begins melodically. The elisions in both examples contribute to a
blurring of the functional elements of the archetype.
Expansion
In addition to blurring the functional elements of the development and
closing phrases, Bellini's "Si, fa core abbraccia, mi" extends the lyric-form
archetype. This melody is not unique in extending the archetype. There are many
examplesfromthe primo ottocento repertoire of melodies that expand one or
more of the phrases of the form. Primo ottocento composers were able to make
melodies longer than the 16-bar archetype not only by appending long codas to
the basic structure, but by expanding and changing the emphasis of the
fundamental functions of the phrases (Huebner, Kerman).
"Ernani! Ernani, involami" from Verdi's Ernani is an example of a melody
that expands the fundamental functions from within. This unique melody features
several variations and expansions on the traditional lyric-form. Huebner's
analysis of the melody is a 16-bar form comprised of two eight-bar periods, the
first ending in the mediant the second in the tonic. Its opening-block is a
conventional antecedent-consequent period. The development phrase is expanded
116
to a period, comprised of two four-bar units. There is a cadence to the tonic, but
the melody does not end here. Instead, a return of an ornamented version of the
first half of the opening-block is heard. That phrase finishes with a more
convincing cadence in the tonic key than the one heard at the end of the second
half of the expanded development phrase. Verdi's melody is still not yet complete
at the end of the return, and the cadence in the tonic key. Instead there is an
interruption of four bars followed by a final return of the first half of the opening-
block (Huebner 134). In the following musical example Huebner's analysis from
the text of his article has been marked in above the score.
Musical Example #15a: Verdi Ernani "Ernani! Ernani, involami," internal
expansion of lyric-form melody.
Period/Antecedent
4^1 J i l l tptypiP'pr » ir PJJJTJLJII

^ L
—•—. i
Er - na - ni!... Er-na - ni in - vo - la-mi al l'ab-bor-ri - to am-
Bb: I ii V7
/Consequent
Mj p *p a P^
pies Fug - gia - mo.. Se te co vi - ve-re
I I I" 7
2nd Period/Development Antecedent
sia d'a - mor. tri e lan-de i -

iii| V/iii
Musical Example #15a continued on next page
117
Musical Example #15a continued
Consequent
4 :—:—:
A PIP sottovoce
r—• t" ™. r-' ' .• —"'. • ~—r-

1
il mio pie, il mio pie. Un E "Xri. A:
•*"Sen di A~
de-
no - spi-te ti se - gui-ra.
I V7 1 V7
un E-den un R . - d e n _ d i de -
I V?
gUon tri a me. que glian-tri a

V I
me, un E den qucgliartrta me.

V I
Joseph Kerman's analysis of the same melody differs from Huebner's. In
Kerman's analysis he also finds that the B-phrase has been expanded from four to
eight bars. It is in his analysis of the closing phrase in which he differs from
Huebner. Kerman graphs the closing more simply as an eight-bar phrase, which
118
is repeated. So the final graph of the melody in Kerman's analysis is: A A' Bg ||:
A"g :j|. The example has been reprinted below. Huebner's functional analysis has
been replaced by Kerman's alphanumeric graph.
Musical Example #15b: Verdi Ernani "Ernani! Ernani, involami," internal
expansion of lyric-form melody, Kerman's analysis: A A' Bg A"g A"g.
*f . H p - «pr\piP'pr
»^Jtu «
> ir P JJJW i
Er - na - nil... Er-na - ni in - vo - la-mi al - I'ab-bor-ri - to am-
Bb: I ii V7
A*
j / J p r *' JIJ "~p «p rjn 11|? ' pr ^

pies - so. Fug-gia - mo... Se te - co vi - ve-re mi
I I I" •
j/p- K m ^ nn
sia d'a - mor ces - so, per an
*
-
0
PH
tri e lan-de
iii V/iii iii V7
10.
4
&m A A PP sottovoce
no - spi-tc ti se - gui-ra il mio pie, il mio pie. Un E Hen di de-

I V7 I V7
E-den un E - den di de - li-zia li an tri a

I ii 6
•s
119
Musical Example #15b continued
20 A".
^ ^ •ii>j|jp«p£rpJgE
me un E - den un E den un E-den un E - den di de
V7 I
I V7 I vf
26 . <///m. allarg.
fegES fflL^ffiEraifr.frflairP M
li - zia sa .que - gli-an Iri me. que glian-tri a
ii6 •S V I
te^=-
^'^finfTffrrrrrrrrrrrrrfTrrg^ p ui - li
./?s.
me, un E den quegliartria me.

V I
Despite the differences in their analysis, both scholars recognize the
expanded form of "Ernani! Ernani, involami." Both point to an expanded B-
phrase of a full 8-bar period, and an expanded closing. The third movement of
Sambin's Cinq Ouatuors for saxophone quartet has a similarly expanded melody.
This melody opens conventionally with an 8-bar period. As with the example
from Ernani. Sambin's B-phrase is expanded to a full 8-bar period. The closing
phrase features a return of the melodic material from the opening-block, presented
again as a full 8-bar period. This melody is diagramed as: A A ' B B ' A A". The
diagram of the Sambin melody is nearly identical to Kerman's diagram of
"Ernani! Ernani, involami". The primary difference is the repetition of the A"
120
phrase that occurs in the Verdi example, that does not occur in the Sambin. In
both examples the functional elements of the lyric-form have been expanded, with
both the B and A" phrases expanded to full 8-bar periods.
Musical Example #16a: Sambin Cinq Quatuors pour saxophones Mvt. Ill m.1-24,
internal expansion of lyric-form archetype, A A ' B B ' A A".
Sop. Sax. A
?/ A"
I IV V I
121
Sambin utilizes the same schematic in the second half of that same
movement. Like the melody from the first half of the movement, this melody has
expanded B and C phrases, each of which is an 8-bar period. This melody, in 6/8
time, is diagramed exactly as the previous melody that opens the movement: A A'
BB'A A".
Musical Example #16b: Sambin Cinq Quatuors Mvt. Ill, 6/8 section, internal
expansion of lyric-form archetype, A A ' B B ' A A".
Sop. Sax. A
F: I
m^
7
« A' Ten. Sax. B
^m V$ V/V
f
I
•>mirrrL!T
12
^m U-r*, 0 r r 0
m nr i{jj\LtfC'nr B'
*&t
pUTi
22 A"__ _
m
IV
As noted above the closing phrase of "Ernani! Ernani, involami" is more
expanded than the closing phrases of the Sambin examples. The Ernani example
122
features a delay of thefinaltonic, and subsequent repetition of the 8-bar closing
phrases, see musical example #15a-b p.l 17. The Sambin examples do not feature
a repetition of the closing phrase, see musical example #16a-b p. 121. Verdi also
composed lyric-melodies in which the closing phrase was expanded to an 8-bar
period without any repetition. Huebner cites "Sacra la scelta" from the first act of
Luisa Miller as an example of such a melody. Verdi follows a conventional
opening-block and developmental third phrase with a complete eight-bar period,
A A" (Huebner 134). This melody is diagramed as: A A' B A A" coda.
Musical Example #17: Verdi Luisa Miller "Sacra la scelta," expanded closing
phrase to a full 8-bar period, A A ' B A A " Coda.
Andante maestoso J = 50 » ____^
y^H p-piCfP*r H I * E * # ^
Sa - era la seel - ta e d'un con - sor - te. es - ser
6
Db: I » V/ii ii
pic - no Ii - be-ra de - ve: no-do che scior - re sol puo la mor-te mal dal-
V/ii V V7 I I v/vi vi
tan - no. pa - dre son i - o. non si co-man da de fi - gli al

V<j V7/V
123
ViaL P T P T P n H * n *p u H » p ^ H P , n #
cor. non son ti-ran-no. -dre son i - o. non si co-man-da dc' fi -gli
"yhi,Kr fffrrrr'I^.ÎO«rTp|f P*rH>

cot.. In ter - un pa - dre so - mi-glia di - o per la bon-
V7 I V7 16 V7 16 Vj/ii
gor! perlabonta non._ _no.no.no.no. non pelri - gor!
Thefirstmovement of Savari's Quintette de saxophones features a melody
with a closing phrase that is expanded to an 8-bar period. Like the example from
124
Luisa Miller. Savari's melody proceeds conventionally for the first three phrases
of the form, but then expands the closing phrase to an 8-bar period. In the next
example the key of the movement is E-flat major. This section of the piece begins
in g-minor and moves to G-major. The original key signature of the movement,
E-flat major, has been retained in the example.
Musical Example #18: Savari Quintette de saxophones Mvt. I m.47-66, expanded
closing phrase to a full 8-bar period, A A' B C C.
41 Sop.l
Sop.l dc
gpg?
SP3! »B ^m
WFff
gin: V6 u° ii°6 vii°7 i«j V7 i
Sop.l B
U A'
BE
^P P £E£
Sop.2
Bari
• H ' • ' ' H U J - T P-1

vi vii°7
Sop.l
V'l *U U' 'u. '

, _^
Up iN^g
fceds
J. ^- i i. 1J- J>
"'l>|, Tenor f H
P=P^
i u" if> ii ii6
"§
Musical Example #18 continued on next page
125
1
1 j '* lifted ^s ^m
tt±k
[ryy'trrr
m U6 vi<j Ij V7
G: I
66
BE
$
3Sm
"Ah si, ben mio"fromVerdi's II Trovatore is another example of an
internal expansion of the lyric-form archetype. In this example both the
development and closing phrases are expanded. Kerman's analysis of the melodic
structure is: A A' Bio Cg (50). In the example below, Kerman's analysis has been
marked above the score.
126
Musical Example #19: Verdi II Trovatore "Ah si, ben mio," expanded
development and closing phrases, Kerman's analysis: A A' Bio Cg.
Adagio J = 50
fn>»vpii^Tpir pP'piJ. jy Jujm-p

Ah si, ben mio; col - l'es - se-re io tuo, tu mia con - sor - te, a-
fm: i i6 i
Bio
vro piu l'al-ma in - tre - pi-da,il ofac - cio a-vro - piu for- - te.
i HI II vii° i iv V/UI HI
ri* ^ ?
m& F . . . m i^jg
5^ ^ J p p i ^ r *f
pa - gi-na de' miei de-sti-ni e scrit - to, ch'to re sti fra le vit - ti - me, dal
Vf i vf V^/V' VI vii°5 VI
r*
|^fi &
fer -ro o-stil - tra - fit-to, ch'io re-sti fra le
l\ i* ff-rft
vvjwnjm &£
vit - ti-me, dal fer-ro osti] tra-fit-to, Ira
vii°f VI V^/iv iv Vf I
20 c»
K,» , ^ ^ , . . .
j t ^ J. p p p |p-p-l % J | 1 P P P | P l J v J ' l l E E ^
que - gli e-stre-mi a - ne - li-ti a teil pen-sier ver-ra, ver-ra, e so - Io in ciel pre-
Db: I V I V 16 i6
25
m*=£kf=M p i L-r U r * * ii
ce - der - ti la mor - te a me par ra
V7 vi
V/V V6/V
'S V7 I
Savari used a similarly expanded lyric-form melody in the first movement
of his Ouatuor pour saxophones. This melody is diagramed as: A A'3 B9 C%. The
melodic structure of Savari's melody is very similar to that of the II Trovatore
example. In both examples the B-phrase is expanded and the C-phrase is
expanded to a full 8-bar period, but there are also small differences between the
127
two examples. Savari's B-phrase is one bar shorter than Verdi's, and Verdi's
melody has a full repeat of the Cg phrase. Savari's melody does not. Savarialso
has an elision between the A' and B phrases. The resolution, or final note of the
A'-phrase comes at the downbeat of m.31. That same E-flat in the baritone
saxophone part is the first note of the B-phrase.
Musical Example #20: Savari Quatuor pour saxophones Mvt. I m.24-47,
expanded development and closing phrases, A A'3 B9 Cg.
A'
Ten. BatU-
dk « J
W\, nj, jiJN- l^v^m
circar
16
&
r~LLcr"'J- PLLrr'r r
*
^ vf/v 1 16 I
128
A fairly simple expansion of the lyric-form archetype is found in the first
movement of Louis Mayeur's Premiere Ouatuor. In this case all the phrase
lengths are doubled, making each component of the form 8-bars long instead of
the conventional four. This expansion is one of meter and tempo. These elements
contribute to hearing two bars as one in this melody. The melody is diagramed
as: A8 A'g B8 A"8.
Musical Example #21: Mayeur Premiere Ouatuor Mvt. I m.1-32,
doubled phrase-lengths, Ag A'g Bg A"g.
sop. A»
^ ujTjjiJI* j* J_/* \^j y j~ff|J^ fi^&

n
V F: I
V/F
frfr *Ef * f t ^ ^ fvv nif
129
V?/V
sop. BH
| b ^ j ^jîy/î^jj^îc£2r^p^
V7 V/vi vl
*4
^r^jrf7pîP*[jp^[ji;pu 1 Jîr^piCJir , ^ ^
vll0! vi V7/vi vi vn 0 5
*
A"8
^ ^ ^ bari
^ ^ ^
pTljgJJ^J J 7 J J P
vi V7/vi vi V7 =' = 3 I
v% J*> J P* IC/J r p * ijjfri^* Qii /jjj^jjp jjpi
^ ^ % i> ^ ^
Huebner cites several examples of Verdi melodies in which two bars may
be heard as one, "Di quella pira," Duke's "E il sol dell'anima" in the first act of
Rigoletto. and "L'atra magion vedete?" from Simon Boccanegra (140-1).
130
Musical Example #22: Verdi II Trovatore "Di quella pira," doubled phrase-
lengths, A8 A'8 B8 A"8.
Allegro J = 100 As
> > > > > >
Hi. - irr r ifjirr i r r r iJJB -(• * 0-
Di quel - la pi - ra i'or - ren - do fo - co tut - te le

C: I iv<j I
A',
Bear \tsi:r f i r > nrrnge
fi - bre m'ar - se,av-vam - po!... em - pi, spe - gne - te - la,
> > >
o ch'io fta
V7 I 1 iv§
13 > > ix> B.
rttf
t^ .fit. > >
i i IT r r
P
po col san - gue vo stro spe-gne - ro!
E - ra gia
I V7 I
19
"ftfflrr i r r r ^ j j £
gg
±
^
fi - glto pri - ma d'a - mar non puo fre - nar il tuo mar •
v
5 V7/V l»UI V7/V
25
# HOT if *=*
>
g£§
tor... Ma-drein-fe - li ce, cor-roa sal - var o te-coal - me
V I IV I V7
32
Contraction and Compression
Melodies that contract or compress the traditional 16-bar form also exist in
both the ottocento opera and early saxophone quartet repertoires. In particular
Verdi began to use three-phrase units of 12-bars in place of the traditional 16-bar,
131
four-phrase melodies. Kerman cites this practice as a conscious effort on Verdi's
part to tighten his lyric writing. He cites a tendency for many of Verdi's four-
phrase melodies to sag in the middle, the B-phrase, and thus in many of Verdi's
three-phrase melody he eliminates the B-phrase altogether (Kerman 57-8). "Alia
vita che t'arride"fromVerdi's Un ballo in maschera is an example of a three-
phrase melody. Kerman's analysis is that Verdi eliminates the development
phrase. He diagrams this melody as: A A' C (Ibid.). In the example below
Kerman's analysis has been marked above the score.
Musical Example #23a: Verdi Un ballo in maschera "Alia vita che t'arride,'
contracted lyric-form melody, Kerman's analysis: A A' C.
Andante J =40 A
i-tria, te per-du-to, ov'e la

vi ii 6
132
Musical Example #23 a continued
l^\
13
lr p
^ P "P P B B ' ff i r i > =a
pa tria col sub splen - dido av nir?
I V7 I
Huebner's analysis of the same melody is somewhat different. Huebner
states that after the A A' phrases that the second part of the melody consists of
development function fused with a cadential progression that closes the melody.
Verdi uses one-bar fragments for his development rather than the conventional
two-bar units, and leads that development seamlessly into the cadence that closes
the melody (137). The example has been reprinted below. Kerman's analysis has
been replaced with Huebner's functional analysis.
Musical Example #23b: Verdi Un ballo in maschera "Alia vita che t'arride,"
contracted lyric-form melody, Huebner's analysis; fusion of b and c phrases.
A Period/Antecedent
Andante J=40
illi * i r nir u m ^m
Al - la vi la che t'a ri - de di spe-
Bb: I V I
A' Consequent
^ c n 0' TiTp * P'TiFTTTir^

ran - ze e gau - dio pie - na, d'al - tre mil le e mil-le vi - te il de
V7 I v I
133
&. fusion of development/closure
â-txf^njt ifnfUHiflfl irlynnM

sti - no s'in-ca - te-na! Te per - du-to, te per-du-to, ov'e la pa-tria, te per-du-to, ov'e
V7 I V7/vi vi ii6
/C\
i=t
13
3E pmp
tria col suo splen - dido av nir?
I i II
pa
I V7 I
In Singelee's Grand Ouatuor Concertant the introduction and its variant in
m.66 function similarly to example #23a and bfromUn ballo in maschera. Both
of Singelee's melodies begin conventionally with an eight-bar period. That
period is followed by a development that utilizes repeated one-bar units, and then
fuses into a cadential progression that closes the melody in the next two bars.
Thus, a three-phrase melody, 12-bars in length, that employs all of the functional
elements of the 16-bar archetype is created. This melody is diagramed as, A A'
B2 C2. If one were to do an alphanumeric graph of Huebner's analysis of "Alia
vita che t'arride", the graph would be identical with that of the Singelee melodies:
A A' B2 C2, see musical example #23b p. 133.
Musical Example #24a on next page
134
Musical Example #24a: Singelee Grand Ouatuor Concertant m.1-12, contracted
lyric-form melody, A A' B2 C2.
10 -* >
m
ME r p \\ v
f
l
i
Measures 66-77 of the Grand Ouatuor Concertant function in much the
same way as the introduction of that piece. The twelve measure phrase is a
contracted lyric-form melody, A A' B2 C2. At this point in the piece the music
begins in the key of c-minor. The melody closes with a half-cadence in E-flat
major. The B-flat major sonority in m.77 is a dominant preparing the next section
of the piece, which is in E-flat major. The key signature of the movement is A-
flat major, and is retained in the example below.
Musical Example #24b on next page
135
Musical Example #24b: Singelee Grand Ouatuor Concertant m.66-77, contracted
lyric-form melody, A A' B2 C2.
Allegro moderator J = 120
Wi>l>
Bari *K r r •=
A ^- ^ n
>0 ^ ^ S x- -ps. *»2 ^
i VII6 HI V? i vii"7/iviv6 ii°6 V7/IH
75
•U-
^ ^ ^ * *
3^
III ui§ VII
A somewhat less contracted melody than the previous examples can be
seen in Mayeur's Prelude for saxophone quintet. In this melody only the closing
phrase, A", is contracted. Similar to the development phrase in "Alia vita che
t'arride," see musical example #23a and #23b p.132, Mayeur's development
phrase is constructed in one bar units, as opposed to the conventional 2-bar sub-
phrases. However, the development phrase in Mayeur's melody is still four
measures long. Mayeur does contract his C-phrase to only two measures, making
the entire melody only fourteen measures long, rather than the conventional
sixteen measures. The melody is diagrammed as A A' B A"2.
136
Musical Example #25: Mayeur Prelude m.7-20, contracted lyric-form melody,
closing phrase contracted from four to two measures, A A' B A'V
Sop. A'
r r ii HEPMair»i r r n iw
V i vi7 fl
C2
1
j*h ttefcafip * 'eflfip ^ mm *ffi-ip* eroifl * tap
VT i VI ii 16 VI ii i6
I^LXZJ1 ^
V7
Budden's Verdian Pattern
In his seminal work The Operas of Verdi Jullian Budden uses Lippmann's four-
phrase lyric-form archetype. He also identifies a specific Verdian pattern: al a2 b
a3 c a3 (v.l, 16). This Verdian pattern has inspired much debate among scholars.
One example in particular has been discussed by a number of different scholars,
"Sempre all'alba ed alia sera"fromVerdi's Giovanna d'Arco. The example from
Huebner's article has been reprinted below (129-131). Huebner's analysis has
been replaced with Budden's alphanumeric analysis. To be consistent with
Budden's text, lower case letters are used, and Arabic numerals are used instead
of primes.
137
Musical Example #26a: Verdi Giovanna d'Arco "Sempre all'alba ed all sera,'
expanded lyric-form, Budden's Verdian pattern, al a2 b a3 c a3.
Andante J =90
al
j*i' i QQ\ o jgJiip >p^ i f p i JJI ni

Sem - pre al - I'al - baed al - la se-ra qui-viin - nal-zo a (e pre -
A: I V7
'j'»" J> IcjfriSiTJJ113ij.p>(TfIQJ3[j JingaJli

ghie-ra; qui la not-te m i _ r i - po-so. e te sogna_ il mil pen
I E: ii V<j I
jyt
p^g
sier. Sem-prea
OPCj^lJjifM'fllPPtfcj^cj
me, che inde - gna so-no, a-pri al-lo-ra il cor pie
1 A: V7
°j¥J jtj^jQpj JnHijijr p

to - so oh se un di. m'aves - si il do-no d'u
I IV
> . > 1 i
c a r «* p' p F *p p' o *' i ^ f p p ^
¥ r ntr- rP
spa - da d'u - naspada e d un ci - mier oh seun di m'a-ves-si
n
18 a3
== irfrf
do-no d'u - na spada e d'un
^•r^CjCJ' mier! ah ah se un
I E: n I A: I
138
jvo-JJinujr p-nigjgjp wr^B

di
/4i
m'aves
m'aiHUi oi *l ' An. .. tin
il do-no d'u rl'ia nn
na DIM
spa <4O
d'una
sl'una
spada
nu/)'l
ea dun
#4'ni
ci-
IV V§ S
coda
<jV >* r pfli " n ^ r J 7 ^ i J l Jir ^P P

micr! Sem - pre al - I'al - ba ed al i se - ra qui - vi in
I V7 I
i
j v g/iJirfiJ?/.%^/j/lji/ij jfp-B pp»pp
rial
' ghiera: qui la not-te mi ri-
zo a te a te pre
V7 I
Tal - ba ed al - la se-ra qui - vi in - nal - - - zo a te pre -

V7 V7
^•L^nPpfPpg
hiera: qui la not-te mi ri - po - so, e te sog - na il mio pen
I 16 ii6 V<>
|feN^ \ 1 1
sier oh se un di m'avessi il do - no d'u - na
I V I
139
d'u-na spadaed'unci -mier!
Kerman has observed that Budden's labeling of the fourth phrase of
Verdi's melody as a3 is problematic. That a3 label implies a melodic relationship
between that phrase and the opening phrase. While some of the melodies that
Budden identifies as belonging to this Verdian pattern do have this relationship
between the fourth phrase and the opening, there are other melodies in which the
third phrase is not melodically related to the opening. Kerman also observes that
the C-phrase, coming after a decisive tronco cadence, is a subsidiary element
more akin to a coda than an extension of the form (48).
Gary Tomlinson concurs with Kerman's analysis. He states that the fifth
phrase, which Budden labels as the c-phrase, is not an independent melodic
phrase. Tomlinson states that this phrase is a premature coda that is interrupted
by an unexpected return of A" (176).
Huebner offers a differing opinion. In his analysis the fifth phrase is not a
subsidiary part of the form, but a secondary development. Huebner describes the
melody as: a ternary form with a return, after which there is a second
development phrase and an additional return. According to Huebner the second
return is necessary because unlike the return in the fourth phrase, the final return
140
is integrated (135). The same example has been reprinted below. Huebner's
analysis has been restored, and Budden's analysis has been removed.
Musical Example #26b: Verdi Giovanna d'Arco "Sempre all'alba ed all sera,'
expanded lyric-form, Huebner's analysis:
2nd development area followed by integrated return.
Andante J=90 ternary; period/antecedent
Sem - pre al - l'al - baed al - la se-ra qui-viin - nal-zo a te pre -

A: I V7
/consequent
middle (episode)/development
sier. Sem-prea me, che inde - gna so - no, i - pri al - lo - ra il cor pie
1 A: V7
additive return/closure
si il do-no d'u
IV
r ni
V$
da
f T fl
d'u ida e d un ci - micr
3EE£
Musical Example #26b continued on next page
141
10
middle(episode)/devlopment
j ^ M P ' P P fgP'PIPP^P'tlll) j £; 4ri

oh seun di m'a-ves-si il do-no d'u - na spada e d'un ci
V I E: ii V§
integrated return/closure
mierah ah_seun di m'aves - si il do-no d'u na da d'una spada e d un ci-

I A: I IV VJ
coda
j¥ Ji r P B 1'in/jj-rtP^ J'r ^P n
mier! Sem - pre al - I'al - ba ed at la se - ra qui - vi in -
I V7
"t* 1%W$l£l#$l$l$ltt
nal zo a te. le pre - ghiera:
%B PP*PP
'qui la not-te mi ri-
V7 I
^Q*Q n*Q fl Q
po - so, e te so - gna il
Q
mio
n 1 J1* r
pen - sier. Sem - pre
»
16 ii6 V§ 1
se-ra qui - vi in - nal zo a te pre

V7 I V7
'^•L^p-appf^^
hiera: qui la not-te mi ri - po - so, e te sog - na il mio pen
I 16 ii6 V§
142
1 ,
sier oh se un di m'avessi ll do - no d'u - na
I V I V
j ¥ f a-pnacgrea!i-fli Q^ J ^ , Jfrp n JJ * i i n
spa-da ah! d'u-naspadaed'unci - mier!
It is unclear then whether this example is typical of a specific Verdian
pattern as Budden states, or is another example of an expansion of the lyric-form
archetype as subsequent scholars state. In either case "Sempre all'alba ed alia"
demonstrates yet another way in which ottocento composers expanded the
archetype.
The closest instance to this particular variant in the early works for
saxophone quartet comes from the first movement of Sambin's Cinq Quatuors.
This melody begins with an opening 8-bar phrase in the tenor saxophone. The
first B-phrase proceeds normally in two, two-bar sub-phrases and is scored in the
soprano saxophone. A closing phrase then follows with the melody again in the
tenor saxophone. That phrase is followed by an additional 2-bars of development,
reprising the material from the first B-phrase, and a final closing phrase with a
perfect authentic cadence in the tonic key. The melody is graphed as: A A' B2 B'2
CB" 3 C 5 .
143
Musical Example #27a: Sambin Cinq Quatuors Mvt. I m.21-43,
saxophone quartet melody similar to Budden's Verdian pattern,
AA'B 2 B' 2 CB" 3 C'5.
Bb: I V7 16 IV I6, V7
25
^^^^^ .
B
, Sop. 0 _ ,
M
^ M
$ •m—*
6
I V/ii ii6 16
B',
Ten.
If, - . , f
*
I V J * V7 *
J r
CT MlLTCtty vf/v '
This Sambin example is similar to Budden's Verdian pattern. It returns to
the development material after itsfirstclosing phrase, and follows that secondary
development area with a second closing phrase that ends with a perfect authentic
cadence in the tonic key. The Sambin example differs from Budden's Verdian
pattern in the melodic content of the opening-block and closing phrases. The
melody phrases in the tenor saxophone are only loosely related, and perhaps are
144
not properly labeled as: al a2 a3, etc. Sambin's melody would be best diagramed
as: A A' B2 B'2 C B"3 C'5. A comparison using Huebner's functional analysis
terms is less problematic for the Sambin example than the letter diagram.
Huebner's labels do not imply melodic relationships, and, in this case, can
provide a more accurate description than traditional letter analysis. Huebner's
functional analysis of "Sempre all'alba ed all sera," see musical example #26b
p.141, is similar to the functional analysis of Sambin's melody seen below. The
phrase lengths differ considerably between the two melodies, but the fundamental
elements of the form are treated in the same manner. The example has been
reprinted below. The alphanumeric analysis has been replaced with a functional
analysis using Huebner's labeling system.
Musical Example #27b: Sambin Cinq Quatuors Mvt. I m.21-43, functional
analysis of expanded lyric-form melody.
Period: antecedent/ /pnnspqnent
V7 16 IV
_, Jst development
25 Sop.
m *—*—# j j p j i j j j-jij'" r r irr"

V/ii ii 6 16
1st closing phrase
30
Ten.
4 r
VI
r> ' 4 g. J>J JIJU
•*• V7
• n
*"
145
, 2nd Development , closure/return
II ii° V6 vi V7 i
Another example of a saxophone quartet melody mat operates similarly to
Budden's Verdian pattern is found in the Allegro of the first movement of
Singelee's Premier Ouatuor. This melody conforms almost exactly to Budden's
Verdian pattern in its phrase and melodic structure. However, it differs
considerably in its harmonic scheme. Singelee's melody modulates from the
tonic key of E-flat major, to the parallel minor of the dominant: B-flat minor, by
way of a brief tonicization of D-flat major. The melody begins with a
conventional 8-bar antecedent/consequent period in the tonic key, A A'. That
period is followed by a conventional development phrase, structured in two-bar
sub-phrases. The development phrases move toward the key of the sub-dominant,
A-flat major. The fourth phrase, also in A-flat major, does not conclude the
melody. Instead an extended development is heard. Here the music moves from
A-flat major to the more remote key of D-flat major. This secondary
development is followed by afinalclosing phrase in D-flat major, which is an
expanded period often measures. After a cadence in D-flat major at m.38 there is
146
an additional two measures with onefinalcadential passage, and a modulation B-
flat minor. The final harmonic movement in the passage prepares the music for
an extended section in B-flat minor. The key signature of the movement, E-flat
major, has been retained in the example below.
Musical Example #28: Singelee Premiere Ouatuor Mvt. I m.9-40, saxophone
quartet melody similar to Budden's Verdian pattern,
A A' B2 B'2 (ext. develop) C5 C 5 D2.
147
1
j h (jûfzm\ j jjtJ n i j_>fî iJ> nJ '
16 U6 I* V7 I vii°/lV IV V^/V
Bbm: V7 i
Singelee's melody has many harmonic differences with Budden's Verdian
pattern. Harmonically, it is even further removedfromthe lyric-form archetype.
The lyric-form archetype, and all its variants for the most part, begin and end in
the tonic key. This passage from Singelee contains several modulations. A return
to the tonic key does not occur until much later in the movement. It could be
successfully argued that Singelee's melody is not a lyric-form melody at all,
expanded or otherwise, because it falls outside of the harmonic criteria. However,
in its melodic structure Singelee's melody conforms to what Budden identifies as
the Verdian variant of the lyric-form archetype.
Both of the two previous saxophone quartet examples, the Singelee,
musical example #28, and the Sambin, musical examples #27a and 27b, illustrate
how the lyric-form archetype can inform melodies that are significant variants of
the archetype, or in the case of the Singelee perhaps not a lyric-form melody at
148
all. Like the ottocento repertoire the early works for saxophone quartet contain
not only many melodies that conform to or lie in close orbit to the archetype, but
also melodies that can be understood as variants of the form that differ
significantly from the archetype yet retain the functional elements of the form.
Rossini and the Lyric-form archetype
The concept of variation within lyric-form archetype while retaining the
functional elements of the form is at the heart of Scott Balthazar's article,
"Rossini and the Development of the Mid-Century Form". Scholars such as
Lippmann, Budden, and Tomlinson have pointed to the lyric-form melody, its
four-phrase structure, and a more direct, less florid melodic style as a major
difference between the music of Rossini and that of his successors: Bellini,
Donizetti, and Verdi. Lippmann argued that Rossini's closed melodies exhaust
their thematic content in an initial pair of antecedent-consequent phrases.
Tomlinson and Kerman offer similar views (Balthazar 103). The implication is
that Rossini's melody utilized only the first two phrases of the lyric-form
archetype. It is in the treatment of the music coming after this opening period that
Lippmann, Kerman, and Tomlinson point to the greatest difference between
Rossini and his successors (Ibid.).
Balthazar suggests that Rossini played a substantial role in the
development of the mid-century lyric form (Ibid.). Balthazar finds that many of
Rossini's melodies were written in a style very close to the lyric-form archetype,
149
that Lippmann identifies as Bellinian. While many of Rossini's melodies differ
from the archetype in their number of phrases or phrase lengths, they often retain
the functional elements of the lyric-form melody (Balthazar "Rossini and the
Development" 103-4). Balthazar states that Lippmann's presentation of Rossini's
open and closed melodic style as two sides of a dichotomy instead of as ends of a
continuous spectrum has encouraged scholars to ignore the wide array of
Rossinian melodies that contain elements of the lyric-form archetype (Ibid. 114).
Balthazar thinks it inappropriate to neglect such Rossinian examples in light of
the frequency with which later composers, too, departed from the model. In
Bellini's most famous melody "Casta Diva" he contracted the B phrases,
expanded C, and stretched a single quatrain over the entire piece (Ibid.).
Balthazar cites Arsace's "Oh! come da quell di"fromSemiramide as a
Rossini melody that conforms almost exactly to the Bellinian archetype. This
melody begins with an eight-measure period, followed by a development in two,
two-measure sub-phrases. It closes with a four-measure ornamented version of
the opening phrase. The only divergence of the melody from the archetype is that
the closing phrase does not have a perfect-authentic cadence in the tonic key.
Instead there are additional phrases. Balthazar equates the fourth phrase of
Rossini's melody with the traditional closing phrase of a Bellinian archetypal
melody, citing its cadential motion and the implied tonic goal of the descending
scales in the vocal line. He describes the additional phrases as an analog to a
Bellinian coda, which serves to reinforce the tonic key after the close of the lyric-
150
form melody (108). The music example has been reprinted from Balthazar's
article below. Balthazar's alphanumeric analysis which he states in the text of his
article, but does not include in the original example, has been marked above the
score.
Musical Example #29: Rossini Semiramide "Oh! come da quell di,"
lyric-form melody in music of Rossini.
J
'j* fit/cî i * 'r 'j. u/rfl^-gyr r
tut - to per me can - gio, can-gio! quel guar - do mi ra pi, si, quest'
i§ V7 i V7 I
j f l f [f fljj]JT]J j j j i j 7 p, i>r < r * ^ n j 1 ^

a-m - ma av - vam - po! it ciel per me sa -
V V7/V V V7
fl.,
JI., ob.,
UU., cl.
Cl. nn, t
ix
pn, mo - re, si, m'a - ni - mo!.
jifrj JTTT^JJ J'TjTTjiJjp .i J
-ze - -ma,_ di - quel_ di, no, <J!a no, no,
151
16 . coda
Um 1
(usuutdlt ^^
dar pro,
"p rno mat,
^
V7 I i>
'*.
um r '^jf 'sggf * tp frr^^^M
«.
4A
fil ^JU i i l r LLLf TD
non. sa - pro!
V7
Balthazar states that an extended closing section is typical of many
Rossini melodies. The additional phrases underscore the finality of the section
(Ibid.). The functional elements: opening-block, development, return/closure, are
all present. It is in the phrase lengths and/or the number of phrases in which
many Rossini melodies differ from those of his successors (Balthazar 109). "Alle
piu care immagini"fromSemiramide is an example of a Rossini melody that
152
retains the functional elements of the archetype, but extends the closing section.
This melody has an expanded B-phrase and an extended closing section, which
incorporates several additional phrases. Balthazar diagrams the melody as: A A'
Bh Bl'3 B22 Cn (Ibid. 112). In the musical example below Balthazar's
alphanumeric analysis has been marked above the score.
Musical Example #30: Rossini Semiramide "Alle piu care immagini," lyric-form
melody with extended closing section. Balthazar's analysis:
AA'Bl 2 Bl' 3 B2 2 Ci7.
Al - le piu calde im - ma - gi-ni, di ce, di con
j l ^ n j J. Jl,Jg jij olr r?[j^

Al - le piu calde im - ma - gi-ni, di pa ce, di con
Eb: I
p, ^ P J fa
gia s'ab - ban - do - na
m£s&
I'a - ni-ma in co
^
- si
fes
±M
bel mo •
JMJ s'"J\ fr^F^

ten - - - to, gia s'ab - ban - do - na I'a - ni-ma in co - si bel mo-
V V7
153
Bh
Pw to; e
r p [jflrLf p^P¥ s
frai piu dol pal - pi - ti,
w ?^f to;
i 1 Jl J.
e frai
^ JT3J73
piu dol - c i .
I vi6 V/vi
B2>
»• r a CJ'H' ' U
m w
*' 1
%
tor - naa re - spi - si, n tor - na a re - spi -
w «'—* ^s h} >
Ja^jj Jlgp
pal - pi - ti, ri - tor - naa re - spi - rar, st, ri tor - na a re - spi
vi vi6 V/vi vi V7/iii
IS C.7
9
\f j
rar, e
g£
fra i piu dol-ci, piu dol - ci
^ ^ Ji . J . J '
rar, e
W^f
fra i p i u _ dol-ci, si, dol-ci
^
pal-pi - ti, si,
f=f
n - tor-na a re -
iii V7 I§ V7
fo\ h rrowrig
pal - pi A tor-na a re - spi
»£=ft
* J " J 3^f * J - J *
rar, e frai dol ci pal-pi - ti, si, ri - tor fra dol - ci
V7 !<>
154
tor - na a re - spi - rar,
1$
n
28 tr Jc-
J& 3 =
•a.
•J
spi
*• *'%>%>%'*'%'%'%>%'%*•'«'*•%'
S S£ R^
re spi
V
Some of the early works for saxophone quartet contain melodies that
follow a Rossinian pattern. These melodies retain the functional elements of the
archetype, but do not adhere to the phrase lengths or number of phrases of a
conventional 16-bar lyric-form melody. The introduction to Singelee's Premier
Ouatuor has a melody that is structured very similarly to "Alle piu car immagini"
from Semiramide. Singelee's melody begins with a conventional opening-block:
antecedent/consequent period. Like the Rossini example, Singelee's melody has
155
an extended development phrase and an expanded closing section of several
phrases. Singelee's melody is diagramed as: A A' Bio Ci6 coda^.
Musical Example #31: Singelee Premiere Ouatuor Mvt. I Introduction, lyric-form
melody with a Rossinian expanded closing section, A A' Bio Ci6 coda6.
Andante J = 76
sop. A
i
PP
&
-=^
^
m
f
»> ir «f r i r r r i p r > ir 1J^
p
i V7/IV IV§ I Vj/V V I
Bio
«. A'
>
f£fNP ^ p-
if'r^^j > ^"P^^
I V7/IV iii<| V7/iii V7/iii
s
alto > ten.
i ^)'-• »f'i
^
p?
jtyj^pj * 'J
EF^gF w
V7/V V IV 6 V/vi IV 6 V6/vi vii°7/ii vf/V V7>VII
V/vi V7
22
y±±^ I-JIIJ. h,r.iJ]1 1
alto EEÊflLT f^- I'ri'i ^ crli
I 16 IV V?/V V vii°7/vi vi IV
156
V6 I ii6 I<> VJ 16 IV
I6, V7 I V I
J ^ * h J I,! i H l . - " -1 f > ^=f|
V I
ABA and da capo structure
As Verdi's music continued to mature throughout his life the appearance
of lyric-form melodies, and the basic four-phrase archetype came in increasingly
varied and expanded formats. Kerman notes that Le Vepres siciliennes marks a
turning point in Verdi's melodic technique (Kerman 51). In Le Vepres siciliennes
Verdi began to incorporate large ABA or da capo forms in his lyric writing. He
continued to use these forms in Simon Boccanegra and the most mature
manifestations of this technique are found in Un ballo in maschera (Kerman 51-
57). One of the simplest manifestations of an ABA format, as concerns lyric-
form melody, is accomplished through a basic additive process. "Au sein la
puissance"fromLe Vepres siciliennes is an example of such a melody. In this
157
melody Verdi uses a full A A' B C pattern, followed by a contrasting middle
section, and a reprise of the full lyric-form melody. Kerman analyzes the melody
as follows: A A' B12 C101 middle-section 14-bars | A A' B12 C10 coda (Kerman
51). In the following example Kerman's analysis has been marked above the
score.
Musical Example #32: Verdi Les Vepres siciliennes "Au sein la puissance,'
expansion of lyric-form to ABA form. Kerman's analysis:
A A' B12 C10 I middle-section 14-bars | A A' B12 C10 coda.
A
r p- ^
"H» u J*i r l rip 1 r~P i^Br r i r > ^
In brae - cio alle do vi - zie, nei se - no de-glio - nor,
3SS ^ ^ fîttfcTprTp^
vuo - to immenso, or - ri - bi-le re-gna - va, reg-na-va nel mio
B,2
\yV J > vft1 " O r »•p 1 r " P'T vp 1 rFr P''rTr 1!P i
cor! un vuo - to im - men - so, un vuo - to im-men-so, or-
*»¥ PTPP"P P p P P1T f g >p up m ^ p f «.n I ' r ) ^

ri - bi-le re-gna-va nel mio cor! in brae-cio alle do - vi
> > > > >

S | SI
so sol reg-na va nel
^
cor! D'un av - ve -
158
"):8iiii|rr~Trir1rTr ir pppr fv)\f m

nir be - a to. de il sor - ri-so a me, vi - ver
27 K . nS
asnT^7>irfrr m vtfvXlX tr*r^
mi fia da - to, G io, vi - ver vi - ci - no a
3g Contrasting - Middle Section (14)
y¥«r> - f i f err cfir papl

te!
L'o - dioin - va - no a me lo to - gli, vin - ce-
")i»niir FBfiiip>Pppmp" pf" pippf c ^ j

ra quel fe-ro cor, si, nel ful-gor di que - ste sog-lie, cor.
"»vp- P >p- pi r ,r nM,*r p ^ i ^ t

ter - no.im men - so amor, si, lo-vinca a - mo - re del ge-ni - tor, si!
A
gey - \T = $ a=pc r PiCfrrj
Ah! in brae - cio alle do-vi zic, nel se - no degli o
48
A'
^ = »
WII»7 \ ' » h f pf lp ip
nor, toim-men so.or - ri - bi-le
B»
»" I •-" — • - J^ • ffu f ff
22 3E3E ^ ^
va, re-gna - va nel mio cor! un vuo - to im-

54
8
anji r py ,.pi r ip r p'rTrTiP'p PP " P P?
men - so, un vuo - to im-men - so, or - ri - bi - le re-gna-va nel mio
159
%*f r p g *p 'ip p n ^ t v p 11(0^ v it

zie, un vuo - to
Cio
t J I'u'Vr [f^^5
so sol reg-na-va nel cor. D'un av - ve - nir be -
%»ii»„ii r T f > i r rTpr rTpif P s

to splen - de il sor-ri a me, se vi - ver mi fia
^ wiiy^r r r r n nfr p.Tp.f £f p *f pi« r , .

da - to, fi ;lio, vi - ver vi - ci - no a te!
74 Coda
V%( I J t it\r pir r i n r r , PP

son be - a - to, io son be - a - to, vi - ver mi-fia
79
nyr r •, m t ip fy p P r g ip » - ^
da - to vi-ci-noa te, fi - glio mi. o!_
Louis Mayeur uses a similar technique in the first movement of his
Premiere Quatuor. Like the examplefromLe Vepres siciliennes. Mayeur uses an
additive process to create an ABA format. He begins with a complete lyric-form
melody: A A' B A", see musical example #21 p. 129. This melody is followed by
a middle section, which itself is a contrasting lyric-form melody. Finally, the
160
opening-block of the first lyric-form melody is reprised with a short coda. Thus
Mayeur constructs an ABA structure using the same additive process by which
Verdi constructs the ABA structure of "Au sein la puissance." The full ABA
structure of the first movement of Mayeur's Premiere Ouatuor is diagrammed as:
Ag A'g Bg A"g | Contrasting Lyric-form melody: Ag A'g Bg A"g | Ag A'g coda. The
first section of the form can be seen in musical example #21. The contrasting
middles section is shown in the example below.
Musical Example #33a: Mayeur Premiere Ouatuor Mvt. I m.48-79, contrasting
middle section of ABA structure.

A....
^wj.,|3j.j^pMj.. JJ. * u - n j j - j j y i j . . J'J- *

pp PP
fy J-HJJ- j«P*ip 11 J., J J J ^ |J.||3J- JJ* p * I f f ^

pp
13
&m s P^Snrr f'ir r

\ff r
ggapp rIJV>*
PP
161
21. SOJK _^_^ ait0 ban.
*
[ T I J- J J- ]|J |,J""} 1 J- J J- ]|J \,JT\ I J- JJ-»*J'7 *
A"
25 sop.
t
j cgifP*pMJ^jj?,MiJ,»iijhpHr'pf'pM[^j'j
m rr / r : i ^ J r " p i
f
The reprise of the opening-block that makes of the final section of
Mayeur's movement is shown in the example below.
Musical Example #3 3b: Mayeur Premiere Quatuor Mvt. I m.81-97, reprise of
opening-block with coda.

sop. As
4 b " JTB1^ ^ L^ 'f ja*j y in11" i^&

wp
ten. A'»
aj ^ ^ *gp iM^^rii M ^ j j'
162
Musical Example #3 3b continued
fypJlH Jt^JJl^^J hl^fflJP^^

Coda
sop*.
' ' ^ ^ \ | ^ B ^ ^ ^ v p »
p
.nnjT^.r^
In the first movement of his Quintette de saxophones Savari employs the
same additive process seen in the Verdi and Mayeur examples. Savari's outer
lyric-form melodies are considerably expanded. Those sections are diagramed as
A A' B B'9 B"i2 C C Savari contrasts these outer, expanded lyric-form sections
with a middle-section in the relative minor, g-minor. The middle section can be
seen earlier, see musical example #18 p.125. The first outer section of the
movement is shown in the example below.
Musical Example #34: Savari Quintette de saxophones Mvt. I m.1-46, expanded
lyric-form melody that is 1st outer section of ABA form, A A' B B'9 B"i2 C C.
Allegretto J = 100
A
1st. sop.
*
BE
163
2 n d s
bari. _ _ _ *V\\ * alto ^ . ^ ^ = ^ 1
BE
*
tenT"-1^ alto
,/ 1st sop.
f r rrr rrr
^îf pr~gg
2nd sop.
2< gTT ' ~*\ Piu Presto
^rrcfrrr^^H! .fy-Qj
C Primo Tempo
^ ^ t t f ^ r f f r i ^ J ' ^ 'c"r^r~FTrj''f'' *"'
164
'iS | l , | "'d r ^Qlf | r' j ' IL^TTTTI ' i ^ ' l

^ ^
Verdi was not the only ottocento composer to use an additive process to
create ABA structures within arias and other set pieces. Rossini used the
technique as well. "Alle piu care immagini"fromSemiramide has a similar
structure. Its outer A-sections are composed of an expanded lyric-form melody,
see musical example #30 p. 153. The B-section is a contrasting section of 13-bars.
This structure is nearly identical to that of "Au sein la puissance" from Le Vepres
siciliennes. an expanded lyric-form melody for each of the A-sections and a
contrasting middle section of 14-bars. It is possible that Kerman, or other
scholars of the ottocento repertoire, may object to Balthazar's analysis of
Rossini's melody as an expanded lyric-form melody (Balthazar 112). Regardless,
this melody demonstrates the same additive process used by Verdi in Le Vepres
siciliennes. and by Mayeur and Savari in their pieces for saxophones.
In addition to the additive process seen in the examples above, Verdi also
composed ABA or da capo melodies that were created by an internal
reinterpretation of the archetype (Kerman 51-57). "L'atra magion vedete?" from
Simon Boccanegra is an example of this type of melody. Kerman's analysis is
165
that "L'atra magion vedete?" begins with a musically incomplete stanza: A A' B.
Kerman describes this melody as incomplete because of the open dominant at the
end of the section. This "incomplete" opening is followed by a contrasting choral
section, which itself is incomplete. It ends on the sub-dominant, rather than a
cadence. The opening section is then reprised, but is completed this time by an
additional choral passage, which Kerman labels the C-phrase or closing phrase.
That C-phrase completes the previously incomplete melody from the first section
of the piece (Ibid. 55-56). Thus, Verdi has created an ABA structure by delaying
the closure of the lyric-form melody. This example is an internal expansion of the
16-bar archetype rather than the additive process seen "Au sein la puissance."
Kerman's diagram of the melody is as follows: A A5' Bg | D D' Eg \ A A5' Bg' C |
(Ibid.). Kerman ends his diagram of this melody with an ellipsis after the final C-
phrase. That C-phrase could have been marked as Cig to reflect both the choral
interpolation and closing phrase in the soloist's line. In the example below
Kerman's alphanumeric analysis is marked above the score.
166
Musical Example #35a: Verdi Simon Boccanegra "L'atra magion vedete?" ABA
structure created by delaying closure of lyric-form melody. Kerman' s analysis:
AA 5 'B 8 |DD'E 8 |AA 5 'B8'C|.
1. 72
Paolo
'j"»p;pr p Ê f > p r i1 EEE
L'a-tra ma-gion ve H de - te?. de' Fieshi e I'empio o stel - lo,
Pietro ^
CORO
m
mE$
PA y'pptppPF ^ EE p p p r p ; )u *
un-na bel-ta in-fe J li - ce.... ge-me se-polta in quel-lo;
PI S
CORO
i
S
Musical Example #3 5 a continued on next page
167
Musical Example #3 5a continued
Bo
PA '<" P pnr ff " P** P I P ^ =P=T¥ pm=$ S

sono t la-men-ti la so-la voce u che ri-suo-nar s'a scol - la
PI ^
CORO
3*
PA *« P g p r P £=£E E
ncll' am-pia lomba ar -I ca - na.
PI ^m T=Ff C f P f Tn p p p r P ^
Gia vol - go-no tre lu - ne, che la gen 4 til sem
• n
*=*F* m*m WJ J
CORO Gia vol - go-no tre lu-ne, che la gen j til sem -
a *=*? Sg^p p p p r p ^
Gia vol - go-no tre lu-ne, che la gen - til sem -
E»
PA ^
PI W .• . P
f^ ^ ^
pp^f ^
^m F¥m
m& mm
bian - za, non ral - le-gro i ve ro-ni del-la ro J mi - la stan - za; pas [san-do ogni pie-
J1.Lpe
h
^
CORO
^mp ^
bian - za, non ral - le-gro i ve \ ro-ni del-la ro • za; pas san - do ogni pic-
W ^f r P p ^ FP s ^ ^
bian - za, non ral - le-gro i ve - ro-ni del-la ro - mi - ta stan - za; pas-san-dg - ni pie-
168
27
PA m
PI
'E'VPJP mm ^ ^
imp ^m mm
to - so in van mi-rar de si - a la bel-la pri-gio nie - ra, la mi - se-ra Ma-I
k&±
£
* B lui
pp 5^5
*±* wm^m m^f
CORO van mi-rar de bel-la pri-gio nie - ra, la mi - se-ra Ma-
to - so in
I * 1 J. JUji ^ P?E? ^ B i@
to - so in - van mi-rar de - si - a la bel-la pri-gio - nie - ra, la mi - se-ra Ma-
33
PA m P=* p^ ESE Pjpr P 23

Si scbiu-don quel - le por - te solo al pa-trizio al -I te - ro,
PI '**! J>%*
0 •: I'z!E5i
CORO
W J - iW%
PA
chcad ar-te si rav vol - ge.. neH'om-bre del mi v ste-ro..
PI =s * * * 33f
* h flip F T
CORO
E ve - ro.
=s * 1 I a*
E ver.
169
43 B'.
PA \wp g pr pif p * * I P P I ^ P %%|gppr p

Ma vedi in Dot - te cu - pa per le de-ser - te sa - le er-rar si-ni - stra
PI 30E I £^5&£3
ffbrrfi
Oh cie - lo! Oh cie - lo!
CORO
t fî
Oh cie - lo!
P§P
Oh cie - lo!
S l
W
hrrvi
Oh cie - lo!
^m
Oh cie - lo!
PA '*» r t H $m ^ S
vam - pa, qual d'a-nima in - fer [ na - le.
PI
V ' K/|n r=ff fe fc=t=tt *' *
Gran Di - o! Par I'an - tro dei fan - l a - si-mi!...
$ ' ' J.-'JJ" » li (I ^ ^ ^ ^

CORO Gran Di - o! 'an - tro dei fan ta - si-mi!...
Par
t'J" i Kr[M &=£ * * » M *
Gran Di - o! I'an - tro dei fan - ta - si-mi!..
PA
S
PI
f* I J Ji £: ^B
^P PP£ ^
Oh, qual or ror!... Par I'an-tro de' fan t ta - si-mi!... Oh, qual or ror!
fcfcfc =F3=3f
?^ S 0 *
3=^> ¥
CORO Oh, qual or I'an-tro de' fan Oh, qual or
ror!... Par si-mi!... ror!
V* J- J J' =f*=ff £ fee

pr F T p r
Oh, qual or - ror!... Par I'an-tro de' fan - ta - si-mi!... Oh, qual or - ror!
170
59
\>« > ,
PA » IS U V ^
Guar r da - te!
PI ^
' Q %_
CORO
PA ^rppp r P % * * ! 1.W 3*
La fe-ral vampa ap VaHon-ta
PI e MiJ J *? i *
Oh ciel!...
3=yr P * \ 1
CORO ciel!..
Oh
s >H J J ? j- ^
Oh ciel!...
Huebner's analysis of this same melody is somewhat different from
Kerman's. Huebner suggests that the melodic organization and tempo are such
that two bars can be heard as one in this piece. He proposes that the first nine
measures (an 8-bar vocal line and one measure of orchestral music) are one limb,
either antecedent or consequent, of an incomplete 16-bar period. Huebner uses
the term half-period to describe these nine measures (Huebner 141). That phrase
171
is followed by 8-bars of development material. Rather than completing the
melody with a return, additional development is heard. Huebner re-labels
Kerman's D and E phrases as additional development (Ibid.). A return of the
opening "half-period" occurs at m.34. That half-period is followed once again by
a development phrase of 8-bars. The melody is then completed by a choral
passage that ends with a perfect authentic cadence in the tonic key. In Huebner's
analysis this phrase provides closure and completes the previously incomplete
half-period (Ibid.). In summary Huebner's analysis of the melody is a ternary
form, in which the third section is itself a small binary shape. In the next musical
example Kerman's alphanumeric analysis has been replaced with Huebner's
functional analysis marked above the score.
Musical Example #35b: Verdi Simon Boccanegra "L'atra magion vedete?"
Huebner's analysis: ternary form, in which third section is a small binary shape.
Ternary: First Part

J =72 Half-Period
Paolo
y : *Kp J P r P ir" fMîp .h P r P IT'^B
L'a-tra ma-gion ve - de - te?.. de' Fieshi e I'empio o - stel - lo,
Pietro Hi
CORO
172
.... it - tt- ff ff ft i i* ft C » » ! - . . - - i - k
PA
un-na bel-ta in-fe - li - ce ge-me se-polta in queWo;
PI 5BE
^ n
i^Mfc
Ê
Middle Development
PA w P PET P I T P ^ I P P P r uir P H P P P T Pir* Vi*,

sono i la-men • ti suo - i la so-la voce u - ma - na die ri-suo-nar s'a - scol - ta
PI
S
i
5g3E
Second Part
additional development
PA •j:tt P p P r p i r ^^^
nell' am-pia tomba ar - ca - na.
A i P m 0 P -m
PI
S p 'p p P r p ' r r
Gia vol - go-no tre lu-ne, che la gen - til sem -
fcfct fefeR
*=r* SiP
' m' »' 0
Gia vol - go - no tre lu - ne, che la gen - til sem
ii . r - * r - .
S
Gia vol - go - no tre hi - ne, che la gen - til
173
PA S
PI ->=tf r- r Picrp r p p i p p pr pi r ->-1 r - P^Pir P r r
bian - za, non ral - le-gro i ve - ro-ni del-la ro - mi - ta stan - za; pas - san - do ogni pie-
feH:
-*-•—*—V~~ p^m m
J a n^xL
V s^^s
* ' 0 0 0 * — 0 0-—0--—"-Th—
j##p*
bian - za, non ral - le-gro i vc - ro-ni del-la ro - mi - ta stan - za; pas - san - do ogni pie-
L f l - p I ' l C r M p i i i p p p f p i f i - i f PÎJ J>.

bian - za, non ral - le-gro i ve - ro-ni del-la ro - mi - ta stan - za; pas-san-dg - ni pie-
27
PA WE
PI
•MVp^pur p m i r p ^ i r i n r p'r' r T ' c r ^ c r r
^VHJgF^Mifh±ui»m^
t " J- J M JJiJJU M J J'' J J'l J- J».NJ JJ

Musical Example #3 5b continued on next page
174
Third Part
33
Small Binary ShapeFirst Part: integrated return
PA E§g3E ? J p r P ii"' p**ip J^P r îi"' p a

Si schiu-don quel - le por - te solo al pa-trizio al - te - ro,
PI ? » r j>BE
pp BE
**=» J- - N *
PA
cheadar-te si ^rav-vol - ge ncH'om-brc del mi-ste-ro..
E ^
PI > *H PI g
E ver.
t JCJffl* f
E ve - ro.
E S t 11 pN=H
E ver.
175
Musical Example #3 5 a continued
Binary
Second Part: closure
PA y ; p pr Pir P **ipppr pif p niPPg^

Ma vedi in not - te cu per le de-ser - (e sa - le er-rar si-ni -stra
gaE 1
PI * JirrJ
*
* > J^Cffl^
SP
^pî f3p
gee I JlffJ^
p * JCfp*
PA w r P ,Pir FT Fir r^
vam - pa, qual d'a-nima in - fer - na - le.
PI
4 :
)P 1 J> Tfff ^ i H Fl^nJiJ Jig J) J
Gran Di - o! Par I'an-tro dei fan - ta - si-mi!...
' $ ' > j , Jijg n |

p i.r »ja j ' i P i
Gran Di - o! Par I'an-tro dei fan - ta - si-mi!...
3 = ^ fegj Wd "Hit
:
:> * > Kir te=5 K=ae
Gran Di - o! Par I'an - tro dei fan - ta - si-mi!..
176
PA s
PI * * <J-M — J* — •Ju - h - * * P hi' pr p'r p r 7 | J - J ^nî
Oh, qual or - ror!... Par l'an-tro de' fan - la - si-mi!... Oh, qual or - ror!
Vi j j j j " J'irjjjijjj T»—* * ij, J J M

Oh, qual or - ror!... Par l'an-tro de' fan - ta - si-mi!... Oh, qual or - ror!
[•>•» J. J Ji J T» p i i' pr p i r p r MJ> J J i i i j . » i

Oh, qual or - ror!... Par l'an-tro de' fan - ta - si-mi!... Oh, qua! or - ror!
PA s JE33E ttf^ Ê.

Guar - da - te!
PI
9*
e
l>p- .k
PA y a p PPT P M | T H ^ U ^ J> J> J* l J- l r ^ ^
La fe-ral vampa ap - pa - re.. V'aHon-la - na - te.
PI ^ MU)l J M *
Oh ciel!..
P Oh ciel!...
^ i n J> l J if i i
Oh ciel!...
177
Huebner provides a diagram of his analysis, and for comparison purposes,
includes Kerman's diagram of the melody alongside his own. Those diagrams
have been reprinted below (Ibid.).
Figure #1: Side by side comparison of Kerman and Huebner analysis of "L'atra
magion vedete?"fromVerdi's Simon Boccanegra.
Kerman: a a'5 bg d d' eg a a'5 b'g

Huebner: half-period Middle- Integrated (2nd Part)
development return
(Binary-1st
part)
measure #'s 1-9 10-33 34-42 43-68
harmony e: b: E: vi i *
Earlier in this discussion the first movement of Savari's Quintette de
saxophones was given as an example of an ABA structure created through an
additive procedure, see musical examples #18 p.125 and #34 p.163. Savari's first
movement also contains an internal expansion of the lyric-form melody in each of
its outer sections. This internal expansion of the lyric-form archetype in m.1-46 is
similar to the one seen in "L'atra magion vedete?" Savari's melody opens with a
conventional opening-block, an antecedent-consequent eight-bar period. That
period is followed by a development or B-phrase that is itself an eight-bar period.
As in the Verdi example, Savari's developmental phrase is expanded featuring
two, four-bar segments instead of the conventional two, two-bar segments.
Following the development phrase, Savari seemingly begins a conventional
closing phrase, with a reprise of a melodic motivefromthe opening-block.
178
Instead, a one-measure motivefromthe opening is treated canonically, a
developmental procedure. In place of the expected closing phrase, an additional
development section ensues. That additional developmental section leads to a
new tempo marked piu presto. The melody concludes with a closing-phrase that
is an eight-bar period, with an integrated return and perfect authentic cadence in
the tonic key. This melody and its letter diagram, A A' B B'9 B"n C C, have
been shown previously in musical example #34. That same example has been
reprinted below the alphanumeric analysis has been replaced with a functional
analysis using Huebner's labeling system.
Musical Example #36: Savari Quintet de saxophones Mvt.I, m.1-46, ABA
structure created through delay of closure of lyric-form.
Allegretto J =100 Period: antecedent Consequent
;-jr [fri^r m r i | p | f
Additional
,
Development
ten. '
16 ban.
nm afefc
alto
$
&
W
1*' 4uw f
179
"j^r rcrS^tlrj, £r$TRrti?SJm
tyr t&iHfn?tir j y ^
There are some clear differences between Verdi's "L'atra magion
vedete?" and the opening of Sayan's Quintette pour saxophones. Savari's
180
development phrase and additional development total 22 measures, while Verdi's
is only 16 measures long. In Huebner's analysis Verdi's opening is a 'half-
period' of 8-bars. Kerman's analysis differs. Kerman diagrams the opening nine
measures as a conventional antecedent-consequent period. There is argument
about the function of Verdi's opening. Savari's opening is a clear eight-bar
period structured in two, four-bar segments. In the Verdi, see example #35a-b
p. 168, after the extended development section there is a return of the opening
phrase/period (nine measures total including the one-measure orchestral
extension). In the Savari, examples #34 and #36, after the additional development
section the melody concludes with an eight-bar period, but this period is not a
reprise of the opening. The closing phrase has new melodic material and
therefore is diagramed as, C-C. The Verdi contains additional music after the
return: in Kerman's analysis the reprise of the B-phrase and the extended C-
phrase, see musical example #35a p. 167; in Huebner's analysis the second-part of
the small binary shape that makes up the closing section, see musical example
#33b p. 162. The Savari, examples #34 and #36, comes to a clear end at the
conclusion of its closing period, with no additional music.
The absence of a melodic reprise in the Savari is the most important
difference between the Savari, examples #34 and #36, and the Verdi, examples
#35a and #35b. The absence of a melodic reprise would seem to negate the
possibility of an ABA structure. New melodic material in the final period would
suggest an ABC structure, rather than the da capo or ABA structure used by
181
Verdi. However, while the Savari does not contain a melodic return, it does
feature an integrated harmonic return. The final period, C-C, features a return of
the tonic key after the development section. In the Verdi the return after the
additional development is both melodic and harmonic.
Despite these differences the internal expansion of the lyric-form
archetype resulting in an ABA or da capo structure is accomplished in similar
fashion in both the Verde, see examples #35a-b p.162, and the Savari, see
examples #32 and #34 p. 159. Both melodies feature a lyric-form that is initially
incomplete. Instead of a closing phrase at the conclusion of the development
phrase there is an additional development section. That additional development
becomes a delineated and separate section of musicfromthe opening, incomplete
lyric-form melody. Both extended developments feature a significant texture
change. In the Verdi there is a changefroma solo vocal line to a choral passage.
Similarly in the Savari a solo melodic line in the soprano saxophone changes to a
contrapuntal texture involving all of the saxophones, followed by the tempo
change in m.26. After the extended development, the B-sections of the ABA
structure, both melodies provide closure and resolution to the initial incomplete
lyric-form with a third and final section. The Verdi closes with a reprise of the
opening and some additional music. The SaVari closes with a period that features
an integrated return. In both pieces the texture, which shifts at the opening of the
B-section, returns to the original texture in the second A-section. The Verdi,
example #33a and 33b, returns to a solo vocal texture and the Savari, examples
182
#32 and 34, returns to the solo instrumental texture with the melody in the
soprano saxophone and the other instruments playing accompaniment material.
The Savari also changes back to tempo primo at the start of the second A-section.
Below is a diagram of the structure of Savari's internal-expansion, along
side of Kerman' s and Huebner' s analysis of "L' atra magion vedete?"
Figure #2: ABA structure in Savari's Quintette de saxophones and Verdi's "L'atra
magion vedete?" from Simon Boccanegra. The Verdi example is shown twice
with separate analysis by Kerman and Huebner.
Savari AA'BB' Additional CC

Development,
tempo change,
interruption
Verdi, Kerman aaYbg dd' e8 a a's bg c
analysis
Verdi, Huebner half-period middle- integrated return,
analysis development binary form
Verdi's use of ABA structure as an internal expansion of the lyric-form
archetype reaches its greatest fruition in Un ballo in maschera (Kerman 51).
Kerman cites three piecesfromUn ballo in maschera in which Verdi expands the
lyric-form archetype in this manner. Among those pieces is "Monro, ma prima in
grazia" (Ibid. 57). This piece begins with a complete, conventional lyric-form
melody, A A' B3 A". That section is followed by a short middle-section eight-
bars in length. Verdi further delineates this section, the B-section of the form,
with the use of a fermata. The piece closes with a reprise of the antecedent of the
opening period, a new consequent phrase, and a short coda. Kerman diagrams the
183
melody as: A A' B3 A" | 8-bars | A C coda (Ibid.). In the following example
Kerman' s analysis has been marked above the score.
Musical Example #37: Verdi Un ballo in maschera "Morror, ma prima in grazia,''
ABA structure created through expanded lyric-form, Kerman's analysis:
A A ' B 3 A" I 8-bars I A C coda.
Andante J =48 A
• fc*
»F^ pir ^ r r i r Pp^
Mor - TO, ma prima in gra - zia deh! mi con-sen - t i _ al -
A' __
gffi
$
me - no
r p;pr [ \ r pi>.F.pf p ' r . p r p r
. h i - iii-co fi -glio mi - o, l'u-ni-co fig-lio mio av-vin-cere al mio
j%-ij»ii>pv7fy^^^ »'[iî7fi^
E se alia mo - glie nie - ghi que st'ul-ti-mo fa-vor,
SE
•-" r p-pr r ir PtrWfl ErjlJ^pVp
*
non ri-fiu4ar-loai prie - g h i , _ ai prie - ghi .del mio ma - ler-no
8-bar middle section
f w j 1 > vjii-jr r tt\r p

Mor-ro, ma que - ste vi - sce-re con - so - li - noi suoi
j ^ j j - j j j j J'ti [. fp r r •if'nr»' J j^jjjj

ci Spen-ta per man del pa - dre, la man ei sten-dc
184
ra sug l'oc-chi d'u-na ma-drc, sug I'oc-chi d'u-na ma-dre, che mai piu non ve-
• — , , ^ Coda
fr^>Jyri dra, che mai piu, mai piu,

p j l HM IT"»*r" fli-
che mai piu non ve - dra, che mai
r ni
j*tof~~Zj~i r " r p ' 'r ' '
piu, mai piu... non ve - dra, che mai
piu, mai piu, che mai piu ve-dra!
The second movement of May eur' s Premiere Quatuor is structured in a
similar manner to Verdi's "Morro, ma prima in grazia." Mayeur begins his
second movement with a conventional lyric-form melody, A A' B C, see musical
example #10 p. 108. That melody is followed by a short middle-section: a short
solo and cadenza for the baritone saxophone, six-bars in length. Similarly to the
"Morro, ma prima in grazia," Mayeur delineates his middle sectionfromthe
proceeding reprise with a fermata. After the fermata Mayeur closes with a reprise
of the antecedent of the opening period, with a slightly different consequent
185
phrase, A C or A A". As in the Verdi example the Mayeur's piece closes with a
short coda. The diagram of the overall structure of Mayeur's second movement is
nearly identical to that of "Morro, ma prima in grazia," A A' B C | 6-bar middle-
sectionl A A" coda.
Musical Example #38: Mayeur Premiere Ouatuor Mvt. II, ABA structure created
through expanded lyric-form, A A'B C | 6-bar middle-section| A A" coda.
Andante "
Ten. Sax.
B
Sop. Sax.
4 1 nD
i * j % W ' iTOO" * ' CjMi
& 6-bar middle section
& uuumm f r r ' r

K ban.
PIMJVJJ'CJ
J J
*4JV^Lfl tfffir' "S^'J'^WJI
A"
k
h\ J? njjij^j ir~W(V r r i[fxfJ icmirj
186
Coda
31. sop.
$
" IT'
JJ'J UJ1. j j i > ^ ^ ^ ^ ^ ^
TTWrW'
T L1
^ j . h ^ r ' i i r i r r i ' ir'cficfr ir cr' '
sop.
^
^» r PIIPPII
5/ SOP
•i Arrfrf ffr fr
33
^fe
J r -rTfll 111'l-I-I l-l'll
52 j>
=51
^ ^ m
Victor Sambin uses a similar structure for the first movement of his Cinq
Quatuors. Sambin's middle section is considerably longer than either "Morro, ma
prima in grazia" or the second movement of Mayeur's Premiere Ouatuor.
Sambin's middle section is itself an expanded lyric-form, see musical example
#27a-b p. 144. As with the previous two examples, Sambin's movement closes
with a reprise of the opening of the A-section lyric-melody, and a short coda. The
movement is diagramed as: A A' B C | middle 22-bars (A A' B C B'2 C codas) | A
A' coda6. The example below shows the first outer section of the form, AA'BC.
187
Musical Example #39a: Sambin Cinq Ouatuors Mvt. I, lyric form melody that is
the 1st outer section of an ABA form, A A' B C.
. sop. , . •**
A B
» • '
/.* sop. P^fl—-_ -—-^ — . .

m f^ i
'^J~ur
The next example shows the final section of the form of Sambin's first
movement. It is a reprise of the opening followed by short coda, A A' coda6.
Musical Example #3 9b: Sambin Cinq Ouatuors Mvt. I, lyric form melody that is
the final outer section of an ABA form.
J
j^cjir J_J"J i ^cjif J JJ.JIJ_J'Î
* A' Coda
^•J_J*,QII.J r~p%n\.\_j»j-i\). ^ y if [ / S
188
,f
'^'y/Jr illj n j n i j . n j cji fr > - n
Figure #3 shows the ABA structures of Verdi's "Morro, ma prima in
grazia," the second movement of Mayeur's Premiere Quatuor, and the first
movement of Sambin's Cinq Ouatuors pour saxophones.
Figure #3: ABA structures created through an internal expansion of the lyric-form
archetype, with a reprise of the opening phrase, Verdi, Mayeur, and Sambin.
lstA-section B-section 2ndA-section
Verdi AA'B 3 A" 8-bars A C coda
Mayeur A A' B C 6-bars A A" coda
Sambin AA'BC 22-bars A A' coda
Lyric-Form Melody and Structure in the Early Works for Saxophone Quartet
An ABA or da capo structure is not the only instance where lyric-form
melody impacts structure and form in the early works for saxophone quartet. A
number of those pieces utilize lyric-form melodies, as basic building blocks for
larger structures. Verdi initially used a simple additive process to create ABA
form in his melodies. "Au sein de la puissance" from Le Vepres siciliennes. see
189
musical example #32 p.158, has already been cited as an example of this additive
process. Thefirstmovement of Mayeur' s Premiere Ouatuor and the first
movement of Savari's Ouintettte pour saxophones, see musical examples #33a-b
and #34 p.161, have been cited as examples of the same process in the early
saxophone quartets. There are examplesfromboth the primo ottocento repertoire
and the early works for saxophone quartet in which a similar additive process is
used to create forms other than an ABA or da capo form. In the third movement
of Sambin's Cinq Quatuors he uses the additive process to create a simple binary
structure. Thefirstsection of the movement is a lyric-form melody with
expanded development and closing phrases: A A ' B B ' A A", see musical
example # 16a p. 121. At the conclusion of this melody, there is a meter change
from 4/4 to 6/8, and a short curtain of 2-bars. A new melody is heard with the
same structure as the first: A A' BB'A A", see musical example #16b p.122.
This second melody in 6/8 time is followed by a short coda that closes the
movement. Sambin's second movement is a simple binary structure composed of
two lyric-form melodies through an additive process.
Verdi uses a similar scheme for the aria, 'Tacea la notte placida"fromII
Trovatore. Like the Sambin example, "Tacea la notte placida" features an
expanded lyric-form melody. In this case the melody has an expanded closing
section of 15-bars, which itself is a small binary structure (Huebner 133).
Musical example #40 shows this expanded lyric-form melody, along with an
190
analysis by Huebner (Ibid.). The examplefromHuebner' s article has been
reprinted below (Ibid. 128).
Musical Example #40: Verdi II Trovatore "Tacea la notte placida."
Huebner's analysis: lyric-form with expanded closing section,
which itself is a small binary structure.
Andante B j n a r y : First Part - balanced phrases
^Hji.rlTpifctfr Jl' * J1 * JuJ'J"*

Ta - cea la nol-te pla - ci 3
- e bella in ciet se - re - no;
ab: V§ I
animando imnoco
J||J J1 M
iv r ptjJpiJfljT
luna il viso ar - gen - te •* - o mo - stra - va lieto ap - pie - no
i quan-do suo-nar per
viif/V vf/iv
/closure (Binary: First Part - balanced phrases)
4^7?J îf^frpir r ir^r pifFir trp]r *> p

I'a - e-re, in-fi-no allor si mu - to, dol - ci s'u - di - roc fle bi - li gli
IV vf/V V V7 I
-" (Second Part)
^y rY-,1 r'''r:irTrrif n JiTU MB Jir ^

accor - di d'un li - u e ver me - Ian-co - ni-ci, e
V7 I vi Km v§
j i » H | r n q f rir ( ^ p'J *'' "

ver - si me - Ian - co - ni - ci un (ro - va - tor. can-to.
5 6 5
i
3 4 3
191
This extended lyric-form is the first half of a larger binary structure of the
entire aria. After the completion of the first extended lyric-melody Verdi reprises
the four-bar introduction and then the entire lyric-form melody. It is an identical
reprise save a few small differences in the closing phrase of the second half of the
aria. The larger binary structure of this aria is similar to the binary structure in the
third movement of Sambin's Cinq Ouatuors: two lyric-melodies in succession,
with a short coda attached to the second melody. Sambin's third movement has
been discussed previously on pages and can be seen in musical example #15a and
#15b.
Donizetti used a similar additive process to create a binary- structure in
"Un tenero core"fromRoberto Devereaux. In this case Donizetti utilizes an
elision of two melodies to create a binary structure. At the conclusion of
Elisabetta's melody there is an elision with a second melody sung by Roberto.
Roberto's melody is a repetition of the melody sung by Elisabetta. The melodies
are different only in their closing phrases. The second melody is followed by a
coda that concludes the piece.
192
Musical Example #41: Donizetti Roberto Devereaux "Un tenero core,'
binary structure created by elision of two lyric-form melodies.
A — A'
j*iBjij'.j l j>ij3ji > BipTpffl t jij'jiâ^
Elisabeta: te-ne-ro co - re mi re-se fe - ii - ce pro - vai quel con - ten - to che
B
j ' l l P P pirfrjJ «J l(ijr«pl^QlJ | tpp.lPp«p I ' P ^ I
1 |
un
lab-bro non di - ce sogno d'a-mo-re la vi - ta mi par-ve, ma ii sogno di-
i—i- F.lsinn
! "11 "
• BlP P P
spar ve di - spar - ve quel cor!
Dnhortn- in - dar-no la sor - te un tro-no m'ad-
Roberto
B
îiîîJ'jJîJOiPTpi^J'ipp'piPP^
di - ta: per me di spe - ran-zc non ri-de la vi ta, per me l'u-ni - ver-so e .
Coda.
J'II j^pirp^rp-pirwitoLfrip^n
muto e de - ser-to, le gem-me del ser - to non nan - no .splen - dor. Mu-to
A similar elision of two lyric-form melodies exists in the third movement
of Savari's Quintette de saxophones. The first lyric-form melody has been seen
previously, see example #12 p.l 11. In that first lyric-form melody the closing
phrase does not reach a perfect-authentic cadence in the tonic key in its fourth
measure, m.16. That tonic is not heard until m.17, which is the first measure of a
second lyric-form melody that proceeds directly after the opening melody of the
movement. In this manner the first melody elides with the second melody. The
193
second melody is almost an exact repetition of the first melody. The only
difference is that the second melody ends with a root-position half-cadence in the
tonic key.
Musical Example #42: Savari Quintette de saxophones Mvt. Ill m.1-33, binary
structure created through the elision of two lyric-form melodies.
*>P-1 A _ _ - _ • A' ^—«v
ipl Lfl[" If ' » I f ^ l
s ' m mm jy
m$ Dlfi'r r if
IV iv I
sop.l ^
1EE^ m X-X
m
alto K r7
CT V7
The elision between the melodies from Savari's third movement, example
#42, and that of the melodiesfromthe Donizetti, example #41, are slightly
different. Savari's elision is one of harmony. The first measure of the second
194
melody is the harmonic resolution of the first melody. In hearing the melodies in
this manner the first melody would effectively be seventeen measures in length.
Donizetti's elision is both melodic and harmonic. The last measure of the first
melody, and the first measure of the second melody are one in the same, making
Donizetti's melodies one measure shorter than those of the Savari.
In his Priere. Emile Jonas utilizes an additive process of lyric-form
melodies to create a larger structure. Jonas' structure is more expanded than a
binary structure. After an eight-bar introduction Jonas proceeds in m. 9 with a
conventional 16-bar lyric-form melody, which conforms to the archetype. This
melody is followed by another section of 16-bars. This section, m.25-40, is not a
lyric-form melody. Its first eight measures are not a period, but instead a series of
overlapping, two-bar motives. After that section the lyric-form melodyfromthe
opening is reprised, m.41-56. It is an exact repetition of the initial lyric-form
melody from m.9. This melody is followed immediately by another lyric-form
melody, featuring new melodic material, see musical example #4 p.99. The new
lyric-form melody at m.57 is followed by a nine-bar coda and a reprise of the
introduction. Thus, Jonas constructs a larger binary structure: ABAC, through a
similar additive process seen in the binary and ABA structures discussed earlier.
Figure #4 on next page
195
Figure #4: Emile Jonas Priere. ABAC Structure created through additive process
of lyric-form melodies.
Section m.#'s , description
Introduction: 1-8 chorale-like introduction
1st A-section: 9-25 1st lyric-form melody, A

A'BA"
B-section: 26-40 contrasting section no
lyric-form melody
2nd A-section: 41-55 reprise of 1st lyric-form
melody, A A'B A"
C-section: 56-80 contrasting lyric-form
melody, A A'BC
Coda: 81-88 reprise of introduction
Delay of harmonic resolution is another means by which ottocento

composers expanded the 16-bar lyric-form archetype. By delaying an integrated
return, larger structures based on the lyric-form archetype were created. An
example of an aria that utilizes this technique is Donizetti's "Regnava nel
silenzio" from Lucia de Lammermoor. The first twelve measures of Donizetti's
aria are normative, an antecedent/consequent period followed by a developmental
phrase of four bars. In the twelfth measure the dominant is arrived at. Instead of
the expected integrated return to the tonic key, the music moves toward the flat
sub-mediant, F major (Huebner 141-3). After the interruption, the music
continues in m.18 with what appears to be a closing period in F-major. However,
resolution is delayed once again. Instead of cadencing in F, the iig in F slips down
to an A major chord in m.24-25. This A-major chord functions as the dominant
of D-major, effectively resuming the dominant that was originally interrupted in
m. 12. The original development phrase is repeated and an integrated return
begins in m.29. This closing phrase is itself a full eight-bar period and ends with
196
a perfect authentic cadence in D-major, the tonic key (Ibid.). The example from
Huebner's article has been reprinted below (Ibid. 142-3).
Musical Example #43: Donizetti Lucia de Lammermoor "Regnava nel silenzio,'
large structure created through delay of resolution of lyric-form melody.
Larghetto
TERNARY- ptmnH/anteraHpnt
Re-gna-va nel si - l e n - z i - o al - la la n o t - t e e bru

d: i IV<j i V|
. /rnnspqnpnt
jf tut —• i i n - ^ ff ft hi" ~hp \TM

-——^-—-^r~L—->. •' 1 1
J' H ^ " 1 \m *0~d ~1
col-pia la fon-le un pal - li-do rag-gio di te - tra lu

i F:vf I H6 V<j | I
jnirlriWHevelnpmenL.
j*i tp pTTr p i[^J. i^ JTr pir rnn

quando un som-mcs - so ge - mi-to fra I'aure u - dir si fe. . ed
d: iv v iv Vf/V V
interruption
is presto , } , , , , /T\
ec ec - c o su quel mar-gi - n e .
F: I ii§
ppTinH/antpraHCTit
pî^mfy. i> > :>

I'om-bra mos-trar-si, I'om-bra mos-trar-si a me, ah!
' I i'ii' Quai di chi par - la,
V§ \ I I
ponsequent (incomplete)
muo - ver - si il lab-bro su-o ve-de

vf V it 6 V
197
piidrllft(cflntimied)
mo - bi-te, poi rat - ta di - le - guo
h^~.
PS^ j'. M „ jm
lim - pi ' - da di. san - g u e . . IDS - seg - gio.
IV<j \ I
Singelee expands the second movement of his Premiere Ouatuor by
delaying the resolution of a lyric-form melody. Like "Regnava nel silenzio,"
example #43, Singelee's second movement opens with a normative twelve
measures, an antecedent/consequent phrase followed by a four-bar developmental
phrase. Instead of completing the expected integrated return to the tonic at the
beginning of the fourth phrase, the music modulates to F-major, the supertonic of
the tonic key of E-flat major.
Musical Example #44a on next page.
198
Musical Example #44a: Singelee Premiere Ouatuor Mvt. II m.1-20, lyric-form
melody with normative twelve opening bars and modulation in closing phrase,
preventing integrated return.
Adagio sostenuto J = 60 A
Eb: i 66 vi iv
IV v
i B
^m\yijj[MUX?
16
.m U6 V6/V
m
V§/V
w
V6/V
An episode of 19-bars follows. That music begins in F-major, moves to g-
minor, andfinallyreturns to the tonic key of E-flat-major. In m.36 a second
statement of the lyric-form melody begins. Once again the first twelve measures
are normative. And again instead of providing closure and a return, the fourth
phrase modulates away from the tonic, this time to the key of the dominant, B-
flat-major.
Musical Example #44b on next page
199
Musical Example #44b: Singelee Premiere Quatuor Mvt. II m.36-50, lyric-form
melody with normative twelve opening bars and modulation in closing phrase,
preventing integrated return.
A
alto,
^m v. 9 m
f ^3u ni]m
Eb: l vi IV
8E
* ^ J J" J1 J J J J J J "
Bb: i§ V7
Another episode follows moving through a variety of keys. In m.73 the
lyric-form melody reappears. This reprise of the lyric-form melody omits the
opening period and instead begins with the development phrase, the B-phrase.
The music again begins in the tonic key of E-flat-major, but resolution and
closure are once again delayed through modulation in the fourth phrase of the
form. The modulation here takes the form of an extended dominant chord, B-flat-
major.
200
Musical Example #44c: Singelee Premiere Ouatuor Mvt. II m.78-84, reprise of
developmental and closing phrases, B C, lyric-form melody,
followed by an extended dominant pedal.
B T*—+ •*- I — ' ^
'VJJJJV
Extended dominant - Bb pedal
Finally after an extended Bb-dominant chord and another short episode, an
integrated return comes in m.95. Up till this point in the movement a closing
phrase has not been heard. This closing phrase completes and provides resolution
to all of the previous incomplete statements of the lyric-form melody. The return
is both melodic and harmonic for the first time in the piece. A short coda follows
the integrated return, reinforcing the tonic key of E-flat-major.
Musical Example #44d on next page
201
Musical Example #44d: Singelee Premiere Ouatuor Mvt. II m.95-end, resolution
and integrated return of lyric-form melody, A" codag.
Â^____Jntegratêtum Coda
jby Jri.r J J .if' J'J T r 'r^J'J^r •

Eb: 15 vi6 V6 vi IV V7 1 — — -
i ' S ^ j U •Jf^T jTr /LITJ.IIT 11
Figure #5 is a schematic of the form of the second movement of
Singelee's Premiere Ouatuor. This figure displays how Singelee is able to sustain
an entire movement of music through the continued delayed resolution of one
lyric-form melody.
Figure #5: Structure of Singelee Premiere Ouatuor Mvt. II. Form created through
delay of resolution/closure of lyric-form melody.
m.# Description Diagram Key-Area

st
1-20 1 interrupted L.F. A A' B (C) E-flat, F
melody
21-35 Episode F, g-min., E-flat
36-50 2nd interrupted AA'B(C) E-flat, B-flat
L.F. melody
51-72 Episode B-flat, A-flat, b-
flat min., E-flat
73-84 3rd interrupted B(C) E-flat, B-flat
L.F. melody extended
dominant
85-94 Episode Extended
dominant
95-end Resolution of L.F. A" coda E-flat
202
Another example of delayed harmonic resolution to effect an extended
form comesfromSavari's Ouatuor pour saxophones. The first movement of this
piece works in much the same way as the Donizetti, see example #43 p. 198, and
Singelee, see examples #44a-d p.200. Savari begins with an expanded lyric-form
melody that is diagramed as: A A' B7 C C. In its final phrase, C, the music
cadences to ill rather than the tonic. There is a return of the tonic key after the
development, but there is no perfect authentic cadence in the tonic key. Scale
degree three, not the tonic, is sounded in the soprano line in m. 16, the first
measure of the closing phrase.
Musical Example #45a: Savari Ouatuor pour saxophones Mvt. I m.1-23,
Expanded lyric-form melody without closure/resolution, no perfect authentic
cadence in tonic key.

Allegretto J =112 \
*
sum r err "
k |JI
Pmz r » i r p-i J J
Eb: I 16 vi V| U6 V
B,
m* d JjJirfr'ir utMuxs! >

16 vii°6
//
m rrrrr » 'rrrrrri
16
203
^___ C
vi ii6 V7 1
J
"fy\r7r > irTP ir?>'-'»f if7 ' '• JJJIJ •"
V I I V V7/iii iii
A second lyric-form melody directly follows the first, beginning in m.24.
This melody is related both melodically and harmonically to the first lyric-form
melody. It too does not have closure in the tonic key. In its closing phrase the
music moves to the key of the dominant, Bb-major. That melody has been seen
previously, see example #20 p. 129.
Measures 48-79 are a middle section, or quasi-development section. This
music begins in Bb-major, moves to g-minor, and then returns to Bb-major.
Melodic fragments from both of the lyric-form melodies as well as new material
appear in this section. At m.80 there is a return to the tonic key and the start of a
third and final lyric-form melody. This melody uses the same melodic material as
the first lyric-form melody. In this instance there is a perfect-authentic cadence in
the tonic key of Eb-major. The final cadence, and scale degree one comes in the
final measure of the closing phrase, C-C.
Musical Example #45b on Next Page
204
Musical Example #45b: Savari Quatuor pour saxophones Mvt. I m.80-end, return
of lyric-form melody with perfect-authentic cadence.
• ~J iJ- Pr ^nr~r m" [iJ ii

Eb: 16 V6 ii ii
Br
m ^ T ffr
PP S
P.
tnw\fffft >
P m*
16
By delaying closure in the tonic key and a perfect-authentic cadence in the
tonic, Savari uses repeated incomplete lyric-form melodies to create a structure
that could be described as a quasi sonata form. The first lyric-form melody
begins in the tonic, and ends with a deceptive cadence to iii. The second lyric-
form melody moves to the key of the dominant, completing the first section of
music, analogous to an exposition.
205
In the next section of music, m.48-79, the music modulatesfromthe
dominant, B-flat-major, to g-minor, back to B-flat-major. The melodic material
here is made up offragmentsof the lyric-form melodies mixed with new material.
Thefragmentationand modulation are suggestive of developmental techniques,
and this section is analogous to a development.
The piece closes with a reprise of the lyric-form melody. In this version
there is no deceptive cadence or modulation to the dominant. Instead the lyric-
form melody is restated with all phrases resolved back to the tonic key of E-flat-
major. This final section is analogous to a recapitulation.
It is possible that the composer intended a reference to sonata form with
his piece for saxophone quartet. The piece is structured in four movements each
corresponding to traditional sonata movements. The second movement is a fast
minuet, the third movement is a slow movement, and the final movement is a
rondo form. Figure #6 shows a schematic of the quasi-sonata form of the first
movement of Savari's Ouatuor pour saxophones.
Figure #6, schematic of Savari Ouatuor pour saxophones Mvt. I, quasi sonata-
form.
Section: m.#: Diagram: Key-areas:
Exposition: m.l AA'B7CC I-iii

m.24 A A' B9 C C I-V
Development: m.48 V- iii-V
Recap/Return: m.80 AA'B7CC I-I
206
CHAPTER VI
ADOLPHE SAX AND THE EARLIEST SAXOPHONE QUARTET
PERFORMANCES
Adolphe Sax's role in the commissioning and publication of the earliest
works for saxophone quartet are well documented, and have been detailed in
chapter two of this dissertation. Sax also played a prominent and important role
in the earliest saxophone quartet performances. In the earliest demonstrations of
the saxophone, Sax would play the instrument himself for composers and
colleagues. He was an accomplished clarinetist and competent performer on a
number of woodwind and brass instruments. Indeed, Sax himself was the very
first saxophonist. He participated in a number of landmark performances,
including the first known performance by a saxophone quartet. He performed the
bass saxophone part in the premiere performances of Fromental Halevy's Grand
Opera, LeJuif Errant.
In 1852 the eminent French composer of Grand Opera, Fromental Halevy,
utilized a saxophone quartet in the orchestration for his opera, Le Juif Errant.
Halevy's score calls for a quartet of saxophones: a soprano saxophone in B-flat,
two alto saxophones in E-flat and a bass saxophone in C. Halevy utilized the
207
quartet as a self-contained unit within the opera. In the last act the saxophone
quartet is heard alone, and never in conjunction with the rest of the orchestra. In a
sense, these excerpts of Halevy's opera comprise the first original music written
for saxophone quartet.
During its initial run Le Juif Errant received a good deal of critical
attention from both the Paris international media. Paul Smith wrote the following
review in La Revue et Gazette Musicale.
For eighteen centuries the Wandering Jew had been on the move [.
..] He had tried them all- drama, vaudeville, epic, novel. In vain
did he try to stop. Always there was this 'march, march,' chasing
him awayfromhis momentary halts, forcing him to resume his
wanderings. In vain did he seek the peace of the grave. But now,
arriving at the Opera, he has found a homeland, a throne, a haven.
Now he is at last persuaded to by the manner of his reception that
his destiny has been overcome, that his wanderings are over, that
from now on it will be the crowds who would bestir themselves to
come to him, to watch and listen. This is the result of a synthesis
of ideas, inspirations and hard work of which only one theatre in
the world has the secret, the only theatre that can put it into effect
The music? I have told you enough, when describing each

number separately, to make you sense that the score may very well
be a masterpiece. Perhaps it would have been enough to say that it
is a work by M. Halevy. Still, I insist on saying that this
distinguished composer has never been nearer this highest of all
terms of art, enfolding as he does the grand within the simple, the
simple within the grand. There is nothing forced, nothing tiring,
nothing labored. It is as if the music has been poured onto paper
without pause or hesitation. What distinguishes this great artist is
his ability to develop from strength to strength. God has ordered
Halevy, as he has the Wandering Jew, 'March, march,'- and
Halevy keeps marching, (qtd. in Jordan 157-8)
The eminent Belgian composer and musicologist, Francois Joseph Fetis,
devoted two articles to Halevy's opera. Both articles appeared in La Revue et
208
Gazette Musicale. The following is an excerptfromthe second of Fetis' two
articles in which he discusses the Last Judgment and resurrection scene of the
opera.
The chorus singing Qui vient done- Who comes to disturb the dead
in their cold grave?- is one of the most beautiful numbers of the
score. It is a pity that the visual impact of this scene so enthralls
the viewers that it hardly allows them to absorb all the beauties of
the music [...] Even when all the miracles engineered by designer
and machinist have disappeared it is not all over: clouds disperse,
the poor Jew is revealed crouching on the ground. He stirs, wakes
up and cries to the Avenging Angle: 'Oh, my doom is not over ...'
giving vent to his anguish in a recitative of four lines. Trumpets
sound, a chorus of angels pushes him on his way with the terrible
'March, march.' He runs away, the Avenging Angel after him in
hot pursuit. Thus ends this opera which in spite of the great
beauties contained in Guido et Ginevra. La Reine de Chypre. and
Charles VI. is the most outstanding and complete work Halevy has
written since La Juive. (Ibid. 158)
Halevy's opera also reached the attention of the American press. The
following reviewfromDwight's Journal of Music isfromMay 22, 1852. It
speaks at length about the scenery and staging, but comments little about the
music.
The first representation of the Juif Errant, by Halevy, took place at

the Grand Opera on Friday evening last. The musical critics are
pretending to be unwell, thus deferring their reports until they can
have heard the production some half a dozen times, without which
it is impossible to pass judgment upon it. [....] The Opera, had
spent such fabulous sums upon the scenery of M. Halevy's
partition, that it would have been ruined had the play been damned.
Happily, a success which promises to be as durable as the Prophete
has saved the treasury from being collapsed. The scenic art has
never been carried to such lengths as in this opera. The Enfant
Prodigue gave us a view of the glories of Heaven; the Wandering
Jew opens the gates of Hell, and shows us the fiery furnace and the
tortures of the damned. [...]. (52)
209
The review goes on to give a detailed andfloriddescription of the scenery
as well as a synopsis of the plot of the opera. While all of the reviewers were
struck by the grandeur of the staging and scenery, notice of Halevy's music and
orchestration was not lost. In addition to the quartet of saxophones, Halevy
augmented his orchestra with extra brasses and percussion. The following review
is particularly colorful in its description of the power of Halevy's orchestra.
[...] at the Grand Opera, Halevy's opera of the Juif Errant shuts
out all possibility of having anything better for some time to come.
I have been once to hear it, and do not feel very anxious to have
the strength of my tympani so tried again [...]. The mass of brass
instruments used upon several occasions is positively terrific; so
much so that a man of some wit in Paris, observing that some
repairs being made upon the outer walls of the Opera House,
declared that M. Halevy must have treated them as Joshua did the
walls of Jericho. The Grand Opera House in Paris has become a
place of scenic decorations. The administration cares little for the
quality of the music, or the excellence of the libretto provided that
there is a chance for magnificent scenery, and a gorgeous ballet.
Music has become the despised handmaiden of scene painters, and
ballet dancers. (Dwight's 29 May 1852: 63)
Halevy's score called for a large compliment of Sax's brass instruments:
saxhorns, saxotrombas, and fifteen sax-tubas, in a variety of ranges and keys. The
following review, again from Dwight's Journal of Music, states that the sound of
the sax-tubas and brasses was overpowering during his initial hearing, but in
subsequent performances the musicians made the necessary adjustments to
compensate.
As I have just said, the Sax-tubas, whose sound is at once shrill

and prodigiously voluminous, are destined for music in the open
air, in great solemnities; but their effect in a close hall had not been
sufficiently calculated. At the first representation of Le Juif Errant
their impression was formidable and out of proportion with the
210
sonorous mass of the orchestra of the Opera. Such was the talk
throughout the hall; but in subsequent representations the
musicians put dampers on their lungs, and the effect, although still
very powerful, perfectly harmonized with the rest of the
instrumentation. (3 July 1852:101)
The same review also mentions the saxophone quartet.
While I am upon the inventions of M. Sax, let me say a few words

of the piece in LeJuif Errant in which Halevy has introduced a
quatuor of Saxophones, whose sympathetic sonorousness produces
an excellent effect. The combination consists of one soprano
saxophone in B flat, two alto Saxophones, and a bass Saxophone in
C, played by M. Sax himself. This first experiment in concerted
music of a new instrument, to which there is nothing analogous,
has shown that effects hitherto unknown may be drawn from it for
the Symphony. (Ibid.)
Not every reviewer was as intrigued by or enamored of the use of Sax's
instruments in the opera. Another review from that same issue ofDwight's
Journal of Music compares Halevy's opera unfavorably to a performance of
Mozart's Magic Flute.
What a delight to listen to the limpid and graceful melodies of

Mozart, when a few days before one has quailed beneath the empty
noise of M. Halevy's saxophones, drums and trombones, heaped
one upon the other without pity, in his five act nullity, the Juif
Errant (Ibid. 10 July 1852)
While the reviewer here specifically names the saxophones it is probable
that he had used the term saxophone to describe all of Sax's instruments,
including the large quantity of brass instruments called for in the score. All of
these instruments would have been new and unfamiliar to the listeners of the time,
and it would be easy for brass instruments bearing Sax's name to be mistaken for
saxophones.
211
After Halevy's inaugural use of a saxophone quartet, other orchestral and
operatic works followed that included a saxophone quartet. Among the earliest
works to utilize a quartet of saxophones within the orchestra are Georges
Kastner's Overture de festival (1860), Richard Strauss' Sinfonia Domestica
(1904), Joseph Holbrooke's Les Hommages- Symphony No. 1 (1906), and Gino
Marinuzzi's Suite siciliana (1907) (Hemke 307-308).
However, it was as a chamber ensemble and not as a section in the
orchestra that the saxophone quartet was to achieve its most lasting success. Sax
organized numerous concerts and demonstrations to promote his new instruments.
These events ranged from small demonstrations for select groups of composers
and critics, to large-scale public concerts. Demonstrations in Sax's workshop
became so popular that they necessitated a larger space. In 1847 Sax purchased
three adjoining studios to his factory at Rue Saint-Georges and converted them
into a four hundred seat concert hall (Horwood 89). Thereafter, concerts and
demonstrations were held at the concert hall until Sax moved his factory to 50
Rue Saint-George around 1850. It is likely that the very first performances of a
saxophone quartet took place at one of the concerts or demonstrations held at
Sax's factory.
On January 29,1860 Le Review et gazette musicale printed a notice of a
concert at Sax's concert hall in which a saxophone quartet played the introduction
to a program by the Garde de Paris Band (Hemke 349).
212
The premiere of Singelee's Premiere Ouatuor. the first-ever original work
for saxophone quartet, was most likely given as part of one of Sax's sponsored
concerts. An 1861 performance of Singelee's Premier Ouatuor by a saxophone
quartet organized by Sax was documented in the French music periodical, Revue
et Gazette Musicale de Paris (1 Dec. 1861V
On the 16th of July 1864 a review by A. Elwart entitled, "Concert of the
Instruments Recently Invented by Adolphe Sax," appeared in the French
periodical L'lllustration. The concert was a program for small instrumental
ensembles organized by Sax. Included on the program was a performance of
Singelee's Premier Ouatuor for saxophone quartet (47).
The performers from that 1864 concert were scheduled to tour throughout
France, Belgium, and Holland. The tour culminated in a return to France where
the director of the Casino de Fecamp had arranged a special festival for the
performers (Hemke 351-352). Sax sponsored the tour at a personal expense of
twelve thousandfrancs(Ibid.).
A very famous early documented performance of a saxophone quartet was
the 1868 funeral of the eminent composer, Gioachino Rossini. During the service
a saxophone quartet performed a transcription of a classical work, a "Funeral
March" by Beethoven. There were several listener accounts of the event. The
following account was printed in the Revue et Gazette Musicale on the 22nd of
November 1868.
Before the absolution, a quartet of saxophones of Sax played

Beethoven's Funeral March, arranged for this occasion by Gavaert,
213
which added to the melodic beauties of the ceremony and to the
chill felt by those present, (qtd. in Hemke 360)
Another listener account of the event was translated and included in
Herbert Weinstock's book, Rossini: A Biography.
The prayer for final absolution remained. While the priest spoke it
near the catafalque, Sax's wind instruments performed
Beethoven's Funeral March as especially arranged by Gavaert.
You would have thought that you were hearing the sevenfold blasts
of the Angels of the Last Judgment. (Ibid.)
The Beethoven transcription for saxophone quartet, heard at Rossini's
funeral, was done by Francois Auguste Gavaert (Ibid.). Gavaert published a
second transcription for saxophone quartet, a prelude from J.S. Bach's Well
Tempered Clavier, which was included as part of his 1855 instrumental treatise,
Nouveau traite d'instrumentation.
Sax also promoted the saxophone and the saxophone quartet via his role as
a teacher. In 1857 Adolphe Sax was appointed as teacher of saxophone at the
Paris Conservatoire. During his tenure at the Conservatoire, 1857-1870, Sax
taught over one hundred fifty saxophone students (Ronkin 57-8). His students at
the Conservatoire were some of the earliest performers on the saxophone and in
saxophone quartets. Sax commissioned his colleagues at the Paris Conservatoire
to write some of the earliest works for saxophone quartet. And, it was at the
Conservatoire that many of these pieces most likely had their earliest
performances.
Each year new contest pieces were written for the saxophone class. These
pieces were used as part of the annual examinations at the Conservatoire.
214
Performances of these works, many of which were written by the Conservatoire
faculty, are documented (Ibid.)- Sax was the publisher for many of the contest
pieces, including works by Singelee and Sayari, both of whom composed
saxophone quartets (Ibid. 20).
Sax utilized chamber music in his teaching at the conservatory. To
compliment thefledglingoriginal repertoire Sax utilized transcriptions of
classical works for saxophone ensembles of varying sizes. Two notices in the
Revue et Gazette Musicale. detail 1863 performances of Sax's students from the
Paris Conservatoire performing a transcription of a septet by Beethoven for
saxophone ensemble (12 April 1863:118, 17 May 1863:158).
Sax played a pivotal role in the introduction of the saxophone to the
military bands, and a saxophone quartet soon became a standard section in
military bands. Sax had long maintained that families of instruments were a
stronger alternative to large hybrid groupings of mixed instruments. Sax created
his brass instruments, which he called saxhorns and saxotrombas, in a number of
ranges and keys so that they could cover the entire compass with a homogenous
tonal character. Prior to Sax's innovations, a hybrid mix of instruments, such as
valved bugles, valved horns, cornets, trumpets, and ophicleids, were typical in a
European military band of the mid-nineteenth century. This hybrid collection of
instruments not only suffered from a lack of tonal blend, but was also lacking in
power and projection, especially in the bass register. Sax's brass instruments
provided a homogenous, and by all accounts superior, tonal quality. They also
215
provided the depth in the bass register that was typically missing in the military
band (Hemke, Horwood).
Sax proposed a reorganization of the French Military Bands, utilizing his
instruments. Resistance to Sax's proposal was strong. The musical establishment
of instrument makers, performers, and officers were hesitant to allow changes that
potentially threatened their livelihoods. However, Sax had powerful allies within
the military and French government who were eager for France's bands to
compete with those of Prussia. Eminent musical figures such as Berlioz, Fetis,
and Kastner supported Sax's efforts to reorganize the military bands. On April
22nd, 1845 a contest was staged between a band of Sax's instrumentation led by
Sax and one of traditional instrumentation led by the eminent composer and
conductor Michele Carafa (Horwood 70-73). In anticipation of the contest
Berlioz wrote an article entitled, "The Reorganization of Military Bands," in the
French music periodical Journal de Debats.
It is not a question of the interests of manufacturers but of the

interests of art and the army. One can understand the owners of
factories where instruments are made being upset but this should
not and cannot have more influence on the decision of the
Commission than the undoubted joy of the brass manufacturers
who, if the reorganization is made, will be assured of a sudden
increase in profits. If we are to be influenced by such
considerations we shall, following the chain of interested parties,
come to the miners who mine the ore. (qtd. in Horwood 72)
Berlioz' comments were directed at the many enemies of Sax, instrument
manufacturers, who if such a reorganization of the military bands were to take
place would sustain significant financial losses. The contest took place on April
216
22nd on the Champs De Mar in Paris, with over twenty thousand onlookers. Sax's
band, comprised completely of instruments of his own design and manufacture,
was decimated by bribery, threats, and collusion on the part of Sax's enemies.
Despite the small number of remaining musicians, Sax's band was the clear
victor. On August 9th of 1845 an official pronouncement was made and Sax's
instrumentation was accepted as the new model for French military bands
(Horwood79).
According to Horwood's account, 'The Commission recognized the
saxophone to be of incomparable charm, with a wide dynamic range and equally
resourceful in either solo or ensemble" (75). Soon after Sax's reforms, a
saxophone section became a standard part of the European bands. The Garde de
Republican Band, the most celebrated band in all of France, carried a double
quartet of saxophones in their instrumentation. The inclusion of a saxophone
section in the European military bands and their subsequent introduction into the
bands of America is one of the most significant factors in the development of the
American saxophone quartet.
217
Chapter VII
THE SAXOPHONE QUARTET CROSSES THE ATLANTIC
P.S. Gilmore. E.A. Lefebre. and the New York Saxophone Quartet Club
From 1873 until his death in 1892 Patrick S. Gilmore led the 22nd
Regiment Band of New York. This band, which came to be known simply as
Gilmore's Band, became the premier concert band in the United States for two
decades. Gilmore and his band were to usher in the era of touring concert bands in
America that was to thrive for nearly half of a century. Schwarz devotes several
chapters of his book, Bands of America, to the great Gilmore Band. Gilmore and
his band was one of the main purveyors of classical music to the United States.
His band played transcriptions and arrangements of Wagner, Liszt, Mendelssohn,
Berlioz, Rossini, Verdi, and other great classical composers (Schwarz 119-120).
Among his many contributions to the concert band and to classical music
in general, Gilmore was the first American bandmaster to introduce the
saxophone into his band. He has also been credited with introducing the
saxophone quartet to the United States. In an article entitled, "Sixty Years a
Saxophone Soloist," former Gilmore saxophonist, Eustach Strasser, recalls
Gilmore's introduction of the saxophone quartet into his band.
218
Patrick Sarsfield Gilmore, the famous Irish bandmaster, had been
active in the United States since 1849, prior to the Civil War In
Boston, then in the U.S. Army, giving his historical Music
Festivals in 1869 and 1872, when he realized the brilliant
possibilities of the saxophone and as the first, introduced the
Saxophone Quartette in his concerts, and in the publication of his
arrangements, the Gilmore Library of Band Music, now published
by Carl Fischer, Inc. (3)
Gilmore first heard a saxophone section in a number of European concert
bands that participated in his World Peace Jubilee in 1872. The augmented
woodwind section of the French Garde de Republican Band, which featured a
saxophone section of eight players, particularly caught Gilmore's ear. This
experience influenced Gilmore when he later selected the instrumentation for his
own band. When he reorganized the 22nd Regiment Band in 1873, Gilmore
included a saxophone quartet (Schwarz).
One of the leading soloists of the Gilmore Band was the Dutch-born
saxophonist Edward Lefebre, who was known in his day as the "Saxophone
King" (Noyes). He was one of the first saxophonists to achieve international
stature, and the first eminent saxophonist whose career was primarily spent in the
United States. From 1873-1893, Lefebre was prominently featured with Gilmore
as one of the primary soloists of the band (Ibid.). Through his work with the
Gilmore Band and as a soloist and chamber player Lefebre played an important
role in the progress and growth of the saxophone quartet.
In the 1870's Gilmore began to feature his saxophone section on his
programs as a separate performing ensemble. In a concert on January 15,1874
Gilmore, as he often did, featured his solo saxophonist Edward Lefebre in two
219
solo numbers. Lefebre performed his own solo composition Swiss Air, with
Variations and one of the solo variations in the Grand Divertimento by Louis
Jullien. Also listed on the concert program was a Quartet for Saxophones,
"Andante and Allegro," by Singelee (Gilmore Band Program (uncatalogued),
Academy of Music Brooklyn, 15 January 1874). The members of the saxophone
quartet were Gilmore's saxophone section: Franz Wallrabe on soprano
saxophone, E.A. Lefebre on alto saxophone, Henry Steckelberg on tenor
saxophone, and F. William Schultz on baritone saxophone (Ibid.). The Gilmore
Band, one of the most prestigious music organizations in the country, not only
featured a saxophone quartet on its concerts, but also programmed original music
written for saxophone quartet.
The Singelee "Quartet for Saxophones," was in all likelihood the Premier
Ouatuor from 1857. This performance by Gilmore's saxophone quartet was not
of the entire piece, which is written in four movements and exceeds twenty
minutes in length. Most likely this performance featured only the first movement
of the work, which is marked Allegro, with an Andante introduction. In the
1910's Carl Fischer published a version of Singelee's first movement appearing
under the title Allegro de Concert. The edition is marked as revised by E.A.
Lefebre. There are several differences between Lefebre's revised version from
1912, and the version currently available published by Editions Robert Martin.
Lefebre's version makes a few cuts in the music, and reassigns some of the
melodic material from one saxophone to another. The introduction is also written
220
in 6/4 meter, changedfromthe original 4/4 meter. Lefebre's version also includes
an alternate alto saxophone part enabling the piece to be played by an AATB
saxophone quartet, as well as the original SATB instrumentation (Lefebre,
Allegro de Concert).
The Saxophone Quartet was a regular feature on the Gilmore Band
programs. An enthusiastic New York Times reviewfromthe summer of 1875
finds Gilmore featuring a saxophone quartet once again.
Friday evenings are usually set apart for thorough changes of

programme, and day before yesterday a very interesting quartet for
saxophones-instruments which ought to be in more general use
than they are... made up the list of selections. It would be exacting
to ask forfreshercompositions, and when we observe that their
interpretation, whether by soloist or the orchestra, was uniformly
good, it will be admitted that disappointment with the
entertainment is hardly possible. (2 July 1875: 6)
In May of 1877 the New York Times reported another saxophone quartet
performance on a Gilmore program. Like the earlier performance that featured
Singelee's quartet, this 1877 performance once again featured an original work
for saxophone quartetfromthe catalogue of Adolphe Sax. On this occasion the
work was Savari's Ouatuor. The players remained the samefromthe Singelee
performance three years earlier, Wallrabe playing soprano saxophone, Lefebre
playing alto, Steckleberg on tenor and Schultze playing the baritone saxophone
(New York Times 27 May 1877:11).
During the summer of 1878 Gilmore and his band toured throughout
Europe. There was a change in the saxophone section for this tour with Eustach
Strasser replacing Wallrabe as the soprano saxophonist. During the five months
221
that Gilmore was in Europe the band played over one-hundred-fifty concerts.
Lefebre continued to be featured as a soloist throughout the tour. There has been
no evidence located to indicate that Gilmore featured a saxophone quartet on the
European programs (Noyes).
Gilmore returned to New York in September of 1878, but Lefebre
remained in Europe for a few additional months, touring as a soloist and chamber
musician (Ibid., 40-46). Lefebre returned to New York in late 1878. At this time
Strasser returned to Boston, and the original saxophone section of the Twenty-
second Regiment Band Wallrabe, Lefebre, Steckelberg and Schultze were
reunited (Ibid.). Once again the quartet was featured with Gilmore, this time at a
series of concerts at New York's Grand Opera House in December of 1878
(Schwarz 109).
Gilmore continued to feature his saxophone section throughout the 1880's.
While their touring and performance schedule with Gilmore was demanding,
Lefebre and his colleagues also found time to perform as a saxophone quartet
outside of Gilmore's programs and concerts. Under the leadership of Lefebre,
this group of saxophonists became known as the New York Saxophone Quartette
Club. This was a professional saxophone quartet that performed numerous
concerts, commissioned new works for saxophone quartet, and toured the United
States for two decades. Throughout the 1870's and 1880's the four players were
active both as the saxophone section of Gilmore's band and as the New York
Saxophone Quartette Club.
222
Lefebre and the quartet were obviously aware of some of the original
repertoire that existed for saxophone quartet. There are documented
performances of the European works by Singelee and Savari with the Gilmore
band. However, the original repertoire for saxophone quartet was still limited at
this time. The expansion of the saxophone quartet's repertoire was one of the
missions of the New York Saxophone Quartette Club. In late 1878 or early 1879
Lefebre and the New York Saxophone Quartette Club began a fruitful
collaboration with composer Caryl Florio. Caryl Florio was active in New York
as a composer, organist, and choir director. He had a growing reputation and was
interested in finding musicians to perform his works.
The association between Lefebre and Florio was a fruitful one, producing
four works for saxophone. In 1879 Florio composed his Introduction. Theme, and
Variations for alto saxophone and small orchestra. That piece is believed to be
the first-ever written for saxophone and orchestra (Cohen "Caryl Florio" 8). Also
in 1879, Florio composed his first work for saxophone quartet, the Allegro de
Concert for SATB saxophone quartet. The Allegro de Concert is believed to be
the first original work for saxophone quartet written by an American composer.
Shortly after completing the Allegro de Concert Florio composed his Concertante
Quintet for saxophone quartet and piano. Florio's last work for saxophone, also
written for Lefebre, was another saxophone quartet, Menuet and Scherzo from
1885.
223
The American Art Journal took notice of the collaboration between Florio
and the New York Saxophone Quartet Club. The article describes the tone of the
saxophone quartet.
[...] good fortune brought the club to the notice of Caryl Florio, a
most talented musician well know pianist and organist of great
merit and a charming composer, and he being struck with the
beautiful tone produced by the novel combination, composed and
arranged a large and fine repertoire for it. Among the attractions
of this repertoire may be mentioned a Concertante Quintette for
pianoforte and four saxophones, an absolute novelty, there being
no other such composition in existence. (Ibid.)
On April 30,1880 Florio presented a concert of his music. The New York
Saxophone Quartet Club was featured during this concert. Both the Concertante
Quintet with the composer at the piano, and the Allegro de Concert were
performed. The concert received several reviews and notices in the press. The
reviewer for the New York Times, while not saying much about the performance
did remark that the saxophone quartet was performed exceedingly well.
A quartet for saxophones, Allegro de Concert was so unusual in

the fact that it was written for these instruments that its departure
from ordinary forms made it difficult to judge of it at a single
hearing. It was however, not specially interesting, though
exceedingly well performed [...]. The other instrumental number
was a quintet for saxophones and piano, (an odd and original
combination of instruments,) which was not, perhaps, fully
appreciated, as it was the final piece on the program. (31 April
1880:5)
Also covering the concert was the Musical Courier. "[...] The most
successful pieces were the "Mother's Lullaby," nicely rendered by Miss Beebe,
and the Quintet for piano and four saxophones. The grand Chickering piano
blended well with the tone of the wind instruments" (15 April 1880).
224
The New York Daily Tribune wrote,
There was a quartet for saxophones, however, a spirited Allegro de

Concert which attracted the liveliest attention, and at the end of the
programme was added a quintet for the same instruments with the
addition of a piano; this made an excellent combination. The rich
full tone of the saxophones-soprano, alto, tenor, and baritone-came
out superbly in Mr. Florio's graceful and well harmonized phrases,
but the pleasure which these instruments are capable of giving in
the concert-room must always be fleeting because they have little
power of expression. (30 April 1880: 5)
The May 6,1880 issue of the Musical Review offered a different
description than the Daily Tribune.
Mr. Caryl Florio gave his "First concert for the production of his
own works" at Chickering Hall last Thursday evening; when,
notwithstanding the pouring rain, there was a respectable number
of highly appreciative listeners present. Mr. Florio made a daring
attempt in presenting a programme consisting entirely of his own
compositions. But it can not be said that the result did not justify
the boldness. He is a good performer; has long lived in a musical
atmosphere, is an excellent reader at sight of pianoforte and organ
music (a gift which he has not neglected in the study of much
music written for those instruments), and besides has before now
appeared acceptably as a composer of vocal music. Last Thursday
evening Mr. Florio was assisted by a saxophone quartette: Messrs.
Franz Wallarabe, E.A. Lefebre, Henry Steckelberg, and Wm. F.
[sic] Schultze; by the well known string quartette of the New York
Philharmonic Club; by Messrs. Baird and Aiken of the English
Glee Club, and Dr. Hills; and by the following lady soloists: Miss
Maria Brainerd, Miss Henriette Beebe, and Mrs C.V. Lassar-
Studwell (soprano), and Mrs. S. Barron-Anderson (contralto). The
novelties in form on the programme were a quartette for
saxophones, Allegro de Concert: a scena for soprano, with obligato
of clarinet and cello and a quintette for pianoforte and saxophones.
This last was a fine composition, too good to put at the end
of the programme, and it was notable as a proof that at last a
quartette of instruments has been found which even a wide open
piano cannot drown into insignificance.
Mr. Florio, who played the immensely difficult piano part,
was justified in opening the lid wide, with the effect of producing
an admirable balance of tone between the piano and the
225
saxophones. So that instead of calling Mr. Florio's "new form" a
mistake, it were well to advise certain self-assertive pianists wither
to confine themselves to solos and to concertos with orchestral
accompaniment, or else to allow saxophonists to replace the strings
in familiar chamber music of masters who wrote when the
pianoforte was "more piano than forte." In Mr. Florio's quintette
the piano part is so important, that the work might well be called a
pianoforte concerto with quartette accompaniment of saxophones.
Of course, saxophones cannot take the place of the string quartette.
But, for a change, the combination is quite pleasing to the ear, and
the quaint jollity of rapid passages, especially when performed in
the almost percussive tone of the bass saxophone, is quite
delightful. The most prominent tone was that of the alto
instrument, played by Mr. Lefebre, who was known last summer as
the solo saxophonist of Mr. Adolphe Neuendorff s band at Coney
Island.
The Allegro de Concert was a brisk and refreshing
introduction to the concert and was greeted with enthusiastic
applause. (Musical Review)
The New York Saxophone Quartette Club continued to play throughout
the 1880's. During this time the personnel of the group was constant with the
exception of the tenor saxophone chair. The changes in the tenor chair
correspond to the changes in personnel of the Gilmore Band's saxophone section.
The original tenor saxophonist, Henry Steckelberg, left the Gilmore Band and the
New York Saxophone Quartette Club around 1882. From 1883-1884 the tenor
saxophonist of Gilmore's band was Fred ter Linden, and E. Schaap was the tenor
saxophonist from circa 1885-1892 (Noyes 50-51). The following excerpt, from
the St. Louis Dispatch, was reprinted in C.G. Conn's Trumpet Notes vol. VII,
no.2 in November of 1885. It is taken from an article concerning Gilmore's Band
and mentions the saxophone quartet specifically.
The Saxophone Quartet is composed of Franz Wallrabe, soprano;

Lefevre [sic], alto; Schapp [sic], tenor; and Schultze, baritone.
226
Wallrabe and Lefebre divide the honors as soloists, and Schultze
has the honor of being the best arranger of classical music in the
country. He handles the different themes with great skill and his
instrumentation is absolutely perfect. (3)
It is not clear as to whether this passage form the St. Louis Dispatch is
referring to the saxophone section within the band or to a separate saxophone
quartet performance. The reference to the splitting of solo duties between
Wallrabe and Lefebre points toward the saxophone quartet. In the quartet setting
melody and solo lines were often divided between the soprano and alto parts,
Wallrabe and Lefebre respectively. This statement is true of the known repertoire
of the New York Saxophone Quartette Club such as the Singelee, Savari, and
Florio pieces. In Gilmore's band Lefebre was always the solo saxophone player.
Nowhere are there any references to Wallrabe being a soloist with the Gilmore
band. Thus it is likely that the article is referring to the saxophone quartet as a
feature on the band program, and not just the saxophone section within the
Gilmore band (Noyes).
A New York Saxophone Quartette Club concert on October 19, 1885 took
place at a musical soiree hosted by Charles Kunkeis (Noyes 51). This concert is
significant in that it is the first documented performance of Florio's Menuet and
Scherzo. Also programmed on this concert was Florio's Concertante Quintet.
In 1886 the New York Times reviewed a concert that once again featured
Lefebre and the New York Saxophone Quartette Club. This time the quartet was
featured as part of a concert presented by the Harlem Choral Club at Association
Hall at One Hundred Twenty-Ninth Street in New York City. Caryl Florio
227
provided the piano accompaniment for the choral portions of the concert. The
following was said as regards the saxophone quartet,
[...] A saxophone quartet, consisting of F. Wallabre, E.A. Lefebre,

M. Schaap, and F.W. Schultze, played a quartet by J.B. Singelee,
and with Mr. Florio, a quintet for piano and saxophones, composed
by the pianist. Mr. Lefebre also played an andante pastorale by
Klose... The audience was large, brilliant, and appreciative, (qtd in
Noyes 53)
An article featuring saxophonist and clarinetist T.F. Shannon in the
Metronome from April 1897 makes mentions of Gilmore's saxophone section.
This article notes the saxophone quartet performances as part of Gilmore' s
programs at Manhattan Beach.
It was then [1887] that Mr. Shannon changed the clarinet for the
saxophone and was one of the [members of the] famous saxophone
quartet that so delighted the thousands who daily thronged to hear
Gilmore's band at Manhattan Beach. Mr. Shannon's performance
so pleased Mr. Gilmore that he made special arrangements with
Mr. Carl Fischer to have a Bb-bass saxophone imported for Mr.
Shannon. (Metronome April 1897)
A Harper's Weekly article published in September 1889 highlight's
Gilmore's saxophone section.
In Gilmore's band there is a sextet of these instruments, pitched as

follows: 1 soprano, 1 alto, 2 tenors, 1 baritone and 1 contrabass in
B-fiat. In connection with the bassoons particularly, they seem to
bind in string-like manner, the reeds with the brass. The alto is
considered the solo instrument of the sextet, and in the hands of
Mr. Lefebre it is a wonderful adjunct to the band. (787)
The Harper's Weekly article was not entirely accurate. The
instrumentation did not include a contrabass saxophone, but a bass saxophone in
B-flat, and there was only one tenor saxophone in the instrumentation. The
228
accompanying photograph shows a "quintette of saxophones," rather than a
sextet. The quintet formation is confirmed by a Gilmore roster from 1890 which
lists five saxophonists along with their instruments and years of service: M.
Davidson (soprano saxophone- 5 years), E.A. Lefebre (alto saxophone-16 years),
E. Schaap (tenor saxophone- 5 years), F.W. Schultze (baritone saxophone-16
years), and T.F. Shannon (bass saxophone- 3 years) (Murphy 18).
The 1886 New York Times reference is the last confirmed performance of
the New York Saxophone Quartette Club. As noted above there are later
references to the saxophone quartet performing on Gilmore Band programs.
There is also information on other activities that involved the members of the
saxophone quartet, and possibly additional saxophone quartet performances.
Lefebre's performance activities were many and varied. The following excerpt
from the Musical Courier from October of 1880 announces the formation of the
Lyceum Concert Club, a performing group that included Lefebre on solo
saxophone, with an additional four saxophonists playing soprano, alto, tenor and
baritone saxophones, a saxophone quartet.
A musical body called the Lyceum Concert Club has been formed
for the purpose, as its circular avows, of presenting a combination
of instruments entirely new and original. Its personnel is as
follows: E.A. Lefebre, solo alto saxophone; F. Wallrabe, soprano
saxophone; Fred ter Linden, alto saxophone; H. Steckelberg, tenor
saxophone; J. Norrito, flute soloist; Benj. B. Dale, flugelhorn; C.
Lunyack, baritone saxophone; J. Hausknecht, contra fagotto. Benj.
B. Dale is the manager. (573)
With the exception of C. Lunyack replacing Schultze on baritone
saxophone, this noticefromthe Musical Courier indicates that all of the members
229
of the New York Saxophone Quartette Club are intact within the larger
performing organization of the Lyceum Concert Club. The term lyceum, which
Lefebre and his colleagues borrowed for the title of their new group, comes from
a movement that started in the United States in the early decades of the
Nineteenth century. The following definition comes from Thomas Smialek's
dissertation, Clay Smith and G.E. Holmes: Their Role in the Development of
Saxophone Performance and Pedagogy in the United States. 1905-1930.
Lyceum: Single lecture programs given during the winter months

in indoor locations, such as schools, churches, opera houses, or
meeting halls. The lyceum movement originated in 1826 as a
network of local groups committed to mutual education, but by the
1860s professional speakers generally replaced local presenters.
From that time into the twentieth century, music began to play an
increasingly larger role in lyceum programs as well. (2-3)
Often the concert companies or clubs that operated in the Lyceum circuits
were groups of performers that featured a number of different acts and ensembles.
Most of the musical groups included multi-instrumentalists performing in a
variety of settings, and often added readers, comedians, poetry and dramatic
excerpts. In most of these concert companies the members would perform in a
variety of settings, duos, trios, quartets, and full ensembles with instrumentation
changing from piece to piece. It is likely then that within the context of the
Lyceum Concert Club, Lefebre and the other saxophonists performed as a
saxophone quartet.
There are other examples of the saxophone quartet being featured within a
larger group. Gilmore featured the saxophone quartet as a unit within chamber
230
ensembles on his concerts at Manhattan Beach. A Gilmore program from August
19,1883 lists an octet by Foster featuring the following players: Wallrabe,
soprano saxophone; Lefebre, alto saxophone; Linden, tenor saxophone; Schultz,
baritone saxophone; Mundwyler, sarrusophone; Sauer, bassoon; Rupp, bassoon;
and Kavanagh, contra bassoon (Gilmore Band Program (uncatalogued),
Manhattan Beach, 19 August 1883). A sarrusophone is a conical-bore wind
instrument invented in the mid-nineteenth century, named for the French
bandmaster Pierre-Auguste Sarrus. Originally played with double-reeds,
eventually sarrusophones playable with single reed mouthpieces were produced.
Like the saxophone there is an entire family of sarrusophones in various sizes and
keys. They were intended to replace oboes and bassoons in the open air (Cohen,
"Sarrusophone"). Ten days later this same octet was featured at another Gilmore
concert playing a Foster arrangement of Nearer, my God, to Thee (Ibid. 29
August 1883). And on July 10,1886 a composition by Fred ter Linden, Colored
Camp-Meeting, was performed. This work was a solo feature for Lefebre and
featured accompaniment of, "saxophones, sarrusophones, bassoons, and contra
fagotta" (Ibid. 10 August 1886). Presumably the ter Linden piece featured the
same octet as the Foster pieces.
It is unclear exactly when the New York Saxophone Quartette Club ended
its days as a performing ensemble. It is possible that the quartet came to an end
with the death of soprano saxophonist Franz Wallrabe. A letter dated November
26,1892 from Lefebre to Caryl Florio tells of Wallrabe's death (qtd. inNoyes).
231
The death of Patrick Gilmore in 1892 and the subsequent end of the Gilmore band
may have been another reason for the end of the New York Saxophone Quartette
Club. Throughout its history the personnel of the New York Saxophone Quartette
Club mirrored that of the saxophone section of Gilmore's 22nd Regiment Band.
After Gilmore's death many members of the band left and went their separate
ways. For several years various conductors tried to fill Gilmore's shoes and keep
the band alive. However, the band never regained its former glory. Lefebre left
Gilmore's Band in 1893.
The Business Bands and the Saxophone Quartet
From 1873-1892, Patrick S. Gilmore's 22nd Regiment Band was the most
successful touring band in the United States. Although Gilmore always retained
his affiliation with the military, the band operated primarily as an autonomous
unit, funding itself via its touring and concert schedule. Most bands relied on a
civic or military affiliation for all or part of their funding, and were not primarily
touring bands. The 22nd Regiment Band toured almost continuously until
Gilmore's death. During the two decades that Gilmore's band toured the United
States, many other bandsmen and conductors attempted to start touring bands
modeled after Gilmore's band. Alessandro Liberati was one of the greatest cornet
soloists of his day. Liberati arrived in America in 1847. Several years later he
joined Gilmore's band as cornet soloist (Schwarz 99). Liberati had led military
bands in Italy and America prior to his tenure with Gilmore. In 1883 Liberati
232
formed a touring band. His new band lasted only a short time and soon after he
found himself back in the service-band fold (Ibid. 125). In 1887 virtuoso
trombonist and Gilmore band alumnus Fredrick Innes formed Innes' Great Band.
Innes modeled his band directly after his former bandmaster's (Ibid. 127).
Innes patterned his programs after Gilmore's, and like Gilmore, he
featured a number of soloists and chamber ensembles on his programs, including
his saxophone section. Innes had featured a saxophone quintet, as Gilmore had
done near the end of his career. The quintet was comprised of Fagotti, Conway,
Williams, Klose, and Trout (Ibid.).
It is not clear whether Innes consistently featured a saxophone quartet or
quintet at his concerts. Innes' band had an auspicious beginning with a tour that
took the bandfromcoast to coast. However, the band did not last long. Innes
was unable to keep up with the financial realities of a touring band, and in 1890
he returned to military band service accepting an appointment to replace Harvey
Dodworth as director of the 13th Regiment Band of New York (Ibid. 128).
When Gilmore passed away in 1892 his band continued on, first under the
baton of D.W. Reeves and later under Victor Herbert. Although both men were
accomplished conductors and musicians, and despite retaining many of the
musicians that made up Gilmore's illustrious band, neither man was successful.
Without its founder and leader the Gilmore Band was defunct by late 1897 (Ibid.
143).
233
Thefirstbandleader to achieve the same level of success that Gilmore had
achieved was John Philip Sousa. Sousa started his Sousa's New Marine Band in
late 1892 shortly after the death of Gilmore. By the spring of 1893 sensing that
the end had come for the Gilmore Band, a number of Gilmore's best musicians
left the band to join Sousa. Among the many musicians who defected from
Gilmore to Sousa was saxophonist E.A. Lefebre (Ibid. 139). Sousa's business
band, without any military affiliation, not only survived, but prospered from the
1890's through the 1930's. Sousa and his band toured the United States many
times over and made European and World tours. Sousa ushered in a new era of
touring bands, as band music was on the verge of becoming a phenomenon in the
United States. In the coming years Liberati, Innes, Kryl, Brookes, Pryor,
Creatore, and Sweet all had touring bands modeled after Sousa's. According to
Leon Meade, in 1889 there were over ten thousand amateur and professional
bands in the United States. The eminent musicologist, Rupert Hughes, notes that
by 1899 that number had roughly doubled to between eighteen and twenty
thousand (Ibid. 169). Through it all Sousa remained the most successful of all the
bandleaders. Sousa composed hundreds of works in a number of styles and
genres, including fifteen operettas, waltzes, songs, suites, nearly one hundred fifty
marches, and over three hundred arrangements of symphonic and operatic works.
Although his marches account for only approximately thirty percent of his output,
they are his most lasting legacy, earning him the title, the "March King." When
234
Sousa retired he had made millions of dollars, composed and published hundreds
of works, and had led his band for over four decades (Bierley 9).
The saxophonist, E. A. Lefebre was only with Sousa for a very short time,
but the saxophone section was always an important component of the Sousa band.
Throughout its entire existence Sousa's band always included a saxophone
section. During different periods the saxophone section ranged from three to
eight players. Sousa continued Gilmore's practice of featuring soloists and
chamber ensembles on his band programs. Among the greatest of Sousa's
soloists were the cornetists Herbert Clarke, Alessandro Liberati, and Bohumir
Kryl; and trombonists Arthur Pry or, Leo Zimmerman, and Simone Mantia (Ibid.
173-7). A saxophone soloist was almost always a featured member of the Sousa
band. After Lefebre's short tenure as saxophone soloist with Sousa, he was
followed by Jean Moeremans (1894-1905), Ralph Lick (1917), H. Benne Henton
(1919-1920), Jascha Gurewich (1920-1921), and a number of saxophone soloists
during the 1920's (Hester 111-112).
Sousa also featured saxophone quartets on his program. In 1905 in the
pages of the Conn Company's magazine, Truth, there is a photograph of the
members of the Sousa Saxophone Section, wearing their uniforms and holding
their saxophones. Five saxophonists are pictured in all with Jean Moeremans
playing the solo chair and the quartet of saxophones serving as his
accompaniment. Underneath that photograph the following blurb appeared:
[...] Jean A.H. Moeremans, Soloist; Wm. F. Schensley, Alto;

Samuel Schaich, Alto; Fred Paul, Tenor and Rudolph Becker,
235
Baritone. One of the most entertaining numbers on Sousa's
programs is an Alto solo by Mr. Jean Moeremans with the
quartette accompaniment. The beautiful blending of the harmony
well illustrates the musical resource of these instruments, which
are now rapidly being adopted by the best amateur bands,
professional bands having already adopted them. (Truth March
1905: 9)
On Thursday October 18,1906 a saxophone quartet was featured on a
Sousa band concert in Boston. The personnel were: William Schensley on
soprano saxophone, Albert Knecht on alto saxophone, Samuel Schaich on tenor
saxophone, and Rudolph Becker on baritone saxophone. The program lists the
saxophone quartet performing an arrangement of "Rigoletto" by Verdi (qtd. in
Goldman 75). Just as Gilmore had done earlier, Sousa featured a saxophone
quartet regularly on his band concerts. This saxophone quartet, comprised of the
members of Sousa's saxophone section, became known as the American
Saxophone Quartette. The American Saxophone Quartette had a relationship with
the Sousa Band, similar to the relationship that the New York Saxophone
Quartette Club had with the Gilmore Band. The American Saxophone Quartette
filled the dual roles of the Sousa saxophone section and an independent, touring
chamber ensemble.
The members of Sousa's saxophone section had been performing as a
quartet before 1906. The March 1902 issue of Truth contains an announcement
for the American Saxophone Quartette of Philadelphia. The announcement reads
as follows,
Philadelphia: The American Saxophone Quartette of Philadelphia,

is a worthy organization. They are handling high-class music on
236
the saxophone, and furnish a most acceptable entertainment,
clearly demonstrating the possibilities of the saxophone as an
independent musical instrument. The members of the quartette are
Messrs. W.F. Schensley, S. Schaich, F. Paul and F.R. Becker.
Their address is Heppe Concert Hall, No. 1117 Chestnut street,
Philadelphia, Pa. (54)
One month later a notice for a performance of the American Saxophone
Quartette appeared in the Philadelphia Public Ledger on April 12,1902. On this
occasion the saxophone quartet appeared on a program with the University of
Pennsylvania Band. On February 21, 1903 the Washington Post printed an
advertisement for the "American Saxophone Quartette of Philadelphia"
performing at the Lafayette Opera House in Washington D.C. (9). On March 10,
1904 the Washington Post printed an announcement for the American Saxophone
Quartet Concert Company. The quartet appeared as part of the Epworth League
Star Courses at the National Armory Hall on March 23 (13). Another notice for
the concert appeared in the Washington Post on March 20,1904.
The American Saxophone Quartet Concert Company, the only

organization of its kind in America, will be heard in this city on
Monday evening, March 21, at Mount Vernon Place M.E. Church
South. [ . . . ] . The quartet is assisted by Signor Francesco Cortese,
solo harpist, formerly with the Maseagni Opera Company and
Philadelphia Symphony Orchestra, and Miss Helen Winslow,
Boston's sweetest soprano. The company presents one of the most
effective musical combinations now before the public. (E9)
The program featured the saxophone quartet as well as pieces for solo
harp, soprano and harp, saxophone solo, saxophone duet, a bass saxophone solo,
and pieces for saxophone quartet and harp. The Saxophone quartet was featured
four times. They performed the "Pilgrim's Chorus" from Wagner's Tannhauser.
237
under which appears the caption, "Saxophone Quartet, Imitating the great pipe
organ at Westminster Abbey." The saxophone quartet also played arrangements
with harp of selections from "Rigoletto" and "II Trovatore" by Verdi. The final
piece featured the full ensemble of saxophone quartet, harp, and soprano,
"Inflammatus" from "Stabat Mater" by Rossini (Ibid.).
A 1905 brochure located in the Marine Band Library in Washington D.C.
contains press clippings, photographs, and a sample program of the American
Saxophone Quartette Concert Company. During 1905 the American Saxophone
Quartette toured the United States with two other Sousa band members rounding
out the roster, harpist Francesco Cortese and soprano Emma B. Michael. The
sample program includes settings for saxophone solo, saxophone and harp,
saxophone duets, harp solo, soprano voice and harp, saxophone quartet, and a full
ensemble arrangement of the Start Spangled Banner. The saxophone quartet
appeared twice on the sample program performing a march from Wagner's
Tannhausser and selections from Verdi's II Trovatore. The brochure also includes
a testimonial from the superintendent of the Willow Grove Park, Philadelphia, in
which he describes the audience for the American Saxophone Quartette concerts
as, "two of the largest audiences that ever assembled at the Park. The audience
last night, within hearing of your quartette, numbered close to twenty five
thousand hearers" (qtd. in Hindson 28-29).
The American Saxophone Quartette was a professional chamber ensemble
featuring members of the Sousa Band. Much of the American Saxophone
238
Quartette's renown came from its member's affiliation with one of the premier
bands in the United States. Of all the members of the American Saxophone
Quartette the baritone saxophonist, Rudolph Becker was the most prominent.
Becker's name is mentioned often in the instrument trade magazines and music
journals of the time. He was an original member of the saxophone section of
Sousa's band, and founding member of the American Saxophone Quartette. The
American Saxophone Quartette performed together for over a decade. Many of
the activities of the quartet occurred during its early years,from1902-1905.
However, in 1915 the American Saxophone Quartet was still performing. The
following article, a feature on Rudolph Becker, appeared in a Conn catalogue
from September 1915.
Rudolph Becker the Baritone Saxophonist of Sousa's Band, also,

of the American Saxophone Quartette, which organizations are
premier in their respective classes in the musical world, has been
playing a Conn Saxophone for a year or more. Mr. Becker is
recognized as a musician of the highest order, [...].
Again in 1917 Rudolph Becker was featured in the pages of Conn's
Musical Truth and again mention is made of his quartet playing. In this instance
more information is given about the quartet, including reference to the difficulty
of their chamber music repertoire.
Rudolph Becker is the Baritone Saxophonist of Sousa's Band and a

prominently known figure in the musical circles of Philadelphia.
As a Saxophonist, he is recognized as one of the most efficient.
His connection with the celebrated Philadelphia Saxophone
Quartette, which organization is known as having played the most
difficult chamber and concert music, readily placed him in the
foreground as an artist of unusual ability. fMusical Truth.
September 1917: 13)
239
It is unclear whether the American Saxophone Quartet had been renamed
the Philadelphia Saxophone Quartet or if this article is referring to a different
saxophone quartet. The article makes no mention of this saxophone quartet being
a new organization. Besides Becker none of the other quartet members are
named.
As late as 1924 Sousa was still featuring his saxophone section on his
concerts. Ever attentive to his audience, Sousa began to sprinkle his programs
with ragtime and syncopated music. In 1924 he featured an eight-man saxophone
section as a separate performing ensemble on his band programs: four altos, two
tenors, a baritone, and a bass (Schwarz 287).
Rudolph Becker retired from playing in the 1930's, however he continued
to be covered in the press right up until his death in 1961. On November 5,1950
an article appeared in the Philadelphia Inquirer marking Becker's 85th birthday.
The article cites Becker as the only living original Sousa band member. His
saxophone playing is spoken of generally, but no specific mention of his
saxophone quartet playing is made. Again in 1955 an article appeared in the
Philadelphia Inquirer featuring Rudolph Becker, this time for his 90th birthday.
Becker is noted as being the oldest living member of the original Sousa band. In
a reminiscence he recalls the names of some of his colleagues, some of them
members of the American Saxophone Quartette.
His old baritone sax, a beautiful instrument built in France by

Buffet, lies tarnished and silent, while Becker remembers Schaich,
240
who used to play second alto, and Schensley, third alto, and old
Knecht, the tenor sax man.
"They are all gone now," he murmurs. (Philadelphia
Inquirer September 18, 1955)
Rudolph Becker died in 1961. His obituary appeared in The Evening
Bulletin in Philadelphia on April 17,1961. It spoke of his time with Sousa and
his appearances with the Philadelphia Orchestra as well as his other musical
activities. There was no mention of the American Saxophone Quartette.
During the nineteenth century a saxophone section became a standard part
of the American concert and military band. Concert bands were moving towards
greater ratios of woodwind instruments to brass instruments. This trend was in
contrast to the military bands of a few decades earlier. Gilmore and Sousa were
trailblazers in this regard (Schwarz 132).
Sousa followed Gilmore's lead in this regard with a ratio of more than two
to one of woodwind to brass instruments. The refinement of sound that was
achieved by increasing the number of woodwind instruments and decreasing the
number of brass instruments became a model for all of the professional bands that
would ride the wave of popularity that Sousa had been enjoying alone for a
number of years. The bands of Innes, Kryl, Liberati, Pry or and others all featured
saxophone sections. Like Sousa and Gilmore a number of bandleaders featured
saxophone quartets on their band programs.
In the early 1890's Fredrick Innes once again tried to start a business band.
Innes had failed in his attempts at running his own band in the 1880's, but in the
band-friendly environment of the mid 1890's he became a huge success. Once
241
again Innes modeled his band after Gilmore's. He featured a number of soloists.
His roster included: B. C. Bent, cornet soloists, and his brother Thomas C. Bent,
also cornet soloist; W. Henning and Tom Clarke, both cornet soloists; Joe Wise,
trombone soloist and J. Lavalle, trombonist; Harry Whittier, euphonium soloist;
Luke Del Negro, bass tuba, and the saxophonists H. Morin on alto, E. Schaap on
tenor, and V. Ragone on baritone. These men were all accomplished musicians, a
number of them, such as Ben Bent, Tom Clarke, and Harry Whittier were former
members of Gilmore's Band (Ibid. 179).
Among the former Gilmore men was the saxophonist E. Schaap. Schaap
was also an alumnus of the New York Saxophone Quartet Club and had played in
the saxophone quartets featured on Gilmore's programs. A notice appeared in the
October 1911 issue of Truth under the title, "Innes' Orchestral Band." It was a
testimonial for Conn saxophones and spoke primarily of the need for saxophones
in any, "first class band," as evidenced by their inclusion in the famous bands of
the time. The article is followed by a letterfromNicola Mastrangeo, one of the
saxophonists with the Innes band. The letter is signed, "Nicola Mastrangeo,
Member of the Innes Band Saxophone Quartet" (9).
Another Innes saxophonist, Vincent Ragone, was involved with a number
of saxophone quartets. Ragone was not only an alumnus of Innes' band but also
played in the bands of Sousa and Liberati. Throughout his career he performed in
saxophone quartets, and like many of his contemporaries, found work as a
saxophonist in the dual roles of section player and as a member of a saxophone
242
quartet. As early as 1895 Ragone's name began to appear in advertisements for
Conn saxophones. The following excerpt comesfroma short articlefromthe
August, 1895 issue of Truth.
To Lefebre, Nimms, Maginel and Ragone, the celebrated

Saxophone Soloists of the great bands, are we indebted for the
demand of first-class Saxophones; these artists deserve credit as
educators, they all use the Conn Wonder Saxophones, and during
the grand trans-continental tours of Sousa, Innes, Liberati and
Gilmore Bands, the Saxophone solos introduced have been an
attractive and interesting feature of the programmes [sic.]. (5)
As a soloist, orchestral player, and as a member of the Sousa, Innes, and
Liberati bands Ragone continued to find his way into the pages of Truth. These
articles provide a history of Ragone's career as soloist and band member. The
September 1908 issue of Truth includes a photograph and notice for the, "Vincent
Ragone Saxophone Quartette of New York City, under the instruction and
direction of Vincent Ragone, the celebrated saxophone soloist" (9). Ragone had
organized a saxophone quartet comprised of himself and three of his students.
Very little is said regarding the type of music that the quartet performed.
However, based on Ragone's career with Sousa, Innes, and Liberati, it is probable
that the group performed the same mix of classical and chamber music that
groups like the New York Saxophone Quartette Club and the American
Saxophone Quartette performed. The saxophone quartet is pictured with their
instruments, SATB instrumentation, and wearing the military style uniforms
common to the bands of the time. The following isfroma letter written by
Ragone to the Conn Company regarding his saxophone quartet, "This quartette is
243
first-class in every respect, displaying wonderful talent, playing with
extraordinary expression, and showing off the remarkable qualities of the Conn
Saxophones to the very best advantage" (Ibid.). It is not known how long the
Vincent Ragone Saxophone Quartette remained in existence. Notices regarding
Ragone's solo playing appear in the pages of Truth as late as 1916 (Truth vol.9
no.20:29).
Giuseppe Creatore was one of the foremost trombonists and bandleaders
of his day. Creatore began his career as trombonist in a number of Italian bands
working in America around the turn of the century. In 1901 he returned to Italy to
recruit musicians to form his own band. In 1902 he returned to New York with
his band and began touring the United States (Schwarz 212-4). Initially Creatore
was extremely successful. He had a romantic, emotional style of conducting that
was in contrast to Sousa, Innes and many of the other bandleaders with military
backgrounds. Creatore's success inspired a number of imitators. The competition
from other Italian bands eventually caused Creatore's downfall (Ibid. 222).
Like many bandleaders Creatore featured a saxophone quartet on his
programs. A review published in the Washington Post on September 25,1911
makes mention of the saxophone quartet's appearance on the program.
A hundred or more of the Italian colony took advantage of the hot

weather and the open windows at the Columbia Theater last night
to enjoy Creatore's Band from the sidewalk. But, in addition to
this "overflow," there was an enthusiastic audience in the F street
playhouse for the first concert of the new season.
[...]. Mendelssohn's march "Midsummer Night's Dream"
opened the concert, followed by the Rossini overture
244
"Semiramide," played with brilliant effect in the usual florid
Creatore style. [...]
Chopin's "Funeral March," selections from Verdi's
"Ernani," the sextet from "Lucia' (an invariable Creatore number),
and Braga's "Angel Serenade," played as a saxophone quartet,
completed the program. (5)
Lesser-known bands of the era also featured saxophone quartets on their
programs. The Pullman Band of Chicago featured a saxophone quartet as early as
1893. An articlefromthe Chicago Daily TribunefromJanuary 22,1893
mentions that the saxophone quartetfromthe Pullman Band was included on a
concert given by the Highland Association at the Central Music Hall of Chicago
(12). Another band to feature a saxophone quartet was Ellery's Band. The
following notice was printed in the Washington Post on March 13,1910.
Ellery's famous band will present a program of popular music at

popular prices, at the National tonight, the scope of the airs
selected being virtually international. One of the features of the
concert will be the saxophone quartet, producing effects like those
of a pipe organ.
The program will include music characteristic of many
nations, the various numbers being as follows: Spanish military
march, Yraduer; saxophone quartets, "Annie Laurie" and the "Last
Rose of Summer;" sextetfrom"Lucia," Donizetti; the largo from
Dvorak's symphony, "The New World;" the "Jolly Fellows'
Waltz," Vollstedt; and a grand fantasie arranged from "Carmen."
(MT2)
Another saxophonist of the era who worked in both the concert band and
saxophone quartet mediums was A. Lynn Shaw. Shaw was a veteran of both the
Liberati and Innes bands. Like Ragone, Shaw led his own saxophone quartet. A
short article about Shaw appeared in the May 1904 issue of Truth. The article
consisted mainly of a listing of Shaw's playing credits along with a testimonial
245
for Conn saxophones. The article also refers to Mr. Shaw performing with the
"Great Lefebre," and participating in a number of saxophone quartets, including
his own quartet that is not named in the article. A few months later in the
September 1904 issue of Truth, a notice for the Lynn Shaw Saxophone Quartette
appeared.
The Saxophone Quartette is admittedly one of the most attractive

and successful combinations of the Vaudeville stage, of the
Lyceum Bureau companies and now the amateur band feels
deficient if in its organization it does not muster up a quartette of
these beautifully voiced instruments. As will be observed by all,
the saxophone is an instrument that appeals quite as much to the
lady musician as to those of the sterner sex. The instrument is not
hard to blow, the mechanism is not difficult to master, nor is the
instrument unwieldy but on the contrary is graceful and attractive.
The flexible qualities of the tone make them especially desirable
for concert purposes, either in solos or ensemble. (9)
The mention of a "lady musician" is a reference to the personnel of
Shaw's quartet, comprised of two men and two women. The notice is
accompanied by a photograph of the Lynn Shaw Saxophone Quartette depicting
the quartet with an instrumentation of two altos, tenor and baritone saxophones.
Aside from Shaw, none of the quartet members' names are given.
Along with the business bands, the military bands of the day featured
saxophone quartets. An advertisement printed in the Chicago Daily Tribune on
January 9,1898 announces a concert by the Chicago Marine Band. Among the
features on the concert were a trio of singers performing a selection from "II
Trovatore," a duet for cornet and trombone, and a saxophone quartet (32). A
short notice printed in the Washington Post on November 30,1906 announces a
246
fair at the Concordia Church. The short notice states that, "Music will be
furnished by the saxophone quartet of the Marine Band" (14).
A saxophone quartet was apparently a regular feature of the Marine Band
in Washington D.C. On August 2,1915 the Washington Post printed a program
for a Marine Band Concert under the baton of William H. Santelmann. Listed on
the program was a saxophone quartet playing "Adagio et Fuguetto" by Marcus.
The Saxophonists are listed as f. Mueller, A. Pfleger, J. Ter Linden and F.
Baptista (12). Another program for the Marine Band five days later included the
same piece for saxophone quartet performed by the same players (Ibid. 7 August
1915:14). On September 15 of the same year the Washington Post published
another concert program of the Marine Band. Again a saxophone quartet was
featured. On this occasion Jean-Baptiste Singelee's "Allegro de Concert" was
programmed. This piece is likely Lefebre's arrangement of Singelee's quartet
published by Carl Fisher. The members of the saxophone quartet are listed once
again, this time giving their full names: Fritz Mueller, August Pfleger, John ter
Linen, and Frank Baptista (Ibid. 15 September 1915:4). Another listing five days
later showed the Singelee listed on another Marine Band Concert program.(Ibid.
20 September 1915:9). Upon the Marine Band's return to Washington after a
tour the Washington Post printed the following notice on November 29,1915.
The United States Marine Band gave a special "neutral program"

at the Belasco Theater last night after W.L. Radcliffe presented the
musicians at a "homecoming" after their tour of eight weeks
through the country. William H. Santelmann was leader. Walter
F. Smith was second leader.
247
A saxophone quartet was a feature of the program and a
number of solos were heard. The quartet was composed of Fritz A.
Mueller, August Peleger, John M. ter Linden and Frank Baptista.
[...]. (5)
A saxophone quartet continued to be a regular feature on Marine Band
programs through the summer of 1916. A July 15,1916 program once again
featured the saxophone quartet. On this occasion the saxophone quartet selection
was "Impromtu" by Marcus, presumably the same composer from the August
1915 concerts. The members of the saxophone quartet are again listed, with no
changes in the lineupfromthe previous concerts (Ibid. 15 July 1916: 5). Another
Marine Band concert program printed in the Washington Post the following day
listed the "Impromtu" for saxophone quartet once again (Ibid. 16 July 1916: 9).
All of the saxophone quartets discussed thus far share a number of key
characteristics. Most of the quartets featured an SATB configuration, with fewer
featuring the AATB instrumentation. The music performed by these professional
saxophone quartets combined original classical works for saxophone quartet with
transcriptions and arrangements of classical chamber music, excerpts from
symphonic works, and operatic selection including overtures, arias, and excerpts.
The bands with which they were affiliated further inform an understanding of
their repertoire and performance practices of these saxophone quartets. The
Gilmore, Sousa, Innes, Liberati, Creatore, Brookes, Pryor and other concert bands
were the premier performing ensembles in the United States. In an era when
symphony orchestras were scarce and in their developing stages, the concert
bands flourished. These bands were not mere military or marching bands. They
248
performed some of the most difficult and serious orchestral and operatic literature
of the day. The excellent reputations and high level of both musicianship and
programming of the bands of Gilmore, Sousa, and Innes speak to the ability of the
saxophone quartets that were affiliated with them and featured on their programs.
The evidence is strong regarding the connection between the professional
bands and the development of the saxophone quartet. An examination of the
close relationship between the amateur band and the saxophone quartet provides a
more complete perspective on the state of the saxophone quartet in the United
States between the 1880's and 1920's. During the age of the business bands and
for a time afterward almost every town or local principality had its own concert or
military band. Often found alongside these amateur and semi-professional bands
were local saxophone quartets. These groups will be discussed in the next
chapter.
Amateur Bands and the Saxophone Quartet
In the 1890's through the first two decades of the twentieth century, the
American concert and business bands flourished. The bands of Sousa, Innes,
Liberati, Kryl, Pryor, Sweet, Creatore, Brooke, and many others were touring the
country bringing classical and art music to the masses. At the time symphony
orchestras were scarce in America. In fact when Gilmore started his touring band
there were only two or three permanent symphony orchestras in the United States:
the New York Philharmonic under Carl Bergmann, and the Brooklyn
249
Philharmonic Society, which [Theodore] Thomas directed. Boston had had an
orchestra under Carl Zerrahn from 1855-1863, but it had been abandoned, and
was not to be revisited until 1881, when the Boston Symphony Orchestra was
established by Major Henry Lee Higginson and conducted by Georg Henschel.
Chicago had its Philharmonic Society on an intermittent basis since 1850, under
Dyhrenfurth, Ahner, Unger, andfinallyBalatha, but was given up, and not to be
revived until 1891. In Cincinnati, Frederick L. Ritter had formed the
Philharmonic Orchestra in 1857, but it languished and died when Ritter went to
New York in 1861. Not until 1895 was Cincinnati to have a symphony orchestra,
when Van der Stucken took up the task. In 1866 there was little more than the
beginnings of an orchestra in Philadelphia, St. Louis, Cleveland, San Francisco,
and other of our leading cities, all of which now have large and capably directed
symphony orchestras (Schwarz 88).
The touring concert bands of Gilmore, Sousa, Innes, Liberati, Brooks,
Pryor, Sweet, and others rode a huge wave of band-music popularity that peaked
in 1910 and did not die out until the end of the 1920's. The business bands of the
day were certainly popular and numerous. However, the number of local and
amateur bands dwarfed the number of business bands. Throughout the United
States local bands became the staple of a town or village's musical life. This
statement is especially true of rural areas and small townships outside of major
cities. Schwarz provides a description of the importance of the local band in the
rural United States.
250
[...]. Villages, towns, and cities were isolated to a degree we can
hardly comprehend today. People "belonged" to a community and
took pride in their community in a way we do not generally feel
today. Each of these communities had to have a band. It was a
rallying point for civic interest. Hardly any event could be
properly observed without a band. In those days a village or small
town without its own band was considered " a black number."
These were also the days before the phonograph, and the
motion picture, to say nothing of radio and television. The hours
of entertainment supplied by these modern devices today were to
some extent supplied in the old days by the town band. (170)
Similar to the professional saxophone quartets that were affiliated with the
professional bands, a great number of amateur and semi-professional saxophone
quartets could be found throughout the United States. While there were
saxophone quartets operating in the United States in a number of settings, ties to a
local band was a strong connection for many of the amateur saxophone quartets.
These amateur groups, like their professional counterparts, performed the dual
function of the saxophone section in the local band and chamber ensemble as a
saxophone quartet. Often saxophone quartets were a separate ensemble featured
on local and amateur band programs.
The many amateur and semi-professional saxophone quartets that follow
this model date back decades before the popularity of the touring concert bands
had reached its peak in 1910. One of the earliest groups was the St. Louis
Saxophone Quartet. The following notice appeared in the Musical Courier, a
Nineteenth century music periodical, on August 13,1880. "The St. Louis
Saxophone Quartet has disbanded. This is very much to be regretted, as it's
251
playing was an agreeable feature in the concerts of the Knights of Pythias Band at
Schnaider's Garden" (406).
Documentation exists of a number of nineteenth century saxophone
quartets who followed the model of doubling as both saxophone quartet and
saxophone section in a local band. On October 4,1892 the Los Angeles Times
ran a feature article about the Sixth District Agricultural Fair. Amongst the
musical acts were the Mexican Band, Governor Torres' Band, and Arend's
Orchestra, the latter of which featured a saxophone quartet. The article called
special attention to the saxophone quartet, "Arend's orchestra furnished excellent
music, making a striking hit with a saxophone quartette, which was
enthusiastically encored" (10).
An issue of TruthfromApril of 1897 contains a short article and a letter of
testimonial from E.J. North the bandmaster of the Minnesota Training School. In
it he relates the great effect that has been achieved by adding a quartet of
saxophones to his band, which previously featured only brass instruments and
clarinets. He compares the sound of his saxophone quartet to that of an organ.
That is a comparison that appears time and again in nineteenth and early twentieth
century descriptions of the sound of a saxophone quartet. The caption reads,"[..
.] a quartette of Saxophones became an absolute necessity, and what a sensation
they created? The effect was that of a grand organ, indeed the Saxophones take
the place of the grand organ in the church choir" (7).
252
A photo accompanied the article. It depicts all four members of the
saxophone quartet with their instruments: soprano, alto, tenor and baritone
saxophones. In addition to accompanying the choir at the school, the saxophone
quartet served as an invaluable section in the wind band. It should be noted that
the addition of the saxophones enabled the band to properly interpret classical and
operatic selections.
You know that the Saxophones have been added, one at a time, the
first one added such improvement to the tone color of the Band
that the second was ordered and the improvement was more
marked, and so on until we now have a quartette of them, as well
as a full corp of clarinets. Our instrumentation enables us to
properly interpret the selections from Grand Opera and Standard
Overtures, [...]. (Ibid.)
In the same issue of Truth another listing for a saxophone quartet appears.
This saxophone quartet from Terre Haute, Indiana, was an outgrowth of a local
music organization as well.
Last week, mention was made of the artistic work on the

saxophone by Mr. Arthur E. Patten, in the Philharmonic concert.
Mr. Patten has now organized a saxophone quartet, of which he
will be the leader and business manager. As this instrument is
comparatively new in this country, and ranges in pricefromthe
neighborhood of $70 upwards, this organization will probably be
the only one of its kind in the state. The members are: A.E. Patten,
alto; Sam T. Greenberg, soprano; CO. Davis, baritone; and Harry
Winemiller, tenor...
This instrument which is said to resemble the human voice
more than any other brass instrument, was introduced in this
country by E.A. Lefebre, a soloist in Gilmore's band, who has
personally inspected the instruments to be used by the quartette in
this city." (Ibid. 10)
More saxophone quartets would emerge from around the country in the
pages of Truth. In the April 1898 issue there was an announcement of a newly
253
formed saxophone quartet in Lebanon, Pennsylvania. In the September 1902
issue of Truth there is a caption for the Cory don Saxophone Quartette located in
Cory don, Iowa. The accompanying photo depicts the members of the quartet with
their instruments: soprano, alto, tenor and baritone saxophones. There is a short
caption as well as a letter written by the members of the quartet. The text gives
some insight into the playing of the group and some of the work they did. The
caption reads as follows, "A saxophone quartette giving perfect satisfaction, a
pleasant and profitable organization making good music [...]" (9) .
The letter from the quartet says the following,
Enclosed you will find a picture of the Corydon Saxophone

Quartette. About a year ago we received the quartette of "Conn"
instruments which we are now using, and take pleasure in saying
that they are giving perfect satisfaction in every respect. Besides
the quartette work we are using them in the Corydon Military
Band, a picture of which we will send you in a short time." (Ibid.)
The reference to the quartet's profitability suggests that this saxophone
quartet may have been a professional or semi-professional group, probably
performing locally and in the surrounding areas. In December of that same year,
another issue of Truth featured two more announcements for saxophone quartets.
The first was an announcement of a formation of a group in Alleghany,
Pennsylvania. The caption contained a letter from the quartet, which was
primarily a testimonial for Conn saxophones. Also in that same issue appeared a
picture of another saxophone quartet. The quartet is shown with their
instruments, soprano, alto, tenor, and baritone saxophones. There is no
accompanying text other than a caption below the picture reading, "A Great
254
Musical Act, by Klein, Ott Bros, and Nickerson, Using a Quartette of Conn
Wonder Saxophones" (December, 1902: 3).
Saxophone quartets as adjunct organizations to a concert or military band
continued to be reported in a variety of print sources and settings. In 1904 there
was a government exposition in St. Louis. Part of the exhibition was an, "Indian
Exhibit," featuring various materials concerning Native Americans. A brochure
published by the Central Lyceum Bureau of Chicago, announced the organization
of the, "Government Official World's Fair Indian Band." The brochure gives a
detailed description of the band.
An appropriation was made by the last congress for an Indian

Exhibit, to be held in the connection with the Louisiana Purchase
Exposition at St. Louis in 1904. Hon. S.M. McCowan,
superintendent of the Chilocco Agricultural College for Indians,
Chilocco, Oklahoma, was selected by the Secretary of the Interior
for the important post of superintendent of this Indian Exhibit. He
conceived the idea of organizing an Indian band, selected from the
best material to be found in all the Indian schools of the United
States, a representative band which should be a credit to the entire
Indian service. The Government Official World's Fair Indian band
consists of thirty-five members who are artists in their respective
lines. The entire United States has been drawn upon for Indian
players, and the result is a band that has never been excelled, and is
not now equaled by any other similar organization in the world. (2)
The brochure detailed the members of the band, along with some
biographical information, provided testimonials from listeners, and pictures and
blurbs of some of the smaller groups and ensembles included on the Indian Band
programs. There was a male quartet and a female quartet, both vocal groups. The
last of the three small groups was a Saxophone Quartette. The members of the
quartet are pictured holding their instruments soprano, alto, tenor and baritone
255
saxophones. Their names are provided: Manuel Gonzales, soprano saxophone;
Leon Poitra, alto saxophone; Celestino Romero, tenor saxophone; and Elwood
Harlan, baritone saxophone. The following blurb appears beneath the picture of
the Saxophone Quartette.
The members of this quartette have played successfully in the

Chilocco, Oklahoma, and Genoa, Nebraska, Indian School bands.
(See general description of the players for tribe, etc.) These young
men have acquired a commendable degree of skill with their
instruments, and their work is sure to be attractive and pleasing to
the public. (Ibid. 5)
The saxophone quartet can also clearly be seen in the photograph of the
full band as a section with the same instrumentation: soprano, alto, tenor, and
baritone saxophones. After the government organized the Indian Band for the
1904 World's Fair, the group continued to perform with the Central Lyceum
Bureau of Chicago as the "exclusive management" for the group. The brochure
features the saxophone quartet prominently and it is mentioned as one of the
attractions that the group holds for audiences.
A notice for the Saxophone Quartette of Omemee, North Dakota appeared
in the July 1905 issue of Truth. This article not only provides another example of
a semi-professional saxophone quartet affiliated with a local band, but also
provides some commentary on the role of the saxophone quartet in the
community.
Saxophone Quartettes are becoming the fashion. Even in small

towns where, perhaps a band has not been organized, the
Saxophone Quartette becomes a very popular musical
organization, always in demand. The Saxophone Quartette of
Omemee, North Dakota, consists of J.J. Herlick, Soprano; L.J.
256
Theroux, Alto; C.C. Helgerson, Tenor; J.T. Soucie, Baritone.
They are all Conn Saxophones and according to Mr. Herlick's
statement, the town feels proud of the organization, [...]. (3)
The February 1908 issue of Truth contains a notice for the Saxophone
Quartette of Fuson's Band.
The Fuson's Band of Indianapolis consists of thirty-four boys and

girls and with the exception of three they are all users of Conn
instruments. The above picture is that of the saxophone quartette
in connection with the band, namely Raymond Fuson, Walter
Bundy, Clifford Matthews, and Claude Haisley [...]. (9)
Another notice for an amateur saxophone quartet appeared in the October
1909 issue of Truth. In this instance the saxophone quartet hailed from
Nagadoches, Texas. Like many of the other groups this quartet utilized an SATB
instrumentation. The small blurb accompanying the photograph gives further
testimonial regarding the popularity of saxophone quartets in America.
No question about the popularity of the Saxophone quartettes.

They are springing up everywhere, in connection with bands,
orchestras, fraternal societies, church choirs, and recently have
been introduced as a substitute for the ball room orchestra. They
are graceful instruments, not hard to learn and always in great
demand. (9)
It is interesting to contrast this article, from 1909, with the earlier article
about E.A. Patten's saxophone quartet from 1897. In the 1897 article the author
makes the conjecture that Patten's saxophone quartet may be the only one in the
state of Indiana. In the 1909 article, the author remarks that saxophone quartets,
"are springing up everywhere." This contrast is telling concerning the rapid
growth of saxophone quartets in the United States during this period.
257
In the October 1911 issue of Truth there was a notice about the Saxophone
Quartet of the Mayberry Municipal Band. The Mayberry Saxophone Quartet, like
so many of its counterpartsfromthe era, played the dual functions of saxophone
section in the band, and a separate chamber ensemble. The following passage
appears beneath a photograph of the members of the saxophone quartet holding
their instruments and wearing the military style uniforms common to the bands of
the day. From the caption it is clear that the saxophone quartet was featured on
the band programs in a similar fashion to the practices of Gilmore, Sousa, and
Innes.
The Mayberry Municipal Band of Freeland, Pa., is a progressive

organization and is the pride of the community in which it thrives.
A Saxophone Quartette is a most desirable adjunct to any band and
not only adds to the color and rendition of the band's ensemble
work but also provides an attractive novelty to the Concert
programs given by such bands fortunate enough to possess them.
A saxophone quartette is a decidedly interesting feature in any
program, [...]. (9)
The November 1913 issue of Musical Truth contained a short notice for
the Cleveland Saxophone Quartette. A photograph of the group is shown with the
members wearing military type uniforms and holding their instruments, soprano
through baritone saxophones (14). The Saxophone Quartet of New Albany,
Indiana appeared in the June 1914 issue of Musical Truth. The small passage is
accompanied by a photograph of the quartet displaying an SATB instrumentation.
They too performed as both a saxophone quartet and as the saxophone section of
their local band.
258
While most of these saxophone quartets featured an SATB
instrumentation there were instances where groups featured an AATB
instrumentation. The following excerpt, from a testimonial printed in the May
1915 issue of Musical Truth, details some of the work of the Wonder Saxophone
Quartette.
Here we have the famous "Wonder Saxophone Quartette," of

Elkhart, Indiana, fully equipped, of course, with Conn Saxophones.
Reading from left to right, the members are Hobart A. Davis, first
Alto and director; Webb B. Hooper, second alto; William Wyatt,
baritone; Homer Spicer, Tenor. This organization has been in
existence less than a year, but renders the most difficult Saxophone
music printed. Each of the members are likewise members of the
famous Conn Trumpet Notes Band. (15)
A Conn catalogue from September of 1915 contains the identical
photograph and article concerning the Wonder Saxophone Quartette. It is likely
that this group was more of a professional organization than some of the local
bands and their affiliated saxophone quartets discussed previously. Appearances
of saxophone quartets as features on band and orchestra programs continued
through the 1910's and into the 1920's. On January 10,1918 the Los Angeles
Times published an advertisement for a Free Concert given by the Hamburger's
Fairyland Orchestra. Mentioned in the advertisement were two of the features of
the band, a thirteen-year-old cornetist, and the orchestra's, "unusual feature in its
Saxophone quartet" (118).
The Joe Burn's Saxophone Quartet was apparently a professional or
semiprofessional group that appeared in their own concerts as well as on band
programs. On April 30, 1922 a notice regarding the Joe Burns Saxophone Quartet
259
appeared in the arts section of the Chicago Tribune. The quartet was billed as an
"assistant attraction" on an upcoming concert of the Edison Symphony Orchestra
(F12). It is not clearfromthe article whether or not the Joe Burns Saxophone
Quartet also played as a saxophone section in the orchestra. It is known that the
quartet did play its own independent engagements. A few weeks earlier the Joe
Burns Saxophone Quartet was featured in a radio broadcast for Station WJZ in
Newark, New Jersey. A radio listing printed in the New York Times on April 18,
1922, lists the Joe Burns Saxophone Quartet as an instrumental program. The
selections are not given, but the names of the members are given, Joe Burns, Ira
Vail, Don Kimmel, and Albert Boss (39).
From the 1880's through the 1920's saxophone quartets could be found
throughout the United States. The enormous popularity of the concert and
military bands contributed to the development of the saxophone quartet. Amateur
and semiprofessional saxophonists could play in a saxophone quartet as well as in
their local band. As band music reached its peak of popularity during the 1910's
the saxophone quartet experienced a similar wave of popularity.
The Concert Saxophone Quartet
While a concert or military band affiliation was a strong bond for many of
the early saxophone quartets, there were many notable exceptions to this trend. A
tradition of independent concert saxophone quartets existed in the United States
since the mid-nineteenth century. These professional saxophone quartets
260
performed in concert venues and toured the country. Their repertoire was similar
to that of their counterparts who were affiliated with concert bands, and included
original works for saxophone quartet and arrangements of chamber works,
operatic overtures, marches and symphonic works.
The earliest of the independent concert saxophone quartets may have
predated the introduction of the saxophone quartet by P.S. Gilmore on his band
concerts. A contemporary of Lefebre's, and for a short time his colleague in the
saxophone section of Gilmore's band, was the German-born saxophonist Eustach
Strasser. Strasser was a member of Gilmore's band in the late 1870's and was
part of the landmark tour of Europe in the summer of 1878. An article, entitled,
"Sixty Years a Saxophone Soloist," by F.E. Burgstaller appeared in Buescher's
True Tone magazine in 1927. This article is a retrospective of Eustach Strasser's
career as one of the earliest professional saxophonists in the United States. In the
article Strasser is credited with first introducing the saxophone to America in the
year 1868. It is unlikely that this claim can be substantiated. Regardless, Strasser
was indeed one of the earliest American saxophonists. In making his case for
Strasser as the first to introduce the saxophone in the United States, Burgstaller
makes mention of Strasser's saxophone quartet.
Eustach Strasser will always be intimately connected with musical

history in America, and particularly with the early history of the
Saxophone. Mr. Strasser brought the first Saxophone, an
instrument then entirely unknown in America, to this country in
1868. In 1869 we find his copywriting in Washington the title of
"First Saxophone Quartette." This organization soon entered the
concert field in Philadelphia with the Franklin Association at the
261
fair in the old freight depot on Thirteenth and Market streets, now
the sight of the Wanamaker Store. (Ibid. 3)
If Strasser's "First Saxophone Quartette" was performing in Philadelphia
in 1869, then this group would indeed predate the earliest documented Gilmore
saxophone quartet performance in 1874. Gilmore did not even include
saxophones in the instrumentation of his band until the early 1870's. Lefebre
joined the Gilmore Band in 1873. The First Saxophone Quartette of Philadelphia
predated the New York Saxophone Quartette Club by several years. Strasser left
Philadelphia to join Gilmore's band in late 1877 or early 1878. During this period
he replaced Franz Wallrabe, soprano saxophonist and member of the New York
Saxophone Quartette Club. Strasser toured Europe with the Gilmore band during
the summer of 1878. After that tour Strasser left the Gilmore band. By
December of 1878 Franz Wallrabe was back with the Gilmore band and
performing with the saxophone quartet alongside Lefebre at the Grand Opera
House in New York (Schwarz 109). After leaving Gilmore, Strasser resumed his
saxophone quartet activities. Later in the article there is mention of Strasser
moving to Boston. It is unclear from the article whether his saxophone quartet
continued to play in Philadelphia or relocated to Boston, "[...] Mr. Strasser's
'Saxophone Quartette' was particularly popular in Boston Church circles under
the patronage of Montgomery Sears, when Strasser came to Boston in 1878"
(Burgstaller).
There were other concert saxophone quartets active in America during the
Nineteenth century. On January 25,1893 the Chicago Tribune published a notice
262
regarding a concert given by the Highland Association. Amongst the varied
musical acts was a saxophone quartet.
The Highland Association of Illinois gave a musical and literary

entertainment at Central Music Hall last night in commemoration
of the 134th anniversary of the birth of Robert Burns. The
entertainment was opened with an organ solo by Miss Viola E.
Maclean. There were violin and clarionet solos by Charles
d'Amaine and George Holderness, and songs by Misses Hattie E.
Brush and Alida Varena and McKenzie Gordon, George F.
Taintor, and J.L. Johnston. The Lotus and Saxophone Quartets
also took part [...]. (3)
An article from C.G. Conn's TruthfromJuly of 1896. introduces the
California Saxophone Quartette, founded and directed by Mr. Frank Willard
Kimball. The article addresses at length the activities and repertoire of the
California Saxophone Quartette, and is accompanied by a photograph that depicts
all four members of the group with their instruments: soprano, alto, tenor, and
baritone saxophones. In the photograph it should be noted that the members of
the California Saxophone Quartette are wearing formal concert attire, not the
military type uniforms associated with many of the bands of the day.
The California Saxophone Quartette is the name of a new musical

organization which possesses the proud distinction of being the
only organization of its kind in America, if not in existence. It is
composed of artists of continent-wide reputation, as will be
perceived by the personnel which is as follows: Frank Willard
Kimball, Frank Wm. Walden, John Albion Kimball and Chas.
Rothe. The Quartette is equipped with a full set of the latest
improved Conn Wonder Saxophones, the last instrument made in
the Conn factory for this superb organization being a first finish B-
flat Soprano Saxophone, especially constructed in accordance with
the express order of the Manager, Mr. Kimball. Mr. Kimball is
one out of about half a dozen Saxophone Virtuosos in the United
States who have achieved a national reputation, and his testimonial
regarding Conn Wonder Saxophones published some months since
263
in TRUTH is in evidence of his opinion that these instruments are
superior to any made elsewhere in the world, and of value to the
inexperienced, in that it proves that the Conn Wonder Saxophone
is today regarded as the standard instrument by those artists most
competent to judge.
The Quartette which Mr. Kimball has had the honor of
organizing and is now managing, is about to commence a concert
tour of mammoth proportions-one which will probably include all
the large cities in America, Canada, and Mexico. This initiatory
tour will without doubt establish the California Saxophone
Quartette as one of the most superb musical organizations the
music-loving people of the continent ever heard render a concert
program.
The repertoire of the quartette is a very extensive as well as
a valuable one- the reward often years of painstaking study and
labor by Mr. Kimball, who claims it is the only specially prepared
Saxophone Quartette concert repertoire ever produced in America,
bar none.
May success reward the efforts of the California Saxophone
Quartette and its enterprising manager. (7)
The California Saxophone Quartette was a professional, touring
saxophone quartet. This quartet had a sizable repertoire of concert works for
saxophone quartet and was performing concerts throughout the United States as a
chamber ensemble with no band affiliation. By 1902 Frank Willard Kimball
began selling his saxophone quartet arrangements. The following advertisement
comes from the March 1902 issue of Buescher's True Tone magazine.
Saxophone Quartettes, Overtures, Selections, Marches, Etc.,

arranged for soprano, alto, tenor, and baritone saxophone, with
drums. Adapted from the original piano scores. Richly
harmonized. Only manuscript copies sold. Send for catalogue,
price 25 cents, to be deducted from first order placed for quartette.
Only saxophone concert repertoire in America. OUR MOTTO:
Everything known pertaining to the saxophone. Address, FRANK
WILLARD KIMBALL, 819 Market Street. San Francisco, Cal.
Say you saw it in "True-Tone." (55)
264
The advertisement provides insight into the type of repertoire the
California Saxophone Quartette performed. AH of Kimball's arrangements are
scored for an SATB saxophone quartet. It is noted in the advertisement that the
selections are classical music, operatic overtures, and marches, a concert
repertoire. This repertoire is not an anomaly, but rather is representative of the
repertoire common to most of the saxophone quartets of the period.
The 1896 article about the California Saxophone Quartette is not the first
appearance of Frank Willard Kimball in the pages of CG-Conn's monthly
publication: Truth. In June of 1895 a letter written by Mr. Kimball, dated April
17,1895, was published in the pages of Truth. In the letter Mr. Kimball reports
on the state of the saxophone and saxophone quartet at this early date in its
history.
[..'.] Without doubt this instrument created more of a sensation in

the musical world and elicited more flattering notices from the
press throughout Christendom than any musical instrument
developed in the last three decades. The saxophone is certainly
destined to find a prominent, essential, yet never before occupied,
place in every musical organization where wind instruments are
used; and I look forward to only five years to witness the universal
introduction of the complete saxophone quartette in the progressive
church choirs of metropolitan cities. It is, therefore, a pride I glory
in as a patriotic American citizen that the best development of this
instrument has been reached in America- the result of superior
American inventive genius and superior American mechanical
ingenuity [...]. (June 1895)
Many of Kimball's predictions proved to be accurate. The saxophone
would in the very near future come to occupy both a, "prominent and essential"
265
place in the wind bands of the day, and the saxophone quartet continued to grow
in popularity as a chamber ensemble throughout the United States.
An article by Mr. Kimball entitled, "A Plea for the Saxophone," was
published in the pages of Buescher's True Tone magazine in 1902. The article
addresses such topics as the history of the saxophone, its use in the bands and
orchestras of the days, the correction of what he perceives as common
misconceptions about the saxophone, and some recommendations as to the uses
and playing of the saxophone. Mr. Kimball also provided insight into the role of
the soprano saxophone, both in the military band and in the saxophone quartet. It
is also clear that the California Saxophone Quartette was still active at this time.
Beneath the title of the article appears the following caption, "Written especially
for True-Tone by Frank Willard Kimball, of San Francisco, originator of the First
American Saxophone Quartette."
[...] Another equally ridiculous conception is that the Bb soprano

saxophone should, like the flute and piccolo, be used sparingly in
military band music. The idea proceedsfromthe belief that the
tone of the soprano saxophone is uncouth and coarse, and
somewhat beyond the proper control of the average performer, and
this idea has been propagated to such an extent that we find
comparatively few first-class soprano saxophone players. It is the
writer's opinion, however, drawn from a number of years
experience as a performer on all the saxophones that the soprano
saxophone is as susceptible of as perfect control in the hands of a
competent performer as either the alto or tenor saxophone, and it is
indispensably the solo instrument of the quartette. I have heard
though of attempts being made at saxophone quartette playing with
an instrumentation that omitted the soprano saxophone; and a most
remarkable incident coming to my notice some time since, was the
refusal of a prominent Chicago bandmaster to have a soprano
saxophone appearing in his band's instrumentation, he at the same
266
time claiming his reed section to have "no peer on this continent. [.
••]-(50)
Kimball goes on to describe in detail the tone of the soprano saxophone
and expound on its use in the orchestra and wind band. Well informed and
apparently thorough in his research, Kimball quotes Hector Berlioz in his article.
Berlioz was a champion of Adolphe Sax and the saxophone, and wrote
extensively on the saxophone in a number of French periodicals. Later in his
article Mr. Kimball also provides a vivid description of the tone quality of a
saxophone quartet.
[...] "All of the saxophones," to again quote from Berlioz, "the

baritone and bass principally- possess the faculty of swelling and
diminishing their sound; whence results (in the lower extremity of
the scale) effects hither unheard, and quite peculiar to themselves,
at the same time bearing some resemblance to those of the
expressive organ." Not only is the above quoted statement of the
celebrated author true, but more: The perfect harmonizing and
blending tone color produced by the quartette of saxophones
forbids the most cultivated musical ear detecting the concord of
these saxophone voicesfromthe effect produced by a perfectly
tuned pipe organ. [...]. (Ibid.)
Other concert saxophone quartets, without band affiliations, continued to
emerge during this period. The Klein, Ott Brothers, and Nickerson Saxophone
Quartette was active around 1902. It is unclear how long the group was active,
but there are several published notices concerning the quartet. The November 9,
1902 issue of the Los Angeles Times contains two notices regarding the Klein,
Ott Brothers, and Nickerson Saxophone Quartet. Both notices refer to a week-
long appearance at the Orpheum Theater in Los Angeles. Along with an
advertisement on page CI of the paper, there is a short mention of the saxophone
267
quartet's engagement at the Orpheum on page D2. The December 1902 issue of
Truth contained a short announcement for the Klein, Ott Brothers, and Nickerson
Saxophone Quartet. The quartet is pictured in concert attire, holding their
instruments, soprano, alto, tenor, and baritone saxophones. The accompanying
text below the photograph reads, "A Great Musical Act, by Klein, Ott Bros, and
Nickerson, Using a Quartette of Conn Wonder Saxophones." (3)
More professional, semi-professional, and local saxophone quartets would
emerge in the coming years. The Worthington Ladies' Saxophone Quartette was
a professional saxophone quartet working primarily locally, in concert venues as a
chamber ensemble. In the January 1912 issue of Truth an article featuring the
quartet appeared along with a photograph of the group featuring all four members
holding their saxophones, soprano through baritone.
Here we have four charming young ladies playing four very fine
Saxophones. This combination is called the Worthington Ladies'
Saxophone Quartette, located at Worthington, Minn. They appear
in concerts throughout the Northwestern part of Minnesota, and
with great success, and goes to prove again that the Saxophone can
be played just the same effect by a lady as by a man. In fact, it is
the only reed instrument that has taken the fancy of the ladies, and
has become the most popular in their musical work. A Saxophone
quartette is as pleasing in the parlor as it is in the open air. (9)
The Star Quartette was a family organized SATB saxophone quartet. The
Star Quartette was another group working locally in concert venues. A letter to
the Buescher Company and a photograph of the group appeared in a 1913 issue of
True Tone. The letter mentions that, "The Star Quartette is scoring a great
success this fall in our campaign in concert work" (vol. 9 no.l: 10).
268
The Somers Brothers' Saxophone Quartette is another professional group
working locally. A picture of the quartet dressed in concert attire and the
following notice appeared in the June 1914 issue of Musical Truth.
The Somers Brothers' Saxophone Quartette of Brookville, Ohio is

creating quite a sensation in their locality with a set of Conn
Saxophones. This organization has appeared in various cities of
that section of the state, and the press comments are most
complimentary. We are pleased to qudte the Dayton Evening
Herald: "The entertainment rendered by the Somers Brothers'
Saxophone Quartette will be recalled with keen pleasure long after
the lectures and discussions will have been forgotten." The
quartette consists of the following: Harry Sommers, Soprano;
George Somers, Alto; Ray Somers, Tenor; and Charles Somers,
Baritone. The organization is under the management of Ray
Somers. (5)
The following notice appeared in a 1915 issue of True Tone.
The Seattle Saxophone Quartette [...] has become one of the most
popular organizations of Seattlefroma musical standpoint. Each
and everyone of these young men are natural soloists, and under
the directorship of C.F. Rush, this quartette has made wonderful
strides.
Director Rush was formerly from Minneapolis where he
was well known as one of Minneapolis' most efficient clarinet
soloists, (vol.10 no. 1: 7)
Accompanying the notice was an advertisement for the group as well as
letters of testimony from each member of the quartet. The aforementioned C.F.
Rush served as director and alto saxophonist and was joined by Clarence Milton,
soprano saxophone; Carson Wolfe, tenor saxophone; and M.P. Warren, baritone
saxophone. In the advertisement the Seattle Saxophone Quartette appears in
formal concert attire.
269
Amateur and semiprofessional concert saxophone quartets continued to be
active throughout the 1910's and into the 1920's. On July 16,1916 the Chicago
Tribune published an article detailing the Lake Forest Country Fair. Amongst the
musical attractions was a local saxophone quartet. The following appeared under
the title, "Four Dulcet Saxophones."
The saxophone quartetfromthe University club created quite a

sensation. They all live in Winnetka, fortunately for the unison of
music, and they practiced in the eclipse of the moon Friday night
so that they could play luring airs at the Midway zone. Lloyd
Steere, Mansel Clark, Edwin Clark, and Emory Andrews
composed the quartet. (Al)
In November of 1918 the Chicago Tribune printed another listing for a
saxophone quartet. This unnamed saxophone quartet was part of a musical
program featured on a series of lectures by Paul Rader. Listed as features on the
musical program were a male quartet, duets, saxophone quartet, brass band
quartet, ladies quartet and octette, and violin solos (Nov. 23,1918:12). On
March 2,1923 the New York Times radio program listed a radio concert by the
Silver Saxophone Quartet to be broadcast live on Atlanta's WSB radio station.
Instrument manufactures, such as Conn and Buescher, regularly sponsored
groups that often carried the name of the company or a specific model of
saxophone. The following notice was printed in the Elkhart Truth on Aug. 25,
1919.
Members of the Buescher Saxophone Quartet went to Danville,

111., Saturday to fill an engagement there at a county fair. They are
expected to return tomorrow. The quartet is becoming so popular
that it is unable to fill all requests for engagements. Among the
270
bookings for early September is one for a celebration at Newcastle,
Ind.
The Lefebre Saxophone Quartet
Of all the professional concert and touring saxophone quartets, perhaps
none was more prominent than that of the, "Saxophone King," E.A. Lefebre
(Noyes). The end of the New York Saxophone Quartette Club and the decline of
the Gilmore Band were not the end of Lefebre's saxophone quartet performances.
In fact the saxophone quartets that Lefebre lead after his tenure with Gilmore,
may have been his most important contribution to the development of the
saxophone quartet.
After leaving Gilmore in 1893, Lefebre joined the newly formed Sousa
band. His tenure with Sousa was a short one. Lefebre's final appearance with
Sousa was in January of 1894 at the Emerald Hall in Brooklyn (Hestor 116). In
1895 Lefebre took a post with the Conn Instrument Company (Noyes 125-126).
Lefebre moved to Elkhart Indiana and oversaw Conn's production of saxophones.
He play-tested saxophones, helped to design the instruments, and leant his
celebrity and name to Conn's new line of Wonder Saxophones. Many Conn
saxophone advertisements,fromthe 1880's through 1900, were accompanied by
Lefebre's name and his endorsement (Noyes).
In the fall of 1896 Lefebre took on a teaching position at the newly formed
Conn Conservatory of Music located in Elkhart, Indiana. An advertisement in the
pages of Truth from 1897 announces the end of the first term at the Conn
271
Conservatory of Music. Lefebre is listed as the instructor for saxophone. The
advertisement also states that a three-month term of lessons with Mr. Lefebre
could be had for the cost of $60 (vol.3 no.9:13). Among Lefebre's students at the
Conn Conservatory were Will Yeaglea, Homer Dickinson, Aaron Traxler, A.J.
Prochaska, Paul Biese, Florence MacKay and Kathryne Thompson. Many of
Lefebre's students went on to have performing careers, and a number of them
were also active teachers (Truth vol.3 no. 12: 7, Murphy 87-89).
Lefebre's teaching and his duties at the Conn factory kept him close to
Elkhart during the second half of the 1890' s. He continued to perform as a
freelancer throughout the mid-west. A nineteenth-century scrap-book from Julius
Stenberg in the Conn Collection at America's Shrine to Music Museum in
Vermillion South Dakota, contains a number of references to Lefebre's career
during the time he was in Elkhart (qtd. in Noyes). From 1897-1889 Lefebre
performed with a group called the Conn Wonder Quartet. The Conn Wonder
Quartet was composed of saxophonists E. A. Lefebre, James F. Boyer, Hobart
Davis and Henry Geiss (Ibid.). Lefebre performed with the Conn Wonder Quartet
on February. 4, 1898 at a benefit concert for Vonna Bay ley Fitzgerald and at a
second benefit concert for Company E. 157th Indiana, U.S.V. on October 7,1898
(Ibid.). As a member of the Elks club Lefebre performed at a number of their
social functions between 1897-1899. These performances included appearances
with their band, as well as concerts by the Conn Wonder Quartet that also
appeared on their programs as the Elks Quartet (Ibid.).
272
Lefebre stopped teaching at the Conn Conservatory after 1900, and soon
returned full-time to his performing career. In 1901 he organized the Lefebre
Saxophone Quartet. The following notice appeared in the November 1901 issue
of Conn's Truth.
Mr. E.A. Lefebre, the celebrated Saxophonist, has been combining

business and pleasure during the past summer. After nearly four
years devotion to the Saxophone department of the C.G. Conn
Factories where he was employed as expert he felt the need of
relaxation. He organized the Wonder Saxophone Quartette, the
members of which comprise the great artist himself, Mr. Yeaglea,
his favorite pupil, Mr. Jas. Boyer, Baritone and Mr. C. Bartlett,
Tenor. The Quartette is still entour and has engagements booked
several weeks ahead. It is accorded the most enthusiastic reception
in the cities visited and the prospects are that the organization will
be permanent. [...]. (5)
The newly formed saxophone quartet most frequently appeared under the
name Lefebre Saxophone Quartette, but as they were still affiliated and endorsed
by the Conn Company, they also appeared as the "Wonder" or "Conn Wonder,"
saxophone quartet. The instrumentation of the new quartet was AATB with: E.A.
Lefebre, 1st alto saxophone; Will Yeaglea, 2nd alto saxophone; Clarence Bartlett,
tenor saxophone; and James Boyer, baritone saxophone. Boyer was the only
holdover from the previous Conn Wonder Quartette that had worked locally in
Indiana. In addition to being a saxophonist Boyer was a pianist and served as
accompanist to prominent soloists such as Levy, Liberati, Hoch, and Innes. He
was also professor of Harmony at the Conn Conservatory. Yeaglea was a former
student of Lefebre's and was the first saxophonist to graduate from the Conn
273
Conservatory. Bartlett had been the alto saxophonist with the Chicago Marine
Band prior to joining Lefebre (Ibid. 7).
The Lefebre Quartette worked extensively throughout North America.
According to Clay Smith of the Apollo Saxophone Quartet, the Lefebre
Saxophone Quartette was, "the first saxophone quartette of note to make a
transcontinental tour" ("Lefebre Saxophone Quartette" Musical Truth Sep 1916,
28). The tour, which included both the United States and Canada, began in 1901
and lasted through 1903. A number of reviews, advertisements, and listings in the
press provide insight and details of the types of venues that the Lefebre
Saxophone Quartette appeared in and the reception by the public. During July of
1901 Lefebre and the Quartette had performances in and around Chicago. Two
citationsfromthe Chicago Tribune document these performances. The July 14
1901 issue contained an advertisement for the Masonic Temple Theater. Listed
prominently on the bill for that week was Lefebre's Saxophone Quartet (36). In
the next day's paper a short article lists Lefebre's quartet on the same bill at the
Masonic Temple Theater (7).
By September the Lefebre Saxophone Quartette had made its way to
California. The September 1,1901 issue of the Los Angeles Times contains two
notices about the Lefebre Saxophone Quartet. The first is an advertisement for
the Orpheum Theater in Los Angeles that lists the "Great Lefebre Saxophone
Quartette" as part of its week-long bill of entertainment (Bl). The following brief
274
description of the quartet was also included amongst a discussion of the upcoming
theater and entertainment season.
The Lefebre Saxophone Quartette, probably the most expensive

and certainly the most popular musical importation made by the
Orpheum circuit since the Hungarian Boys Band of fifty pieces
was broughtfromEurope, will have a prominent part on the new
bill. Lefebre was for a long time the star soloist on the saxophone
with Gilmore's Band. His playing will be a great musical treat for
Orpheum patrons. (C2)
Two days later the Los Angeles Times once again made mention of the
Lefebre Saxophone Quartette and their concert engagements at the Orpheum
Theater.
The Orpheum has a good long racy bill this week. The special
matinee on Monday afternoon played to a crowded house. [...]
The Lefebre Brilliant Saxophone Quartette is a good musical turn.
Lefebre is an artist on his particular instrument. The work done by
the quartette is smooth, even and perfectly executed. Repeated
encores greet this number. [...]. (September 3,1901: 8)
Again on September 8th there was another mention of the Lefebre
Saxophone Quartette's engagements at the Orpheum Theater. So, Lefebre must
have had at least a weeklong engagement in Los Angeles. The Quartette
continued their tour through the United States and Canada over the next two
years. On February 9,1902 the Washington Post included the following
description of the Lefebre Saxophone Quartette in an article entitled, "The Weeks
Play Bills."
[...] Without doubt the most recherche musical act in vaudeville

is that of Lefebre's Saxophone Quartet, which is directed by E.A.
Lefebre, who introduced the big dulcet-toned instrument in
America. He was first with Gilmore's Band, and then with Sousa,
275
and with each aroused a furore in favor of the new instrument. [...
.].(31)
By August of 1903 Lefebre and the Quartette had made their way back to
Chicago. The August 30,1903 issue of the Chicago Tribune published a listing
for the Lefebre Saxophone Quartette as a prominent part of the bill for the final
week of the season at San Souci Park (17). A promotional brochurefromJanuary
9,1903 provides an even more detailed perspective on the Lefebre Saxophone
Quartette and their activities from 1901-1903. The brochure was located in the
private collection of Carole Lefebre of St. Petersburgh, Florida. The brochure
quotes an article written by CD. Phillips regarding Lefebre and the Saxophone
Quartette.
Two years ago Mr. Lefebre organized a select quartet of

saxophones, which made a remarkable tour from ocean to ocean
rendering adaptations of popular and classical music for the public
and revealing conclusively the possibilities of this musical
instrument. This brilliant 'Quartet' under the direction of such a
talented, worthy and painstaking artist, did more to popularize the
saxophone with the profession and public in general than could be
done by the finest Saxophonist playing exclusively as a soloist
with the conventional orchestra. The Saxophone quartet with its
mellow or soft and beautifully blending parts appeal to the heart
like a divine choir of voices accompanied by a skillfully played
grand organ. America is proud to claim as one of her citizens,
such a talented musician and such an enthusiastic and successful
promoter of the modern orchestra, (qtd. in Noyes)
It is clear that the Lefebre Saxophone Quartette was a chamber group of
both skill and artistry. The 1903 promotional brochure contained numerous,
"noticesfromthe American Press." These press quotations evidence the
276
extensive touring of the quartet, ranging from ocean to ocean. The Washington
Times had the following to say.
The Lefebre Saxophone Artists gave a delightful entertainment and

Mons. Lefebre brings out such beauty of tone and effect in his
manipulation of this instrument as to argue it an unknown quality
in the expression of music, to those who have not heard its
possibilities realized by Mons Lefebre and his associates. (Ibid.)
The Boston Post
A third instance may be cited in the Lefebre Saxophone Quartette,

an organization truly brilliant and of a caliber seldom observed
outside of famous orchestras and bands. To a vaudeville audience
me playing of this quartette is an extraordinary treat. (Ibid.)
The Cleveland Reader.
The Lefebre Saxophone Quartette, giving selections of classical

music, by the amount of applause elicited, made the strongest hit
of the bill. (Ibid.)
The St. Louis Dispatch.
Mr. E.A. Lefebre is not Only demonstrating that he is the greatest

living Saxophone player in America, but that his popularity in St.
Louis has never been on the wane. He and his quartette received
nightly ovations at Forest Park Highlands this week. Such good
Saxophone music has not been heard since the days of Gilmore
and Sousa. (Ibid.)
The Kansas City Star.
In spite of cool weather yesterday there were plenty of people who

were sufficiently interested to go again to Electric Park and enjoy a
good program in the German Village. The great Lefebre, the most
distinguished of all Saxophone players and his quartette, made a
tremendous hit. Lefebre plays with his old time grace and finish
and the men who make up his quartette are all accomplished.
(Ibid.)
The Los Angeles Express.
277
The Lefebre Saxophone Quartette, which made its first appearance
here last night, is one of the best musical numbers ever presented
by the local Orpheum management. Of the four pieces played the
Prison Scene duet from II Trovatore seemed to be the most
popular. (Ibid.)
These testimonials from the Lefebre Saxophone Quartette brochure are
strong praise for Lefebre and the Quartette. A clipping found in the New York
Public Library regarding Lefebre provides yet another account of the saxophone
quartet. The letter to the editor was written circa 1920 and published in the
Brooklyn Daily Standard.
"N.Y. and M.B." recently referred to the saxophonist, Lefevre

[sic], as "Charles." He was E.A. Lefevre, a Swiss [sic], a most
wonderful master of the instrument now so familiar in "jazz"
orchestras. Lefevre featured a number entitled, "The image of the
Rose." I will never forget its haunting melody.
I heard Lefevre long after the lamented Gilmore's death at
the Novelty Theater in Williamsburg [Brooklyn] in a Sunday
concert, with three young men forming a saxophone quartet. They
"stopped" the show with their playing, and it was not jazz stuff,
either. Lefevre died several years ago, a resident of Brooklyn.
Manhattan Beach and Gilmore are today only memories.
What more beautiful sight than the walk leading to the band shell
and then to a Pain's fireworks spectacle enclosure, with numerous
tiny lamps flickering along the way, best girl on your arm, a big
black "segar" and the pleasant ride home on the open car steam
road through Gravesend, Flatbush, and New Lots farm and pasture
land, leaving the ocean breezes behind you. Sometimes Barren
Island let us know it was in the "offing." (qtd. in Noyes)
This nostalgic recollection of the Lefebre Saxophone Quartette is another
testimonial to the prowess of Lefebre and the Quartette. The listener is adamant
that the quartet was not performing "jazz stuff." That distinction was not relevant
in the earlier clippings, brochures, and notices that predate the introduction of jazz
music. However, by the 1920's such a distinction was necessary, as the
278
saxophone had made its rise into popular and jazz music. From the tone of the
article it is clear that the listener heard dramatic differences between the classical
and concert performances he recollected of the Lefebre Saxophone Quartette and
the jazz music that was becoming popular in the United States during the 1920's.
The original repertoire that Lefebre commissioned and performed with the
New York Saxophone Quartette Club is well documented. It is likely that Lefebre
continued to perform those original works. Lefebre arranged Singelee's Premiere
Ouatuor for AATB saxophone quartet, which was published by Carl Fisher (Carl
Fischer Catalogue c. 1911, Dr. Paul Cohen personal collection, Teaneck, New
Jersey). It is likely that he performed this arrangement with his AATB quartet
that toured extensively. Lefebre continued to perform the music of Caryl Florio
as well. A series of letters, now located in the Robjohn Collection at the New
York Library for the Performing Arts, from Lefebre to Florio from around 1902
detail Lefebre's performance of Florio's music as well as some of the activities of
the Saxophone Quartette. The first letter in the series is dated November 6,1902.
There are numerous grammatical errors in Lefebre's writing, as English was a
second language for him.
Dear Friend Florio-

For several years I have been writing to my friends at New
York to find out were I could reach you. This all happened while I
was living in Elkhart, Ind.
Two years ago I notified and since reside again at New
York I organised a Saxophone Quartette, and have been travelling
from ocean to ocean.
Last week I returned from a western tour of Ten Weeks
with my quartette; I may go Sout in about fourfromtoday. If not
then I go to Europe. Before leaving I intend to give a far well
279
concert and most likely to be my last appearance before the
American public. They have heard me playing the Saxophone for
over thirty years. Although I am very successful yet, I believe my
self to retire.
If I give my farewell concert, I have then an Qrchestre of
50, the quartette and I may perform such as quartett Lucia, quartett
Riogoletto, Duet for Cornet and Sax, etc.
For my European programme, I would like to have the
quintette of yours; but how to get it that is the great question.
Years ago you promised me a copy, but to copy it your self your
time I recognize to be valuable to devote to copying, if you still
have the idea to let me have that valuable composition of yours?
Let me copy it. Give me again a chance to present it before the
public. I promise to have it performed in good style so as to do
justice to that talented composer.
Yesterday I met Mr. Kaltenborn he spoke about you and
then I went to Pond's music house where I got your address.
If mis comes to hand, please drop me a line informing me
when I can see you at home to talk this matter over about your
quintett, with which you will oblije.
Your Very Truly
E.A. Lefebre. (qtd. in Noyes)
Again ten days later Lefebre sent another letter inquiring about obtaining
Florio's quintet for his upcoming tour of Europe.
[...] Now I would like to hearfromyou in regard to the quartett

you composed for four saxophones and piano. I am extremely
anxious to perform that beauty once more before death comes at
the door, of course a man my age 67 is a man of the day dreads at
all times. If you would charge it to me Hike to hearfromyou. I
may be able to get it published, you would get it printed?
[...] P.S. You may remember we performed it first at a
concert of your own compositions at Chickering Hall then we
played at Musical Soiree Zeumon of Artists, Charles Kunkels Host
Oct. 19th 1885. I intend to give a farwell concert at N. Y. [...].
(Ibid.)
Florio did answer Lefebre's letter. But, regrettably Lefebre was unable to
acquire a copy of the Concertante Ounitette. The following is Lefebre's response
280
to Florio, a letterfromthe same collection at the Performing Arts Library, dated
November 26,1902.
My Dear Friend Mr. Florio.

Yours came to my hand, in reply I am sorry to say that lam
not able to buy that master composition of yours, although I must
say, the price of $100.00 is indeed moderate. I intend to see a
publisher about it, but at present I have not been well for over two
weeks the doctor ordered me to stay in doors, however later as
when I go out I will see a good man to publish it, but I am [afraid]
that I would succeed. [...] I intended to give a concert, but I had
to give this idea up until a few month later then, I may give a
farwell concert before my departure to Europe with my Quartet.
Surely enough I would offer you engagement to play that
[quintette], of course, if you are in the City by that time and if you
would accept at a moderate term.
I go on the road with my quartett for 6 weeks, and leave
N.Y. Dec. 13th Before I leave I would like to meet you and look
over the Soprano part, becourse, I should have to play the Sopr.
Upon my alto, my quartett I have organised contains 1st, 2nd alto
tenor and bariton. Frequently at musicals I have played that
Menuet and Scherzo you wrote for us (1885) although hard for me
to perform the Sopr. Upon the alto, but have done so with success.
The soprano I don't use being such messerable instrument
to execute upon and it has such a bad sounding tone. Our late
friend Wallrabe had a good tone, never heard one as good, but was
for me to mechanical in his performance. Now would you inform
me when I can meet you and look over the soprano part? I of
course would come to N.Y. but if you should happen to come to
Brooklyn, you have my address and by taking the Fulton Street Car
this goes right by Franklin only one block and 1/2 to walk to the
left hand.
Again coming back to publish it you will understand that
there is very little sale for Sax-music. If the piano player would
take it in to perform something new and good, they couldn't do
anything better, best they and other look in their interest.
Well I shall be pleased to hearfromyou with information
when I can meet you and close with kind regards to you and
wishing you success. (Ibid.)
There are two particularly important points to be found in Lefebre's letters
to Florio. The first is his playing of soprano saxophone parts on alto saxophone.
281
The second is the talk of publishing Florio's Quintet. Apparently Lefebre
performed pieces originally written for an SATB saxophone quartet with his
AATB quartet. Lefebre would perform the soprano part on alto saxophone.
Lefebre's own published arrangement of thefirstmovement of Singelee's Premier
Ouatuor included an optional 1st alto saxophone part, to replace the soprano
saxophone part. It is possible that Lefebre may have done this with other original
works or arrangements. It also means that Lefebre performed in the altissimo
register on alto saxophone. Most of the solos published under Lefebre's name
utilize only the conventional key range of the saxophone. However, if Lefebre
was able to perform soprano saxophone parts on alto saxophone he was able to
play adeptly in the altissimo register (Noyes). In his letter to Florio, Lefebre
states that it is, "hard for me to perform the Sopr. upon the alto, but I have done so
with success" (qtd. in Noyes). In his dissertation, Noyes notes that Lefebre makes
no mention of adapting the soprano part in any way. If Lefebre had transposed
the soprano part to fit it into the key-range of the alto, then he would not have said
that it was 'hard' or difficult, nor would there have been any concern of 'success'
or failure (Noyes 157).
Lefebre had a long history with Carl Fischer. By 1898, Carl Fischer
published at least 40 separate titles for solo saxophone. These 'celebrated solos'
were advertised as played, arranged and transcribed by E.A. Lefebre, Soloist with
P.S. Gilmore, 22nd Regt. Band (Noyes 119). These solos were available
separately and in various combinations in a number of different collections.
282
Along with the solos Lefebre had some works for saxophone quartet published by
Carl Fischer as well. A Carl Fischer catalogue from circa 1911fromthe private
collection of Dr. Paul Cohen of Teaneck, New Jersey lists five arrangements for
saxophone quartet by Lefebre: Allegro de Concert by J.B. Singelee, Quartette
from Rigoletto by G. Verdi, Ballet MusicfromFaust and Soldier's March from
Faust by C. Gounod, and Wedding Procession by A. Terschak. There is also a
saxophone quartet by Lefebre Hunting Song listed as well (Carl Fischer
Catalogue c.1911).
These works published by Carl Fischer provide a clearer picture of the
music that Lefebre's quartet performed. The selections are transcriptions of
classical and symphonic works and operatic overtures and excerpts. None of the
arrangements listed in the Carl Fischer catalogue are popular in nature.
Unfortunately Lefebre was unable to persuade either Florio or Carl Fischer
to publish the Concertante Quintette. The Quintette was never published. The
piece remained in the composer's possession until his death in 1920. A Mr.
Barton Cantrell of New York purchased Florio's manuscripts in 1964froma Mrs.
James K. Gorrell of Poutsmouth Virginia (Noyes 156). Cantrell subsequently
donated these materials to the New York Performing Arts Library, It is in the
Robjohn Collection at the Performing Arts Library where Florio's Concert de
Allegro for saxophone quartet and his Introduction. Theme and Variation for Alto
saxophone and Orchestra were rediscovered by Richard Jackson who was
instrumental in publishing the Concert de Allegro in the 1980's (Jackson 1).
283
In a letter to Ida Padelford of the Pack Memorial Public Library in
Asheville, North Carolina, Cantrell writes of the fate of both the Concertante
Quintette as well as the Menuet and Scherzo from 1885 for saxophone quartet.
[Florio's] best music was written 1860 to about 1880 [...]. I have
one quartet for 4 saxophones; if he wrote another, there is no trace
of it. Mrs. Gorrell insisted on keeping the Quintet for 4
saxophones and piano, as she had had an inquiry from Washington
about performing it in Mexico! And thought she might get some
money for that-though the inquiry was 1957, she never answered
it- that is, Mr. Gorrell had not- their repeated letters, which she
showed me! (qtd. in Noyes)
At this time Florio's Quintet remains lost. The Menuet and Scherzo was
in Lefebre's possession at the time of his death. That piece is also presumed lost.
Upon his death most of Lefebre's belongings were sold for pawn. It is possible
that the Menuet and Scherzo was among Lefebre's possessions that were sold
(Noyes 50).
Despite the suggestion in his letters to Florio that he would retire, Lefebre
and the Saxophone Quartette remained active. The following notice appeared in
Conn's Truth.
E.A. Lefebre, the far-famed Saxophone Virtuoso, gave a delightful

and very successful Saxophone recital at the Academy of Music,
Kansas City, Jan. 29th. He was assisted by his pupil, Miss Florence
Lafolettte Mackay, one of the most accomplished saxophone
soloists of the gentler sex, and a choice company of musical artists.
Lefebre has accepted contracts which occupy all the Summer
season for his Saxophone Quartette, which consists of two altos,
tenor and baritone, but he is considering the advisability of
substituting the Contra Bb Bass Giant Saxophone for one of the
Altos. He believes the general effect will be improved, the big
instrument, aside from being an attractive novelty, has a richness in
the lower register that is incomparable (Truth vol.5 no.5 May
1903: 9).
284
There is no evidence to suggest that this substitution of a bass saxophone
for one of the altos ever took place. However after the completion of the 1902
tour there were several changes in the personnel of the quartet. By early 1903
Florence LaFollette Mackay had joined the ranks of the Lefebre Saxophone
Quartette. Like many of the saxophonists who performed with Lefebre in the
latter half of his career, Florence Mackay was one of his pupils. The following
notice regarding Mackay appeared in Truth in the May 1904 issue.
Below is a picture of one of Lefebre's most promising pupils on

the Saxophone. She has a beautiful gold plated, pearl inlaid
instrument, costing $200.00. Lefebre believes her to be the most
accomplished lady student that has ever graduated under his
instruction. She has appeared with him in concert in New York,
Cleveland and Kansas City and he praises both her tone and
phrasing. (5)
The accompanying picture shows Florence Mackay holding an alto
saxophone, the aforementioned gold plated and pearl inlaid instrument. In all
likelihood Ms. Mackay was the 2nd alto saxophonist during her tenure with the
Lefebre Saxophone Quartette. There were other changes in personnel. The
lineup of the Lefebre Saxophone Quartette circa 1903 was probably the
following: Lefebre, 1st alto saxophone; Homer Dickinson, 2nd alto saxophone;
Mac H. Hall, tenor saxophone; and James Boyer, baritone saxophone. Homer
Dickinson was a former pupil of Lefebre's at the Conn Conservatory. Dickinson
had a substantial career as a saxophonist in his own right. In addition to being a
member of the Lefebre Quartette he also worked with the Sousa band for several
seasons as part of an expanded saxophone section (Truth vol.9 no. 10: 9).
285
Dickinson went on to have an extensive career working with a number of the
major bands of the era and was the leader of many of his own groups, including a
saxophone quartet. Mac H. Hall became the tenor saxophonist of the Lefebre
Saxophone Quartette sometime in 1902 and left the group in late 1903 when he
joined Marcy B. Darnall's famous 9th U.S. Artillery band of Fort Riley, Kansas
(TruthNovember 1903: 29).
An advertisement for a performance by the Lefebre Saxophone Quartette
appeared in the Pes Moines Register and Leader on the 16th of August 1903. The
performances at Ingersoll Park from August 16th through the 22nd of 1903 were
part of a summer tour. These performances were part of the Iowa State Fair. In
attendance at these performances was the reporter, and amateur saxophonist Carol
B. Dotson. Mr. Dotson wrote the following notice that appeared in Truth in the
November 1903 issue.
Monsieur Lefebre and his Wonder Saxophone Quartette is meeting

with its usual success. The beauty of his Conn Wonder
Saxophones attracts almost as much admiration as their remarkable
tonal qualities.
The quartette has appeared in the principal cities of the
middle states and for the winter season a tour of Europe is
contemplated. When the quartette was in Des Moines, Mr. Carol
B. Dotson of the Sioux Falls, S.D., Daily Press, a talented amateur
saxophonist availed himself of the opportunity of meeting the great
master of the instrument.
Following the notice was a letter authored by Dotson that relates his
meeting with the great Lefebre.
Dear Sir: I was in Des Moines last week and had the pleasure of
hearing the great Lefebre and one of his quartets in one of their
superb concerts. I also had the extreme pleasure of meeting
286
personally Mr. Lefebre, and he kindly gave me some very valuable
pointers on the use of the saxophone, conducting me to the theatre
and drilling me for several hours. [...]. (9)
The Lefebre Saxophone Quartette's European tour, to which Lefebre first
made reference to in his letters to Caryl Florio from 1902, and is mentioned again
in the notices above, never took place. Perhaps the tour did not occur because of
Lefebre's waning health, his advancing age, or for financial reasons (Noyes).
However, Lefebre remained active as both soloist and chamber musician, even as
he entered his final years. In 1905 Lefebre organized yet another saxophone
quartet. It is possible that Lefebre played some soprano saxophone in this
formation of his saxophone quartet. The following notice, accompanied by a
letterfromLefebre appeared in March 1905 issue of Truth.
Lefebre is happy in the possession of the new model Soprano

Saxophone. The alto is his solo instrument, but the gem like
beauty of the new model soprano attracted him, and if his
saxophone quartette, composed of three ladies and himself, is
organized he will take up the soprano as the leading instrument.
In his letter of January 9 , upon receipt of his new
instrument he writes discursively of its fine tone, perfect tune and
mechanism.
My Dear Mr. Conn: First of all I wish to express my thanks
for the sending of the new model Soprano Saxophone. I have
devoted a few days to study this little beauty and I canfreelysay
that it is far superior to the French The quality of tone is grand. [.
..] I once had a conversation with some renowned artists in New
York about the great Cellist Holman. I asked them to inform me
why Mr. Holman had made such a great hit at the Seidl Concerts.
"Why?" "Well, Lefebre," they answered, "this artist produced
such a big tone upon his cello that sometimes it sounded as grand
as if there were six cellos playing in unison." I get about the same
result from the new model Soprano Saxophone, [...]. Now then in
regard to the Tenor and Baritone for my quartette, I laid the matter
before the ladies. I am already promised that as soon as I am ready
287
to open the concert tour with the ladies' quartette to come to
Cleveland, where I am assured of a profitable engagement. (9)
This saxophone quartet was composed of Lefebre and three women:
Florence Mackay, Katheryne Thompson, and Ida Weber. Like Mackay,
Katheryne Thompson was a former student of Lefebre's (Truth January 1912).
Ida Weber and Katheryne Thompson remained with Lefebre and were part
of his final saxophone quartet that performed in California in 1909. A concert
program from the private collection of Kathleen Maxwell of Valencia, California
documents the final concert of the Lefebre Saxophone Quartette and the last
known concert of the great Lefebre's career (Noyes). The concert took place on
May 6,1909 at the Lagomarsino Theatre in Ventura, California. The personnel of
the quartet was: Lefebre, 1st alto saxophone; Katheryne Thompson, 2nd alto
saxophone; Ida Weber, tenor saxophone; and Richard O. Robinson, baritone
saxophone (Ibid.).
Lefebre's contributions to popularizing the saxophone both in the United
States and abroad cannot be underestimated. Lefebre was equally important in
the development of the saxophone quartet as a chamber ensemble. The New York
Saxophone Quartette Club and the Lefebre Saxophone Quartette, taken
collectively are easily the most important saxophone quartets of the Nineteenth
and early Twentieth centuries. By the time Lefebre retired from playing in 1909
the saxophone quartet had been established as a chamber ensemble. Lefebre and
his quartets were responsible for commissioning and premiering the first
American work written for saxophone quartet, the first transcontinental tour of
288
North America by a saxophone quartet, and creating an awareness of the
saxophone quartet to countless listeners in the United States and abroad.
Lefebre's arrangements published by Carl Fischer were some of the first
published music in America for saxophone quartet. Lefebre's arrangements were
the first of a catalogue of works for saxophone quartet that Carl Fischer and other
publishers would distribute in the coming decades of the twentieth century.
Lefebre's saxophone quartets, more than any of the other saxophone quartets of
the era, established a tradition of performance and a legacy for the saxophone
quartet as a serious concert medium.
In the latter part of his career Lefebre became more active as a pedagogue.
He featured a number of his students in his saxophone quartets. Lefebre's legacy
lived on in a number of his students who went on to have performing and teaching
careers of their own.
Homer Dickinson was a member of the Lefebre Saxophone Quartette from
1902 through 1903. Dickinson was a student of Lefebre's at the Conn
Conservatory and after joining his teacher's saxophone quartet Dickinson went on
to have an extensive career as a saxophonist in his own right. Dickinson was part
of Sousa's expanded saxophone section for the band's first European tour. He
was also a member of the saxophone sections in the famous bands of Brooke,
Liberati, and the Chicago Marine Band ("Homer Dickinson:" Musical Truth. 9).
After his tenure with the Lefebre Saxophone Quartette, Dickinson organized his
289
own saxophone quartet. The following passagefromthe pages of Musical Truth
gives a brief description of Dickinson's quartet.
[Dickinson] has always played a Conn Saxophone since he first

took lessons in the Conn Conservatory under Mons. E.A. Lefebre,
with whom he afterwards traveled as a member of the Saxophone
Quartette. The Dickinson Quartette has added a trap drummer and
bell soloist to its combination and these five musicians supply
music for the elite dancing clubs of Michigan and Indiana. (Ibid.)
A 1915 article in Buescher's True Tone magazine announces a teaching
appointment for Dickinson in Grand Junction, Colorado. The article makes
mention of Dickinson's association with Lefebre and the Saxophone Quartette as
well as his playing positions in the bands mentioned above. Homer Dickinson
continued to follow in the footsteps of his teacher as he too now became active in
the training of young saxophonists. The article also mentions a saxophone band
led by Dickinson of twenty-five members (True Tone vol.10 no.l: 5).
In September of 1916 Conn's Musical Truth contained a feature article on
Homer Dickinson. This article again mentions Dickinson's association with
Lefebre and the Saxophone Quartette, but also refers to the tone quality that
Dickinson shared in common with Lefebre. This article is further evidence that
Dickinson was carrying forward the legacy of Lefebre.
Homer Dickinson of whom so much has been written in our

journal in the past, as one of the most clever young Saxophonists
in the world today, is enjoying a fine engagement in the La Salle
Hotel Concert Orchestra of Chicago. The people of Elkhart have
had the pleasure of hearing Mr. Dickinson in several solos the past
season when he appeared with the Instrument City Band. His
renditions at that time proved him to be master of this popular
instrument.
290
Some of the younger admirers of the Saxophone perhaps
are not familiar with Mr. Dickinson's musical career. For their
benefit we state that he received his instruction on the Saxophone
from the great "King of the Saxophone," Mons.E. A. Lefebre,
during the period that this celebrated artist was connected with the
Conn factory and the Conn Conservatory of Music. Following his
period of study, he was engaged by several of the best bands of
America and was for some time connected with Sousa's Band with
which organization he toured Europe. Shortly after that
engagement he became a member of the Lefebre Saxophone
Quartet, which toured America and Canada for a number of years.
Mr. Dickinson produces a tone similar to that of the artist,
Lefebre, and to those who have heard the "King of the
Saxophone," it is indeed a pleasure to hear the similarity of tonal
color in Mr. Dickinson's renditions. (30)
Another former pupil of Lefebre's and veteran of the Lefebre Saxophone
Quartette, Carol Dotson, organized a saxophone quartet in Sioux Falls around the
same time that Dickinson's saxophone quartet was active in Michigan. The
following notice appeared in the January 1912 issue of Musical Truth. It
mentions Dotson's saxophone quartet as well as commenting on the emergence of
saxophone quartets throughout the country.
Saxophone quartettes have proven to be the most entertaining

combination of reed instruments of the entire reed family, and as a
consequence quartettes are now being organized throughout the
country, and in most every instance the Conn Saxophones are
being adopted. At least this is the case with the Sioux Falls
Quartette which made its debut at a recent Shrine ceremonial given
by the El Riad Temple, where they scored a big success. Mr. Carol
Dotson, the organizer of the quartette, was formerly a pupil of the
famous Lefebre, king of the Saxophone, and had occasion to tour
with him a short season through the Dakotas. Since that time Mr.
Dotson has always desired a quartette in his home city, and has at
last accomplished his desire, and the quartette is now made up of
four good Shriners, comprising Dr. Culver, Mr. Funk, Mr.-, Mr.
Dotson. (9)
291
Katheryne Thompson, another Lefebre student, was also active as a
performer and teacher. Ms. Thompson was a member of Lefebre's 1905
saxophone quartet that featured three women. She was also the 2nd alto
saxophonist in Lefebre's final 1909 quartet. In the January 1912 issue of Musical
Truth there is a short notice concerning Ms. Thompson. Very little information is
given beyond her former association with Lefebre and a testimonial for Conn
saxophones. Apparently Thompson's career was only beginning at this time. By
the 1920's Ms. Thompson had achieved a good deal of fame and prestige as both
a performer and pedagogue. A 1923 publication by the Buescher Company
entitled, "The Story of the Saxophone," contains a lengthy article about
Katheryne Thompson and her teaching activities.
There are very few music lovers in the United States who have not
heard of Katheryne Thompson, chief exponent of the Saxophone in
Los Angeles, and composer of many beautiful Saxophone Solos
and practical Saxophone Instruction Books. Miss Thompson
studied Saxophone with E.A. Lefebre the first famous Saxophone
player and the man for whom F.A. Buescher made the first
American made Saxophones.
She is perhaps the most successful Saxophone teacher in
America, having approximately one hundred pupils studying under
her guidance at all times. However, it is not in the number of
pupils that she takes pride, but more in the fact that many
prominent teachers and saxophonists of National reputation have
developed under her training.
It was no wonder, therefore, that when it was necessary to
find a director for the Southern California Saxophone Band, a short
time ago, Miss Thompson was asked to take charge of and direct
the organization. It was a big job; one that would require months
of labor and hard work, but Kathryne accepted, and if you wish to
know whether she has made a success of the band, just listen in on
one of its Radio Concerts, broadcasting from station KHJ (Los
Angeles TimesV The carefully selected programs and wonderful
292
music sent through the ether by this organization, have brought
letters of favorable comment form all parts of the world. (58)
The article goes on to address some of the specific method books and
tutorials that Ms. Thompson had authored. The number of pupils that were under
Thompson's tutelage is indeed impressive. It is clear that saxophone quartets
were a key component of the saxophone school and program that she had started
in Los Angeles. Pictured along with the article are several of Thompson's
students. Two of the accompanying pictures depict saxophone quartets. The first
is four young girls standing holding a soprano, alto and two tenor saxophones.
The caption below the picture reads, "Four of Miss Thompson's Girl Pupils."
The second picture shows four male students again holding a soprano, alto and
two tenor saxophones. The caption below this picture reads, "A Quartet of Happy
Boys 'Pupils of Miss Thompson'" (Ibid.). Thompson also continued to perform
with a saxophone quartet under her own leadership. A radio listing in the January
2,1924 issue of the Los Angeles Times lists a live radio broadcast of {Catherine
Thompson and her Saxophone Quartet (A5).
Lefebre's students: Dickinson, Dotson and Thompson all went on to have
saxophone quartets of their own. They also had students of their own who
continued the traditions that were begun decades earlier by Lefebre and the New
York Saxophone Quartette Club. Lefebre's contribution to the development of
the saxophone quartet through his performances, performing ensembles, students,
and publications cannot be overstated.
293
CHAPTER Vffl
THE LYCEUM AND CHAUTAUQUA CIRCUITS
The Nineteenth Century through the 1910's
In the late nineteenth century and through the first two decades of the
twentieth century, the Lyceum bureaus and the Chautauqua circuits were two of
the most popular sources of education and entertainment in the United States.
The Lyceum movement was a new hybrid of education and entertainment that
started in the United States in the latter half of the nineteenth century. It began as
single lecture programs given during the winter months in indoor locations, such
as schools, churches, opera houses, or meeting halls. The lyceum movement
originated in 1826 and by the 1860's professional speakers generally replaced
local presenters. From that time into the twentieth century, music began to play
an increasingly larger role in lyceum programs as well (Crane).
A journalist by the name of James Redpath pioneered the lyceum
movement and acted as the booking agent for many of the speakers placing them
in the various lyceum venues and organizing their travel itineraries. He founded
the Redpath Bureau, which flourished during the nineteenth century, booking
such luminaries as Mark Twain, Josh Billings, and Henry Ward Beecher. (Schultz
294
3-4). After Redpath had retired from the business a number of other entrepreneurs
launched a series of outdoor lecture and performing circuits that were to
collectively become known as Chautauqua. The name Chautauqua comes from
the Chautauqua Institution, which was established in Western New York State on
the shores of Lake Chautauqua (Ibid.).
The Chautauqua Circuits were a series of performing circuits located
throughout the United States and Canada, focusing on bringing culture to rural
areas. The performances, lectures, and other events were held in tents, and the
participants traveled from town to town via train. A typical tent Chautauqua
would stay in a community for five to seven days and offered a variety of cultural
events all day and into the evening (Ibid.). The Chautauqua circuits flourished
during the first two decades of the twentieth century. They spanned the entire
country and even made their way into Canada. Various circuits and managers
divided up the country by territory and the Chautauqua movement became the
primary means by which Americans living in rural areas received culture, music,
and entertainment. Music played a large role in Chautauqua.
Chautauqua circuits featured almost any musical group imaginable. There
were concert and military bands, singing groups ranging in sizefromtwo
members to entire choruses, string quartets, chamber ensembles of a multitude of
combinations, and concert companies that featured multi-instrumentalists
performing in a variety of instrumental and vocal combinations. Amongst these
varied performers saxophone quartets were a very popular instrumental
295
combination. Saxophone quartets were to be found in a number of different types
of groups working on the Chautauqua and Lyceum circuits. There were groups
that toured the Chautauqua circuits strictly as saxophone quartets, similar to the
independently touring concert saxophone quartets discussed in chapter thirteen.
There were also numerous concert companies, groups of multi-instrumentalists
that featured a saxophone quartet amongst the various instrumental and vocal
combinations included on their programs. Saxophone quartets were also used as
part of variety acts. These were performing troupes that featured both music and
other forms of entertainment, acting, dramatic readings, comedy, sketches, poetry,
magic, or other forms of entertainment.
The Four Saxolians are an example of a group performing on the
Chautauqua and Vaudeville circuits that performed only as a saxophone quartet.
A noticefromthe July 1911 issue of Musical Truth reads as follows.
The Four Saxolians now appearing in the Eastern Vaudeville

circuit, is one of the most artistic and highly accomplished
saxophone quartettes in the world. Their repertoire includes the
highest class of overtures and the new model Conn Saxophones
enable them to render these numbers with surpassing agility. The
saxophone is capable of performing any music written if it be the
Conn make in the hands of an expert. [...]. (7)
The photograph accompanying the passage depicts all four members or the
saxophone quartet holding their instruments, two altos, tenor, and baritone
saxophones. The uniforms of the Saxolians differ from the military type of
uniforms that many of the saxophone quartets affiliated with concert or military
bands featured. The Saxolians' uniforms are closer to a circus type uniform than
296
a military one. This type of costume was not uncommon to those groups
performing on the vaudeville, lyceum, and Chautauqua circuits.
A number of the saxophone quartets performing in Vaudeville circuits
sought to capitalize on appearance, dress, or other factors in their publicity
materials. The Darling Saxophone Four, an all female saxophone quartet, placed
emphasis on the novelty of an all female group. They also utilized an
unconventional instrumentation of soprano, alto, tenor and bass saxophones. The
September 1917 issue of Musical Truth contains a large photograph of the Darling
Saxophone Four. It depicts all four women, holding their saxophones, and
wearing long dresses. Accompanying the photograph is the following passage.
The Darling Saxophone Four as you will readily note, consists of

four "Darlings," who are under the management of Miss Eva
Darling. These charming and most capable young ladies are
touring highclass vaudeville and are meeting with unbounded
success. We will ask the reader "how could they help it, using as
they are four of the latest model Conn Saxophones?" Don't fail to
hear this splendid musical attraction if the opportunity presents
itself.
Another all female saxophone quartet was the Schuster Sisters. This
saxophone quartet was comprised of four sisters, and was managed by their
brother C. Lavergne Schuster. The following letter from Mr. Schuster of Popular
Bluffs, Missouri, was printed in the March 1914 issue of Musical Truth.
[...] By looking over your records, you willfindthat my father

purchased four Saxophones: two Altos, one Tenor and one
Baritone, forming a quartette which is quite a novelty, especially
considering their ages. The oldest is twenty and the youngest
twelve. I myself play the instrument, having had no instruction
whatever. I also taught my four sisters to play the Saxophone.
The instruments are wonderful possessing a beautiful tonal quality
297
especially in the lower registers. We are employed as a family
orchestra at the new Sagwah Theatre. (15)
Another notice for C. Lavergne Schuster appeared in the May 1915 issue
of Musical Truth.
C. Lavergne Schuster is greatly responsible for the success of the

Schuster Sisters' Saxophone Quartette. He appears with his sisters
regularly in their concert work, forming thereby a Quintette. Conn
Saxophones are used exclusively, and their letters teem with the
highest praise. We understand that Mr. Schuster is a Saxophonist
of no mean ability, and there is no doubt but that the Quintette will
meet with splendid success in its concert work. (16)
The Schuster Sisters also performed as a quintet, with the addition of their
brother on soprano saxophone. In later years the group would continue to
diversify its musical activities. In September of 1917 another notice appeared in
Musical Truth. This notice appeared under the title, "The Schuster Family."
The Schuster Family Saxophone Quintette, Vocalists and

Instrumental Soloists, have made a most enviable reputation as
entertainers thru [sic] their prominent engagements in the leading
hotels and restaurants of Chicago, Detroit and other cities. They
are at present writing filling an engagement at the Hotel Statler,
Detroit. The group consists of four sisters and one brother and is
under the management of the latter, C.L. Schuster. Previous to
their advent in the entertaining field, they adopted Conn
Saxophones and have used them continuously throughout their
successful career. They possess the latest models with which they
are highly delighted. (23)
A number of groups appearing on the Chautauqua circuits incorporated
comedy sketches, readings, poetry, impersonations, magic, and any number of
other entertainment activities into their acts. One such act was Maro the
Magician. The May 1904 issue of Truth contains a prominent photograph of Maro
298
the Magician holding a B-flat Bass Saxophone. The photograph is accompanied
by the following notice.
Signor Maro, the Magician, who in connection with his

entertainment of magic and mystery introduces a quintette of
Wonder Saxophones: soprano, alto, tenor, baritone and the monster
BBb bass, the latter which he plays himself. And although the
instrument nearly rivals him in size, Maro can play sixteen bars of
Waltz Tempo on it in a single breath, and without apparent effort.
Under date of Feb. 15th he writes: "Our Saxophone concert
makes a big hit every night, and I am pleased to say our success is
largely due to the wonderfully correct scale and beautiful tone of
the instruments you have made for me." (5)
The above article identifies Maro's group as a saxophone quintet, but that
statement is incorrect. Maro's act did indeed feature five saxophones, but only
four players. Later that year in the December 1904 issue of Truth another notice
for Maro appeared. This time the notice appeared under the title of Maro and his
Great Saxophone Quartette. There were five photographs included with the
article, each containing one player with a different saxophone: soprano through
bass. Maro appears twice, once with a soprano saxophone and once in the center
with the bass saxophone. The other members of the saxophone quartet are
identified below their photographs as: G. Hunter, Alto; F. Perm, Tenor; and G.
Abbott, baritone. The accompanying notice explains how the saxophones were
used in Maro's act.
The above illustration is reproduced from Maro the Magician's

attractive advertising brochure. The popular prestidigitator is
shown both with the Soprano and Bass. The "quickness of hand
which deceives the eye" is probably more deftly demonstrated by
Maro than by any other living exponent of the black art, but he
does not intend to imply by the above picture that he plays the
smallest and largest saxophone at one and the same time, but he
299
does play solos on each at the same performance in the manner of
a born artist. He is always on the alert for something new and the
addition of the musical part of his entertainment of a quartet of
Wonder Saxophones has proved a decided hit, for without music
Maro's program would be incomplete. Three good musicians
besides himself as soprano saxophonist, produce such entrancing
strainsfromthese beautiful instruments that the music seems a part
of Maro's magic-now weird, deep, profound, then exuberant-now
plaintively pianissimo, then furiously fortissimo. Besides the
quartette, Maro has added a Monster Grand contra Bb Bass
Saxophone, on which he renders during the evening a bass solo.
This is the largest reed instrument ever made and has a tone of
profound depth and mellowness. (9)
The article emphasizes the novelty in Maro's use of the saxophones,
especially in the exaggerated description of the bass saxophone in B-flat.
However, the letter of testimony that is printed along side the article in Truth
indicates that Maro may have possessed some musical prowess, rather than mere
showmanship.
Dear Sir- I have bought so far from you six Conn Saxophones, one
each of Bass, Baritone, Tenor, Soprano and two Altos. I have used
these instruments nightly in my performance for the past year and
a half and I want to say that there has never been a time when we
were not thoroughly pleased with them in every way. They are in
perfect tune throughout the entire scale- making \t possible for the
whole quartette to play in good tune, while the four instruments are
in the highest register, which I think is a rather severe test. On
behalf of each member of my quartette I want to express to you our
sincere thanks for the great interest you have taken in giving the
music loving world such a grand instrument. (Ibid.)
Further insight into Maro's musical training can be foundin his
association with Lynn Shaw. Maro employed the instruction of Mr. Shaw, a
veteran of both the Liberati and Innes bands and a member of E.A. Lefebre's
300
saxophone quartet. If such a saxophonist as Shaw instructed Maro's quartette, it
is indeed possible that the players were accomplished musicians.
Regardless of the prowess of the musicians, Maro and his saxophone
quartette were a huge success. A promotional brochure from circa 1903, located
in the American Memory collection of the Library of Congress, provides further
insight to Maro's success as an entertainer. The brochure totals fourteen pages in
all, with many photographs and illustrations. It details Maro's magic act and
gives a full description of the saxophone quartette. Most of the information was
reprinted in the Truth articlefromDecember of 1904. However the brochure
points out that Maro's act is in two parts, the first consisting of magic and the
second purely musical. The musical half of the program prominently features the
saxophone quartet. Maro's career was quite extensive, and evidently started well
before the turn of the century. The brochure, which was printed sometime in
1903 or early 1904, indicates that Maro had been performing for fifteen years.
There are press clippingsfromcities all over the United States,fromcoast to
coast. There is also a full page of personal letters and testimonials, as well as a
listing of over one hundred cities in which Maro had appeared throughout the
entire United States. ("Maro: Prince of Magic")
The musical portion of Maro's act, while substantial in length, was
subordinate to his magic act. Other groups performing on the Chautauqua and
Lyceum circuits emphasized the musical portion of their acts. The Temple
Quartet is an example of a group that incorporated both musical and non-musical
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elements into their performances. A Temple Quartet publicity poster from 1908
depicts the four members of the group, in formal concert attire, holding their
saxophones, soprano through baritone. Below the photograph the names of the
performers are listed along with their credentials. In addition to their work as a
saxophone quartet, the Temple Quartet also featured saxophone solos, a vocal
quartet, and a pianist. Also included on their programs were a cartoonist and an
impersonator. The photograph shows only the saxophone quartet, and the
members of the quartet are wearing formal concert attire ("Temple Quartet").
While a number of acts featured a saxophone quartet as part of a multK
faceted entertainment troupe, the saxophone quartets on the Lyceum and
Chautauqua circuits were most often found in the context of concert companies.
These companies were groups that featured four or more musicians, most of
whom were multi-instrumentalists and/or vocalists. These groups featured string
quartets, brass instruments, vocal groups, pianists, and various chamber
ensembles of mixed instruments. A saxophone quartet was a very common
instrumental combination featured by many of the concert companies working on
the Lyceum and Chautauqua circuits.
A typical concert company of this kind was the Four Samuel Brothers
Concert Company. A publicity brochure from 1909 contains photographs of the
Four Samuell Bros. Concert Company in their many musical permutations.
During the course of a program the brothers would appear as a string quartet,
trumpet quartet, a mixed quartet of violin, flute, cello and harp, as an AATB
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saxophone quartet and in a variety of other combinations. The brochure from
their 1909-1910 season proclaims their act to be, "A festival of popular and
classical music." The sample program is listed in two halves, with the saxophone
quartet making an appearance in each. In thefirstpart the saxophone quartet
piece is listed as "Gavotte." In the second the saxophone quartet performs a
march. The saxophone quartet is treated in the same manner as the string quartet,
mixed quartet and trumpet quartet. Each group is featured twice on the program
and each group performs a classical or baroque transcription and a march
selection. Some of the marches have titles, the classical selections have generic
names only, such as gavotte or valse lento, and appear without the names of the
composer ("Four Samuell Bros. Concert Company").
Another multi-instrumentalist group that featured a saxophone quartet was
the Four Saxonians. A publicity brochure printed by the W.M King Service of
Chicago, datedfromthe early 1910's, gives a full description of the activities of
this all female ensemble. The brochure lists nine different Lyceum bureaus and
circuits with which the Four Saxonians were affiliated covering the cities and
surrounding areas of Cleveland, Boston, Pittsburgh, Chicago, Atlanta, Dallas,
Boise and Portland. While no specific program information is provided, the
saxophone quartet was clearly a large portion of the act. Thefrontpage of the
brochure has a large photograph of the quartet with their saxophones, soprano
through baritone. An excerptfromthe brochure describes the various features of
the act.
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This company offers a program of splendid variety and quality,
including combination of two violins, saxophone quartets, violin
duets, readings, vocal solos, saxophone duets. They are attractive
girls of unusual charm and personality, and present a program that
pleases all classes of people. ("The Saxonians")
The Craven Family Orchestra and Quartette also featured a saxophone
quartet. A publicity brochurefromcirca 1914 depicts the Craven Family
performing in a variety of settings including an SATB saxophone quartet, a
trumpet quartet, xylophone solos, a vocal quartet and a variety of mixed
ensembles utilizing violin, flute, drums, xylophone, saxophones, trumpets and
piano. The brochure indicates that the Craven Family was endorsed by the
Buescher instrument company and featured Buescher True Tone instruments in
their performances. The exact date of the brochure is unknown, but it contains a
letter of testimonial from S.M. Holladay, manager of the Midland Chautauqua
Circuit, which makes reference to the group's 1914 season. Another letter from
the manager of the Lincoln [Nebraska] Chautauqua Circuit is included as well.
The saxophone quartet appears on the first page of the brochure ("Craven Family
Orchestra and Quartette").
The Price-Shipley Musical Entertainers featured an SATB saxophone
quartet along with a variety of other musical combinations. The text of a
publicity brochurefromthe 1910's makes special mention of the saxophone
quartet as the highlight of their programs.
In the Price-Shipley Musical Entertainers there is found such a

variety of entertainers that they are enabled with four versatile
artists to present a program usually given by a company of six or
eight persons. Each member is competent to give a full evening's
304
program should the occasion demand. Their combined talents
round out a highly diversified program. Most prominent among
the many features offered is the Saxophone Quartet, which is
appreciated by all where the company appears. Among the other
numbers there are mandolin, violin, piano solos and duets, trios
and quartets of various kinds. The readings are also featured. The
program offered is high class, but at the same time popular. (" The
Price-Shipley Musical Entertainers")
The Four Musical Cates was a multi-instrumental concert company that
featured a saxophone quartet and was active from around 1908-1912. The Four
Cates illustrate some of the differences between the Lyceum and Chautauqua
concert companies and the Vaudeville acts of the late 1910's and 1920's. While
the Lyceum and Chautauqua circuits were in primarily rural areas, the Vaudeville
circuits were primarily in urban centers and cities (Case, Schultz, Vermazen).
The majority of the Cates' performances occurred on the Chautauqua and Lyceum
circuits. However, as can be seenfromthe advertisements, publicity materials,
and letters of the Four Cates the group had mostly unfulfilled aspirations to
perform in the Big Time Vaudeville Circuits and on Broadway. Much of the
information concerning the Four Cates comesfromadvertisements and
announcements for the group that appeared in the pages of Variety magazine from
1909-1912.
The Four Musical Cates were a family turned musical ensemble. In
addition to their work as a saxophone quartet, they featured a xylophone quartet,
and solos on saxophone and cornet. The father, Brinton J. Cate, authored many
of the letters written to the editors of Variety on the group's behalf (Vermazen
305
65). The other three members of the group are as follows. Frank B. Cate was
billed as, "A cornet virtuoso," Walter H. Cate was billed as, "The world's greatest
saxophone soloist," and Fred O. Cate played, "the largest saxophone in the world"
("The Four Musical Cates." Variety 31 Dec. 1910: 34). 'The largest saxophone
in the world," refers to an E-flat contrabass saxophone. The contrabass
saxophone appeared in many of the Cates' advertisements in Variety. The
photograph that appears in many of the advertisements shows one of the members
of the group, a young man, wearing a military-style uniform holding a curved
soprano saxophone with the contrabass saxophone standing next to him. The
juxtaposition of the man and the contrabass saxophone serves to emphasize the
size of the instrument, which stands taller than the man. An advertisement in
Variety from December 11th, 1909 claims that the instrument was, "too large for
anyone to carry" and that it needed to be, "mounted on aframe"(30). An earlier
advertisement in Variety from September 4th, 1909 announces the following.
Just arrived from Paris, France, Two Mammoth Bass Saxophones,

One Bb Contra Bass, One Double Eb Contra Bass, absolutely THE
LARGEST SAXOPHONE and the DEEPEST TONED bass
instrument IN THE WORLD, also the only one of its size in the
world. Height 6ft. 8in., tall." (36)
The instrument was indeed a contrabass saxophone in E-flat, standing
approximately six feet eight inches in height. However, it was not one-of-a-kind.
Later in that same year Variety ran the same advertisement again, this time
placing it opposite an advertisement for the performing duo Gray and Graham.
The accompanying photograph showed Miss Graham holding a contrabass
306
saxophone. The accompanying text states, "Miss Graham features, 'THE
LARGEST SAXOPHONE IN THE WORLD,' and has been using this title for
the past eight years. Size of Saxophone 6 ft. 8 in. Now, IMITATORS GET
BUSY" (Variety 9 October 1909: 35).
The Four Cates' advertisements tended to emphasize the sensational, such
as their claims to, "world's largest saxophone," and that their group was,
"America's Greatest and Most Meritorious Musical Act" (Variety 31 December
1910: 34). However, the music that they performed was not the comedic fare that
was common on the Vaudeville stage. Their advertisements were always
carefully worded to make it known that the music they performed was, "high
class." A number of the Variety advertisements mention the repertoire of the
group that included the saxophone quartet performing selections from Bizet's
Carmen, as well as other ensemble numbers featuring classical works by
Tchaikovsky, Offenbach, and Suppe (Variety 30 October 1909:34,16 April
1910:32,10 September 1910:34,24 September 1910:30,1 October 1910:34).
A few of the advertisements featured excerptsfromreviews of their
performances. The following was quotedfromthe Winnipeg Press in an
advertisement that appeared in Variety on April 16, 1910. The review refers to a
performance at the Dominion Theater in April of 1910, and makes specific
reference to the saxophone quartet.
•[...] well above the average not only in quality, but also because
they are somewhat out of the ordinary [...]. The concerted work
of the quartette on four smaller saxophones ranging from four feet
down to a foot and a half in length is most tuneful. Their first
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selection on the xylophones, the overture, is very classical, and
showed a high degree of proficiency." (32)
Most of the advertisements that contained excerpted reviews were from
smaller venues. The venues are more suggestive of the Lyceum and Chautauqua
circuits rather than the Big-Time Vaudeville circuits that the Gates were aiming
for. Many of their advertisements were oriented toward trying to break in to the
vaudeville circuit. An advertisement in Variety from April 3,1909 issues a
challenge to vaudeville managers and agents, "AGENTS AND MANAGERS: If
you do not book or play the best do not book this act. We will forfeit all claim to
salary any time to any one producing this act's equal" (32). As time went on the
challenges of the Four Cates became more specific.
In May of 1910 the following challenge to Walter Cate from Harry
Batchellor was printed in Variety. "Notice—I hereby CHALLENGE WALTER
H. CATE, any amount for tone and execution on the SAXOPHONE. Get busy; I
mean business" (Variety 7 May 1910: 34). The reply from the Cates was printed
in the November 26,1910 issue of Variety.
Walter H. Cate, who we claim to be the world's greatest

saxophone soloist, and who we are willing to back against any
saxophone player, was publicly challenged through VARIETY,
May 7,1910, by Harry Batchellor for any amount. Not to
embarrass Mr. Batchellor, we accepted his challenge for the
reasonable amount of $500. Since then we have heard nothing
from him.
We see in VARIETY that Mr. Batchellor is in or around
New York. We are also in New York so we could easily get
together on a day's notice. If he is conceited enough to think that
he can play the saxophone equal to Walter H. Cate, we will gladly
meet him in afriendlycontest any time for five hundred or more.
(15)
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Apparently the notion of a musical challenge was appealing to the Gates.
In the October 22,1910 issue of Variety the Cates issued the following challenge,
"Four Cates/ World's Greatest and Best Musical Act/ $1000.00 IN CASH TO
PROVE OUR CLAIM TO THE TITLE" (34). At least one group decided to take
the Cates up on their offer. A group sponsored by the C.G. Conn Company
accepted the challenge. The December 24,1910 issue of Variety contained a
short article entitled, "Terms of Musical Challenge," provided the details of the
challenge.
The terms and conditions for the musical contest which may occur
between the Four Musical Cates and representatives of C.G. Conn
were wired to Mr. Conn last Sunday by B.J. Cate. The wire read:
"It is necessary to have a stakeholder and judges for saxophone
contest. We are satisfied to appoint manager of Prospect theatre
stakeholder and leave the decision of the three following judges:
Leader, Metropolitan Opera House orchestra, leader New York
Theatre orchestra, leader New York Hippodrome orchestra. These
four men to receive $50 each for their services $1000 a side to be
deposited and judges and stakeholder paid out of same before
contest opens, leaving $1,800 for the winners." B.J. Cate. (8)
In the January 7,1911 issue of Variety the Cates ran an advertisement
announcing their victory.
Mr. Conn's Representative and party showed up after the

appointed time for the Saxophone Contest to take place. They
proved themselves to be very sociable fellows. They set up a fine
banquet in our honor which we enjoyed immensely. We had all
we could eat and drink. Now who is next? We are open for
another Banquet. (34)
The Four Cates continued to issue challenges in the press. However they
narrowed their focus and set their sights on Tom Brown and the Brown Brothers.
309
The Brown Brothers were one of the most popular vaudeville acts of the era.
They performed music that was very different from the Cates' programs. The
Brown Brothers' dressed in clown costumes and black face. Their repertoire was
primarily made up of comedy numbers and popular tunes and prominently
featured tricks and effects on their saxophones. The Brown Brothers did not play
any of the classical repertoire that the Four Cates performed. The Four Cates had
little in common with the Brown Brothers, but for the fact that both groups
utilized saxophones in their acts. The Brown Brothers were extremely successful
in the Vaudeville and Broadway venues. The Cates desperately wanted to
achieve a similar success. In 1911 the Brown Brothers had made their way to
New York, and were billing themselves as, "The World's Greatest Saxophone
Players" (Variety December 31,1910: 28). The Four Cates took exception to this
billing and issued their next challenge, aimed directly at the Brown Brothers.
Featuring Something New, "The Championship Rag" Written

especially for Saxophones by Frank B. Cate. Anyone can claim to
be the world's greatest. We not only claim to have the World's
Greatest Saxophone Soloist and Team, but we stand ready to back
up our claim with One Thousand Dollars. (Variety January 14,
1911:34)
The following week, after receiving no response, the Cates issued another
advertisement in Variety. In reference to the titles of World's Greatest
Saxophone Soloist and Team the advertisement read, "infringers on any of the
above titles who cannot or will not prove their claim to the same are not only
pirates, misrepresenters [sic] and impostors, but are obtaining money under false
pretenses" (Jan. 21,1911: 34). It is unclear as to whether or not any challenge or
310
contest took place between the Cates and the Brown Brothers. It is unlikely since
the Browns were traveling outside of New York City during February and March
of 1911 (Vermazen 68). However the Cates' final Variety advertisement
regarding the situation implies that the Cates had triumphed over the Browns,
most likely via an assumed forfeit. It announces the Cates as the Word's Greatest
and takes a thinly veiled shot at each of the five Brown Brothers.
FOUR CATES
World's Greatest and Most Meritorious Act.
Only a Mere Lunch:
1. Baked Bluefish
2. Braised Beef
3. Blueberry Biscuits
4. Baked Beans
5. Brown Bread (March 13,1911: 34)
Even if the Four Cates had bested or were superior to the Brown Brothers
musically, in terms of financial success and bookings the Brown Brothers were
far and away more successful than the Four Cates. In 1911 the Brown Brothers
were on the precipice of a career that would extend for two decades as one of the
most popular acts in Vaudeville and on Broadway. The Four Cates never made it
into the Vaudeville venues that they so desperately desired. Instead the Cates
spent the remainder of their career performing in the Lyceum and Chautauqua
circuits and touring independently. Despite the fantastic claims made by the
Cates and the emphasis on sensationalism in their advertisements, their programs
were much more suited to the Lyceum and Chautauqua circuits. Their act was
purely musical and did not include the comedy elements that made many of the
vaudeville groups, like the Brown Brothers, so successful. The Cates offered the
311
same blend of classical music in arrangements and transcriptions with some
popular fare and marches that many of the multi-instrumental acts touring the
Chautauqua circuits offered.
Several brochures and publicity posters have been located documenting
the Cates' performances on the Chautauqua circuits, specifically the Redpath
bureau. A number of the posters show the Cates as a saxophone quartet, dressed
in military style uniforms, and holding their saxophones: soprano, alto, tenor, and
baritone. A publicity brochure for a performance in Sterlin, Illinois provides
several photographs, as well as a sample program. Much of the text is similar to
their advertisements in Variety making claims to be the "The World's Greatest
and Most Meritorious Musical Attraction." The last page of the brochure contains
a challenge, similar to those that appeared in the pages of Variety. "We will
wager, one thousand dollars, that Walter H. Cate, as a Saxophone Soloist, or the
Musical Cates as a Saxophone or Xylophone Band, cannot be equaled in the
world" ("The Four Musical Cates" publicity brochure American Memory
Collection).
The brochure also provided individual biographical information for three
of the four members: Walter Cate, "The World's Greatest Wizard of the
Saxophone"; Frank Cate, "World Famous Sensational Cornet Soloist"; and Fred
Cate, "Soloist on the Double Giant E-flat Contra Bass Saxophone and 'The King
of All Bass Instruments." Individual photographs are provided for all, but Brinton
Cate, the father of the three Cates brothers. There are also photographs of the
312
Cates performing as a mixed quartet of brass and woodwinds, as a xylophone
quartet, and as an S ATB saxophone quartet. All of the photographs show the
Cates dressed in their customary military style uniforms. A sample program was
also provided appearing under the heading, "The Greatest and Most Difficult
Programme Ever Played" (Ibid.).
Despite its sensational title the sample program provided is a conservative,
classical program. In a variety of instrumental settings the Cates offered
transcriptions and arrangements of classical works by Suppe, Offenbach,
Beethoven, Paganini, Brahms, Tchaikovsky, Liszt, Wagner, and Rossini. The
program also states that by special request the Cates could perform an
arrangement of Beethoven's complete Eroica Symphony No. 3, forty minutes in
length. The only other works on the programs are three originals by Frank Cate.
The saxophone quartet is featured on over half of the program, playing
arrangements of works by the above named composers (Ibid.).
Despite their repeated attempts to cross over into Big-time Vaudeville, the
Cates enjoyed their greatest success on the Chautauqua circuits. In his book. That
Moaning Saxophone. Bruce Vermazen comments on the career of the Four Cates.
Many of the theatres in question may have been Chautauqua

venues rather than small-time vaudeville houses. Advertising
material in the collection of the library of the University of Iowa
shows that, at least part of the time, the Cates traveled as a
Chautauqua attraction. Their model seems to have been the Apollo
Concert Company of Clay Smith and Guy Holmes. (243)
In 1911 the Cates made their way to Europe and played engagements with
a circus in Holland (Variety July 8.1911:7). They later completed a tour of
313
England that was several months in duration (Variety September 23,1911: 34).
In addition to continuing to be covered in the pages of Variety during then-
European tour, the Cates also placed advertisements in the European press. An
advertisementfromthe British periodical, the Music Hall and Theatre Review.
speaks of the Gates' Amsterdam Circus performances. It also contains many of
the same claims as previous advertisements, including the challenge of one
thousand dollars to any that could defeat Walter Cate as saxophone soloist, or the
Four Cates as saxophone or xylophone band. The advertisement also mentions an
upcoming performance in Denmark in January of 1912, where they apparently
traveled after their British tours (December 21,1911: 820).
After their Denmark performances it is unclear how long the Cates
remained in Europe. The next known mention of the Cates isfromDecember of
1912, once again in the pages of Variety. This time the announcement was for a
new group, the "Cates' Saxophonic Symphonic Band" (December 10,1912: 196).
The last notice regarding the Cates comesfromthe July 9,1915 issue of Variety.
This final notice was an obituary for Brinton J. Cate who died of Bright's disease
on July 3,1915 at the age offifty(7).
The Apollo Concert Company
The Apollo Concert Company was one of the most successful and longest
running American concert companies during the first three decades of the
twentieth century. From 1905 through the 1930's the Apollo Concert Company
314
toured extensively throughout the United States and Canada. Their primary
venues were the Chautauqua and Lyceum circuits. Of the many musical acts
touring these circuits the Apollo Concert Company was one of the most
prominent. Like many concert companies of the era they featured multi-
instrumentalists performing in a variety of instrumental combinations, including a
saxophone quartet. The Apollo Saxophone Quartette was one of the most
significant American saxophone quartets of the early twentieth century. It played
countless numbers of performances throughout North and South America, and
G.E. Holmes and Clay Smith, its founding members, produced a large body of
transcriptions, arrangements, and original works for saxophone quartet.
The Apollo Concert Company began performing circa 1905. Clay Smith,
G.E. Holmes and Arthur Wells formed the company shortly after the St. Louis
Exposition of 1904(Smialek 21). Originally the group called themselves the,
"Three Musical Cowboys," and began to play the vaudeville circuits in the mid-
west. During an extended engagement at Chicago's Majestic Theatre the group
came to the attention of the producer, Charles E. Bentley. Mr. Bentley signed the
trio to a five-year contract at which time they became the Apollo Concert
Company (Ibid.).
Arthur Wells was primarily known as a banjoist, but he was proficient on
mandolin, guitar and the saxophone. The driving musical forces behind the
Apollo Concert Company, especially in the early years, were Clay Smith and G.E.
Holmes. Clay Smith began his musical career as a guitarist and trombonist. Prior
315
to 1905 he performed with a number of well known ensembles including
Phinney's Concert Band, Liberati's Band, Kilties's Band, the Ringling Brothers
Band and many other prominent bands and orchestras. Smith and Holmes wrote
frequently for an early twentieth-century American musical periodical primarily
targeted toward amateur musicians, the Dominant (Smialek). In a 1915 article,
Smith recounts his first exposure to the saxophone during a Gilmore Band concert
featuring E.A. Lefebre as saxophone soloist.
The first saxophone the writer ever saw and heard, made a deep
and abiding impression [...] it really seemed wonderful and
caused a great deal of comment by [its] marvelous tone quality,
and oddity of shape. The novelty of the whole thing caught the
fancy so, that there and then was born the writer's first desire to
play a saxophone. (Smith Dominant July 1915: 66)
Smith went on to become an accomplished saxophonist. In addition to his
extensive performing career he was active as a composer. The bulk of Smith's
compositional output came in the form of popular songs for voice with piano
accompaniment. He was also prolific as a writer of prose and did the majority of
the writing for a monthly saxophone column published in the music periodical the
Dominant for which he shared the byline with G.E. Holmes (Smialek 17-19).
Like Smith, G.E. Holmes was a multi-instrumentalist. At an early age he
studied flute, piccolo, cornet and saxophone. He became a proficient performer
on all of those instruments. In addition to his work with the Apollo Concert
Company, Holmes was also a prolific and well-respected composer. Hundreds of
his original works and arrangements were published during his lifetime. He was
best known for his marches, which numbered in excess of fifty, but his
316
compositional output also included overtures, songs, and works for concert band.
Holmes also produced numerous arrangements and original works for saxophone,
many of which were scored for saxophone quartet. In his later years Holmes
focused more of his attention on education and was involved with the fledgling
School Band movement in the United States during the late 1940's and 1950's
(Ibid. 20-21).
The Apollo Concert Company's first performances were in vaudeville.
However, shortly after their inception the group shifted its focus to the Lyceum
and Chautauqua circuits and added Wells' wife, Alta, to the company (Ibid. 21).
Alta Wells was primarily a pianist. She performed piano solos and served as
accompanist in the Apollo Concert Company. Like her husband, she too took up
the saxophone. With Alta Wells as its fourth member the Apollo Concert
Company began to feature a saxophone quartet. The company would continue to
feature the saxophone quartet in all of its concerts for the next two decades. In
1908 a notice from the Conn Company's magazine Truth features the, "Apollo
Saxophone Quartette." There is a photograph of the four members each holding a
saxophone: Holmes, soprano saxophone; Alta Wells, alto saxophone; Clay Smith,
tenor saxophone; and Arthur Wells, baritone saxophones. Beneath the
photograph the following notice appears,
This excellent organization has been before the public many years
in connection with the Chautauqua enterprises throughout the
country and during the season is always busy. Outside of the
Chautauqua season it is in great demand by the Lecture Bureaus. [.
..]. (vol.8, no.l 1:9)
317
The Apollo Concert Company featured a variety of musical combinations,
but the saxophone quartet was one of the most prominent features of the act. The
photograph and notice in Truth entitled, "Apollo Saxophone Quartette," appeared
without any mention of the other activities of the concert company. In June of
1910 the Apollos appeared in the pages of Truth once again. The following
notice appeared beneath a picture of Clay Smith, in concert attire holding his
tenor saxophone,
The Apollo Concert Company and Bell Ringers is a well known

and exceedingly popular organization. Among the many
instrumental combinations featured by this Company is the
Saxophone Quartette, comprising Soprano, Alto, Tenor and
Baritone Saxophone, all of which are of the Conn make. [...]."
(vol.9 no.6: 9)
By 1912 the Apollo Concert Company had switched their instrument
manufacturer affiliation from Conn to Buescher. The May 1912 issue of True
Tone featured a cover photograph of the Apollo Concert Company. The
photograph shows the saxophone quartet, dressed in concert attire with all four
members arranged in a semi-circle, consulting a musical score. Inside the
magazine was a feature article on the Apollo's entitled, "A Worthy Company."
We are glad to present to True-Tone readers, on our front cover

page, the Apollo Concert Company, now touring under
management of the Coit Lyceum Bureau, Cleveland, O. So many
kind things have been said of the Apollos that it is hard to add
anything new in the way of praise. It would be difficult to
assemble five persons possessing anything like the talent The
Apollos could boast of, if they were given over to self-
commendation.
Mrs. Alta R. Wells is a pianist far above the ordinary, who
is equally proficient on the saxophone and Apollophone [a large
318
percussion instrument similar to the marimba]. Her experience in
concert work extends over six years.
Miss Coy la M. Spring as a reader occupies a position
among the very best. She makes a specialty of character work and
pianologs and also knows how to use her excellent soprano voice
with good effect.
Mr. Arthur Wells is a cultured musician and worthy of a
place among professionals of the highest rank. He is a splendid
banjo soloist and saxophone player and has had twelve years
experience in lyceum and concert work.
Mr. Clay Smith, often called "Smithy," has been a guitar
soloist since 1893. His ability is equal to a full evening recital on
this instrument, which makes further comment unnecessary. As a
trombone soloist he has a remarkable record, having appeared with
a dozen famous organizations.
Mr. G. E. Holmes has had many years of successful concert
experience as cornet and flute soloist with various concert
companies and bands. He is well known as a composer of band
and orchestra music having at present more than a hundred
compositions published and on the market. Among his most
successful are the following: "The Prospector March," "Queen of
Flowers Waltzes," "Lights and Shadows Caprice," and "Primrose
Intermezzo." Of his latest works, the "Alkahest March," is being
widely used.
No concert company is more deserving of success than The
Apollos, combining as its members do, extraordinary musical
ability with personalities leaving nothing to be desired. They leave
nothing undone to supplement their exceptional talent, which
might be expected of such an organization.
'••[.-..] We trust that every reader of True-Tone will not lose
an opportunity to see and hear the Apollos, should it be offered. (1-
6)
A publicity brochure entitled "The Apollo Concert Company and Bell
Ringers," dating sometime between 1910 and 1912 provides further details of the
concert company's activities. The brochure is stamped at the bottom: Coit
Lyceum Bureau of Cleveland, Ohio; the same bureau referred to in the May 1912
article, "A Worthy Company." The brochure is six pages in length and contains
319
numerous photographs and illustrations as well as a good deal of text. The first
paragraph reads as follows.
The Apollo Quintette and Bell Ringers is offered in response to a

persistent callfromthe most experienced and discriminating
committees for a company of strictly high-class musicians and
entertainers, capable of putting on a program of great variety and
superior quality. A careful consideration of the personnel of the
company, their long and successful concert experience, the
instrumentation (which includes legitimate instruments only) in
solos and splendid ensemble work, the vocal selections, readings,
etc., will convince the thoughtful buyer that the Apollo Quintette
and Bell Ringers will attract large audiences and please them
greatly. The press of many of the best lyceum critics of this
country uniformly attest the splendid satisfaction given by their
entertainment to crowded houses. We will simply add a few words
concerning the individual members of the company and the
program they give. ("Apollo Concert Company and Bell Ringers"
American Memory Collection)
The brochure goes on to provide a passage on each of the members of the
company along with quotesfromthe press. It concludes with a discussion of the
various musical ensembles featured in the act, including the saxophone quartet.
Press clippings from all over the country including New York, New Orleans,
Ohio, Alabama, Pennsylvania, Kansas, Illinois, Michigan, Missouri, Minnesota,
Indiana, South Carolina, Florida, Maine, Vermont, Massachusetts, South Dakota,
Oklahoma and even as far as Ontario, Canada, are all included in the brochure.
Several of the press quotes make specific mention of the saxophone quartet. The
following isfromthe Adrian. Michigan Times. "The music of the Saxophone
Quartette was new and novel. The different tones and musical expression were
brought out with remarkable skill" (Ibid.).
320
The brochure also contains a specimen program. The saxophone quartet is
featured twice on a program of thirteen works. It appears on the program at the
end of me first act and as the penultimate work in the second half. Both
selections performed by the saxophone quartet were arrangements of classical
music. The first selection was, "The Celebrated Overture, 'LustspieP," by Kela
Bela and the second was an arrangement of, "Miserere,"fromII Trovatore by
Verdi. The rest of the program featured marches, polkas, a reading, popular
songs, and arrangements of classical works by Suppe and Wagner for mixed
instrumental ensembles (Ibid.). This same sample program was reprinted in the
June 1912 issue of the Dominant accompanied by an article on the Apollo
Concert Company entitled, "Something of Interest" (9).
During the year 1913 the Apollo Concert Company introduced a new
instrument called the, "Apollophone." A promotional brochure from 1913 gives a
description of the custom-made mallet instrument.
It embodies all the better qualities of the xylophone and

marimbaphone, retaining the carrying power of the former and the
harp-like qualities of the latter. It was built to order, is sixteen feet
in length, and has all the musical possibilities of the Steinway
Grand Piano. ("Apollo Concert Company" American Memory
Collection 1913)
The 1913 brochure included many of the same press clippingsfromthe
earlier brochure. The saxophone quartet continued to be an integral part of the
concert company's activities. The most prominent photograph in the 1913
brochure is a full-page picture of the saxophone quartet. All four members are
dressed in concert attire and are posed examining a piece of music together. This
321
photograph was used often by the Apollo Concert Company. It appeared in music
periodicals such as the Dominant and True Tone, in the company's publicity
materials and brochures, and on the cover of the published music for saxophone
quartet that was written and arranged by G.E. Holmes published by C.L.
Barnhouse of Oskaloosa, Iowa. Holmes was prolific in his arrangements and
compositions for saxophone quartet. The cover from his arrangement of the
"Anvil Chorus"fromVerdi's II Trovatore lists forty-one works for saxophone
quartet. The pieces include original works for saxophone quartet by both G.E.
Holmes and Clay Smith, arrangements of classical works, operatic overtures,
orchestral excerpts, marches, and a few popular songs arranged for saxophone
quartet by Holmes. All of the arrangements are scored for soprano, alto, tenor
and baritone saxophones (Donizetti arr. Holmes).
The Apollo Concert Company toured extensively during 1913. A short
article along with a letter was printed in True Tone magazine. The same publicity
photo appeared with a caption underneath.
The Apollo Concert Co. composed of Mrs. Alta R. Wells, Arthur

E. Wells, Mr. Clay Smith and Mr. G.E. Holmes, is recognized as
one of the best Concert Companies on the road. Their time is
completely taken up under the management of the leading Lyceum
Bureaus. [...]. (vol.8 no.7: 15)
The letter is signed, "Apollo Concert Company," and is marked, "Enroute,
Portland, Oregon August 9,1912" (Ibid.). The next issue of True Tone contained
an advertisement featuring the Apollo Saxophone Quartette. Again the same
322
photograph of the saxophone quartet appeared and the letter written, "Enroute
Portland, Oregon," was reprinted (vol.9 no. 1:12).
During the 1913 season the Apollo Concert Company expanded its
national touring schedule with a trip to the Panama Canal. The Buescher Band
Instrument Company printed a brochure that detailed their trip. The Apollo
Company was the guest of the U.S. Government and performed several times at
each of the eight, Government sponsored Y.M.C. A. clubhouses. These
clubhouses were the focal point for social and cultural activities for the many
American engineers, railroad men, and other workers in the Panama Canal Zone
(Smialek 33-34).
The period from 1912-1914 was the peak of the Apollo Company's
touring and performing. The company was touring extensively and receiving a
good deal of notice in the press. However, the Apollo Concert Company was
about to undergo personnel changes. Sometime during 1913, reader and soprano
singer Coyla Spring left the company. Ms. Spring was replaced by Gladys
Harding, who took over the role of reader and soprano. A promotional brochure
from 1914 reflects the change in the company's lineup. The brochure was
marked, "Designed and Printed by Franklin C. Hollister. 500 Sherman Street,
Chicago," and contains many of the same materials and photos as the promotional
brochures from 1911 and 1913. The 1914 brochure contains a new biographical
passage on Miss Harding. The changefromMiss Spring to Miss Harding had no
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immediate effect on the saxophone quartet, as neither were a part of that ensemble
("Apollo Concert Company" American Memory Collection. 1913).
The Apollo Company Continued to perform as a saxophone quartet and
featured it as a major portion of all of their programs. A sample program included
with publicity materials from the Affiliated Lyceum Bureaus, lists the saxophone
quartet featured in two of the eleven pieces. As was customary on most Apollo
Concert Company programs, the saxophone quartet appears as the closing number
of both the first and second half of the program. The first work for saxophone
quartet was Selections from "Faust" by Gounod, arranged by Holmes. The
second is an original work for saxophone quartet, a march entitled, Triumph of
the True-Tones, co-authored bv Holmes and Smith (Ibid.).
The Apollo Concert Company continued to appear frequently in the pages
of True Tone. They were featured as part of an advertisement for Buescher
instruments. A photograph was included that depicts all five members of the
company, including Harding, dressed in formal attire with the women seated and
the men standing behind them. Beneath the photograph is a brief caption stating
that the Apollo Saxophone Quartette endorses and plays exclusively Buescher
saxophones (True Tone vol.9 no.2). In that same issue of True Tone there was an
article on the compositions of G.E. Holmes. The article speaks at length
concerning Holmes' compositions for cornet, trombone and tenor saxophone
published by C.L. Barnhouse. The last paragraph mentions his arrangements for
saxophone.
324
Mr. G.E. Holmes, also of the Apollo Concert Co., whose
saxophone arrangements and compositions are known and sought
after throughout the whole world, has lately sent to Barnhouse for
publication, ten new arrangements. This makes twenty-seven in all
of saxophone arrangements that Barnhouse publishes for Mr.
Holmes. This will be welcome news for the many who are seeking
satisfactory saxophone arrangements and compositions. (Ibid.)
The Apollo Concert Company was featured in an article in the next issue
of True Tone as well. The short article was entitled, "The Apollos' Wonderful
Success."
A letter from Arthur Wells of the Apollo Concert Co. advises that
the company is again booked solid through the lyceum and
chautauqua bureaus for the balance of 1914 and up to September,
1915. This popular and widely known musical attraction is so
much sought after by the music loving public that in order to
secure an open date bookings are invariably necessary to be made
two years in advance.
Mr. Clay Smith's compositions, "Wings of the Morning"
(Valse de Concert), 'The Pleiades" (Polka Brilliante), "Memories
of the Past" (Concert Waltzes) and "Harbor Lights" (Valse de
Concert) and his unique arrangement of "Old Kentucky Home" in
variations for trombone, cornet, baritone and Bb saxophone are
meeting with great success. They are numbers that every band
man should have. Mr. Smith is a member of the Apollos.
Guy E. Holmes of the same company is a world-wide
known composer and arranger of saxophone parts. His
arrangements, numbering twenty-three in all, as well as Mr.
Smith's can be purchased through the Barnhouse Publishing Co. of
Oskaloosa, Iowa, (vol.9 no.2 1914)
By all indications the Apollo Concert Company was thriving, and their
fame continued to grow. However, in late 1914 or early 1915, personnel changes
would occur that would alter the path of the company forever. During the 1914
season Smith and Holmes decided to sell their shares in the Apollo Concert
Company and start a new concert company of their own. They played out their
325
contractual obligations with the Apollo Concert Company through the summer's
Chautauqua season of 1914, at which time they left the company (Smialek 22). In
March of 1915 an article by Arthur Wells appeared in the Dominant announcing
the reorganization of the Apollo Concert Company. Arthur and Alta Wells and
Gladys Harding remained with the company. George Shutts and Harry W. Lewis
replaced Smith and Holmes, and the company was now under the sole
management of Arthur Wells (31). A promotional brochure from 1915 contained
entries for the new members of the company.
Mr. Harry W. Lewis is unquestionably one of the greatest

clarinetists and saxophonists before the public and considered by
notable professional musicians to be an authority upon these
instruments. His work on clarinet, saxophone and oboe is
characterized by a beautiful clear tone and brilliant technique. His
years of experience in bands, orchestras and on the concert stage,
in which he had made an unqualified success, assures his ability to
please and entertain an audience. ("Apollo Concert Company"
American Memory Collection. 1914)
The entry for Shutts reads as follows:
Mr. George Shutts is a thorough musician and has made enviable

reputation with his ability as such. He has been associated with
Kryl's band and many other notable bands and orchestras for many
years. His rendition of the complete overture "William Tell" as a
xylophone solo has been recognized as a masterpiece of this
instrument, and his work with the "Apollos" in all lines, especially
with the Apollophone, will be a feature of their program. Together
with being a premier xylophonist, he is also excellent on the
saxophone, trombone and violin. (Ibid.)
It is unclear why Smith and Holmes left the Apollo Concert Company. In
1914 the Apollo Company was still extremely successful, and from all published
accounts showed no signs of waning. The article in True Tone from 1914
326
indicated that the group had engagements almost two years in advance, and was
fully booked through the summer of 1915. Change of venue was not an issue.
Smith and Holmes continued to perform on the same Lyceum and Chautauqua
circuits that they had toured for years with the Apollo Concert Company. Perhaps
Smith's relationship with Coyla Spring had something to do with the split. Smith
married Spring in May of 1915. However, there is no evidence to indicate
whether Smith's romance with Spring occurred prior to or after he left the Apollo
Concert Company (Smialek 23).
In an article entitled, "Distinct Artistic Company," Smith cited artistic
differences that had arisen in the Apollo Concert Company. The article originally
appeared in the July 1915 issue of The Dominant. It was reprinted in True Tone
vol.10 no.2 that same year.
[...] For a couple of years the struggle for a broader expression

has been going on in the minds of these two popular musicians of
unusual ability [Smith and Holmes], and it was nothing unexpected
when the announcement was made of the organization of the
Smith-Spring-Holmes Orchestral Quintet, which promises to be the
one distinct artistic company of the coming season. (2)
Smith and Holmes reunited with Coyla Spring, and along with Coyla's
sister Lotus Flower Spring and Freida Bethig, formed the Smith-Spring-Holmes
Orchestral Quintet. Smith and Holmes continued to play saxophones in the new
concert company, but they did not feature a saxophone quartet. The Apollo
Concert Company continued to feature its saxophone quartet for years to come.
While Smith and Holmes were never again a part of the Apollo Company their
careers continued to parallel the Apollo Concert Company's. The newly formed
327
Smith-Spring-Holmes Quintet toured the same lyceum and Chautauqua circuits as
the Apollo Concert Company. The two companies also appeared in the same
periodicals, often in the same issues.
In the fall of 1915 separate articles about the Smith-Spring-Holmes
Orchestral Quintet and the reorganization of the Apollo Concert Company
appeared side-by-side in the pages of True Tone. The article about the Smith-
Springs-Holmes Quintet was entitled, "A New Concert Company Organized."
Original Members of the one of the oldest and most famous of all
Lyceum and Chautauqua Musical Organizations.
Their success assured from the start because of their
masterful attainments and advanced bookings.
A new Concert Company composed of members old to the
Lyceum and Chautauqua field will be launched October 1. Messrs.
Holmes and Smith, two of the original organizers and proprietors
of the well known Apollos, have sold their interest in that
company, and together with Miss Coyla M. Spring, will put out a
new company under the title of, "The Smith-Spring-Holmes
Orchestral Quintette."
Miss Coyla Spring was reader and soprano with the
Apollos for several seasons, but has been heading her own
company (The Coyla May Spring Concert Party) for the past two
years.
Miss Lotus F. Spring, who has been Cello Soloist in her
sister's company for the past two seasons, and Miss Frida Bethig,
violinist and pianist of the same company, are the other two
members of the Quintette.
It will be an ideal company from the standpoint of
instrumentation. Their ensemble will consist of violin, cello, flute,
alto clarinet and piano.
The solos, duets and trios will include numbers on the
trombone, cello, cornet, violin, flute, alto and bass clarinets,
saxophones and voice.
Their time is practically all sold out in advance by the
Redpath Lyceum Bureau.
We know of nothing new to say in commendation of this
company; they are all too well known to music lovers throughout
the land, for further comment, both as artists of the highest rank
328
and also through many compositions of Messrs. Holmes and
Smith. (1)
The article about the Apollo Company was entitled, "Apollo Concert
Company Changes Personnel."
Arthur Wells remains head of famous instrumentalists and takes on

two new soloists.
Kryl's Band and Milwaukee Symphony Orchestra has been
drawn upon for the successors of the retiring members. Their
program is one by which all other programs are judged.
A change in the personnel of the Apollo Concert Company,
one of the oldest established musical organizations of the Lyceum,
is announced for the coming Lyceum season. Mr. Arthur Wells,
one of the original organizers of the Apollos, will continue the
company as manager and owner. He has been progressive and
active in professional work for many years and has now reached a
high degree of efficiency through his development. Mrs. Arthur
Wells, who has been with the company since its organization, will
continue her work with Mr. Wells, and Miss Gladys Harding, who
has been with the company for the past three seasons will remain.
Messrs. Harry W. Lewis and George Shutts are the two new
members. Mr. Lewis is unquestionably one of the best clarinetists
and saxophone soloists before the public, and Mr. Shutts is a
saxophonist, trombonist, and xylophone soloist, having appeared
with Kryl's Band, and many other notable organizations. Then-
work both as soloists and in the ensemble work, especially with the
Saxophone Quartette, will be one of the features of the program.
The new personnel is exceptionally strong and the program of the
Apollos will continue to be, as it has been for many years, a
standard by which all concert programs are judged. The character
of the program will be changed but slightly from that which has
won such unusual favor in ten years in which the Apollos have
been before the people. Added combinations of both brass and
string, with the new personnel will be possible and the program
given new zest and flavor.
Portrait of the new organization is shown on the last cover
page of this True-Tone. [...]. (Ibid.)
In the next issue of True Tone two more articles appeared, one about each
concert company. The article entitled, "About the Apollos," was similar to many
329
past articles and advertisements. It reprinted passages from promotional
brochures and contained information about the company's Lyceum and
Chautauqua bookings, and ended with a testimonial for Buescher saxophones.
The major difference between this article and previous articles was its tone,
particularly in the discussion of the Apollo Company's program. The following
passage is the first paragraph of the article.
The program of the Apollo Concert Company is one of great

variety and real merit, rendered with a lilt to it which characterizes
artistic musicianship everywhere. Versatility and artistry of the
highest and finest quality marks their individual work and their
ensemble feature is especially to be commended. In this they play,
"Each for all and all for each." The Apollos radiate good cheer
and good will abundantly. They play real music, comprehensible
selections of both classics and favorites of the people. Their
program is one by which all other concert programs are judged and
their desire to excel is responsible for the popularity of mis
progressive company. The reason for the perennial success of this
artistic and well known company is plainly to be seen. They keep
in advance of the demands and give to the public new and better
offerings each year. Season after season they are one of the finest
companies, whose time is entirely sold out, and years of experience
as professional players has placed them as headliners in their
profession. [...]. (vol.10 no.2: 2)
Unlike previous articles about the Apollo Concert Company, special
attention is called toward new aspects of the program and the adaptability of the
company to change with the tastes of the audiences by keeping, "in advance of the
demands and [giving] to the public new and better offerings each year" (Ibid.). It
is likely this new emphasis reflects the sole leadership of Arthur Wells, which he
previously shared with Smith and Holmes. The article also points to a different
direction that the Apollo Company was heading in, one that included a novelty
330
component in the act. The accompanying article for the Smith-Spring-Holmes
Quintet brings this issue further into focus. Smith and Holmes were adamant in
their assertion that their new concert company did not incorporate novelty aspects
into their musical performances. The article addresses at length the musical
progression and differences of opinion and artistry that lead to the creation of
their new concert company.
Musically speaking there is no such thing as stand still. We must

progress or we retrograde. [...].
And so it is with Clay Smith and Guy Holmes. There are
very few, if any more widely and favorably known musicians. For
many years they have been connected with the best and most
talented musical attractions- filling solid bookings each year in
Lyceum and Chautauqua engagements. For a couple of years the
struggle for a broader expression has been going on in the minds of
these two popular musicians of unusual ability, and it was nothing
unexpected when the announcement was made of the organization
of the Smith-Springs-Holmes Orchestral Quintet, which promises
to be the one distinct artistic company of the coming season.
Messrs. Smith and Holmes have grown; they have
advanced; they have developed real artistic temperaments without
losing their horse sense. They are recognized as artists; their
compositions are standard, and are played by musicians
everywhere. So they outgrew the novelty stunts and are presenting
a program of real merit. ("Distinct Artist Company," 2)
The reference to, "novelty stunts" seems to be squarely directed at the
Apollo Concert Company. Smith and Holmes' had spent the past ten years
touring the Lyceum and Chautauqua circuits with the Apollo Concert Company.
A reference to "outgrowing the novelty stunts," could have only been aimed at the
Apollo Company. There is nothing in their promotional materials or coverage in
the press that indicates the Apollo Concert Company included any novelty or
comedy numbers in their act, during the time in which Smith and Holmes were
331
with the company. Perhaps the "novelty stunts" mentioned in the article refer to
the direction in which Arthur Wells wanted to take the company. Smith and
Holmes would have clearly taken an exception to this type of direction, and it is
possible such suggestions could have contributed to them leaving the Apollo
Concert Company. The article goes on to emphasize the, "legitimate" nature of
the new company and its programs.
This company will carry only legitimate instruments. There will

be nothing in the company bordering on the novelty order. They
will not carry flags, nor use slap-sticks nor claptrap methods to
gain applause. They will not use "funny bonnets," nor "do stunts,"
nor play a Mendelssohn Concerto on a one string fiddle.
This company will go on the theory that worthwhile
lyceum committees prefer to present good music and real
musicians who will present programs that bring into play only
legitimate musical instruments.
Their programs will consist of ensemble numbers on violin,
cello, flute, alto clarinet and piano; readings (dramatic, humorous
and musical), solos, duets, and trios on trombone, violin, cello,
flute, cornet, saxophones, voice, and alto and bass clarinets. [...].
(Ibid.)
In a letter dated November 7,1914 from Clay Smith to Harry Harrison of
the Chicago Lyceum company, Smith makes note of the fact that he believed that
the Apollo Company lost certain engagements because of the mistaken notion that
the group incorporated novelty and extra-musical features in its programs. He
wanted to make sure that the Smith-Spring-Holmes Quintet did not suffer the
same fate.
There is one request we want to make regarding our folders and

that is DO NOT LET THE WORD NOVELTY APPEAR IN ANY
OF OUR ADVERTISING. We have had trouble with that word
for the past twelve years [...] and there is no reason for the
committeemen to get into their heads that this is a novelty
332
company. In the past on account of them taking us for a novelty
company we have been knocked out of some very fine dates such
as Musical colleges, etc. Whenever the agent succeeded in talking
this notion out of their heads we have always gone in and made big
where they wanted high-class music, (qtd. in Smialek, 38)
During their time with both the Apollo Concert Company and the Smith-
Spring-Holmes Orchestral Quintette, Smith and Holmes authored a monthly
saxophone article published in the Dominant. Their saxophone articles provide
insight into the musical and artistic practices of the Apollo Concert Company, as
well as general information regarding the saxophone and saxophone quartet
during the early Twentieth Century. Their articles often addressed the subject of
novelty versus legitimate music making, including the specific problems that they
had encountered as a result of the wrongful association of their acts with the term
novelty. The articles also address the plight of the saxophone in general as
regards the subject of novelty and comedy. In late 1914 or early 1915 Smith and
Holmes wrote an article entitled, "The Saxophone is Coming Fast." It originally
appeared in The Dominant and was reprinted in a 1915 issue of True Tone. The
article touches on a number of issues regarding the saxophone and its increasing
popularity. One of the areas addressed was the wrongful association of the
saxophone with the term novelty.
After eighteen years spent on the road constantly giving

performances, playing in bands and orchestras, we have had
unusual opportunity to watch the growth of the usefulness and
popularity of this instrument. Today, the saxophone has ceased to
be a novelty- even at the country cross roads where the smallest
lyceum course is held, the people have ceased to wonder at the
seemingly complex glittering instrument that once got by on its
looks. Even Uncle Reuben now demands real music. These cross
333
roads' audiences will give the closest attention to a performance,
but they want tuneful music, and want it played right. These
gatherings are no longer made up of "Rubes," "Jays," and other
smart names with which the unthinking like to label those who
reside out of the confines of the social set. (True Tone vol. 10 no.2:
2)
Smith and Holmes continued to address these and other topics concerning
the legitimacy of the saxophone in their monthly saxophone articles. In addition
to a dislike of the association of the saxophone with novelty and slap-stick, Smith
and Holmes also held a great disdain for the saxophone's association with any
type of jazz music. The following is excerpted from their June 1916 saxophone
article for the Dominant.
Nevertheless, the saxophone has come into its own and it has come
to stay and take its place beside all other legitimate instruments of
the world. Today it is menaced by only one thing—RIDICULE,
and that is brought about by the saxophonists themselves. There is
nothing so disastrous as making a comedy number out of
anything—in other words laughing it out of court. This is what
some of the "human hangnails," who pretend to be saxophonists,
are going to bring about by the innovation of what they term "Jaz"
playing [...]. The other night we listened to an orchestra of nine
people play a popular number and when they came to the chorus
they all dropped their respective instruments andfromthe hidden
depths of the palms each produced a saxophone. Then draping
themselves around the piano they proceeded to "jaz," the said
chorus until you couldn't tell whether it was an Indian chant or a
Nigger camp-meeting. (Smith and Holmes "Saxophone Article"
Dominant June 1916: 72-73)
This same issue arose six months later in Smith and Holmes' January 1917
saxophone article for The Dominant. In response to a question in the Chicago
Tribune as to whether the saxophone was an orchestral instrument, Smith and
334
Holmes addressed the question directly and also took the opportunity to denounce
jazz playing on the saxophone.
The answer made quite a hit with us as follows: Yes, the

saxophone undoubtedly has its place in the orchestra and is worthy
of being classed among the orchestral instruments, but it should be
used properly and not abused and run in to take the place of every
other legitimate instrument, as it is now being done around
Chicago. If played well it has a fine tone quality, which blends
admirably with the modern orchestrations. But God save us from
the hideous cat-calling that is so much in vogue at present termed
"Jassing." The listener who hears some of these "Jass" players and
has never before heard a saxophone is liable to form some very
erroneous opinions of this much talked of instrument [...]. Really,
the "Jasser" should be subject to the same quarantine restrictions as
if he had the foot and mouth disease. (Smith and Holmes
"Saxophone Article" Dominant January 1917: 80-81)
Smith and Holmes continued to address this topic and many others
concerning the saxophone throughout the remainder of their career. By 1924
Smith perceived the plight of the saxophone as improving.
The general or popular conception of the saxophone is fast

changing. The trend of the many letters I receive serve as a
splendid barometer in recording this change. A few years ago
most of my inquiries were how to do various tricks; while now
they are relative to the legitimate or artistic side of the instrument.
(Smith "Saxophones in the Modern Dance")
Smith and Holmes were very concerned with the "legitimate" nature of
their performances. Smith and Holmes imply in a number of their letters that the
suggestion of including elements of novelty and slap-stick was the reason they
chose to leave the Apollo Concert Company. This assertion by Smith and Holmes
is somewhat curious, because the Apollo Company did not head in a direction of
increased novelty or comedy elements in its act. Promotional brochures and press
335
clippings for the Apollo Concert Company after Smith and Holmes' departure
indicate that the primary emphasis of the group was still on music. They also
indicate that the music was of a "high-class" nature, and that the elements of
novelty and comedy played no more or less of a role than in the years in which
Smith and Holmes were still part of the company. Press reviews immediately
after Smith and Holmes' departure indicate that the primary focus of the company
was still legitimate music in a concert format. The following reviewfromthe
Columbus Gazette of Iowa, refers to the Apollo Company's programs as a,
"concert."
The fourteenth annual Chautauqua program closed a very

successful season last Thursday evening with a full concert by the
Apollo Concert Company [...] The Apollos, as we stated last
week were very good and their closing concert drew a big crowd
and was very liberally applauded. (19 August 1915: 1)
The lineup of the Apollo Concert Company continued to undergo change.
Immediately after Smith and Holmes' departure, in 1915, the Apollo Company
lineup was: Arthur Wells, Alta Wells, Gladys Harding, Harry Lewis, and George
Shutts. This lineup did not last for very long. An advertisement from July of
1915 in Lyceum Magazine lists Walter Stuebe in Harry Lewis' place (22).
Neither Stuebe nor Shutts remained with the group for any significant length of
time. A promotional brochure published by the Affiliated Lyceum Bureaus of
America and printed in Chicago in 1915, shows yet another lineup for the Apollo
Concert Company. Therefore Shutts, Stuebe, and Lewis did not perform with the
336
Apollo Concert Company for any longer than one season each, and perhaps only
for a matter of a few months.
The 1915 brochure lists replacements for Lewis, Stuebe and Shutts. Mr.
St. Elmo Pompeji took on the role of soprano saxophone in the Apollo saxophone
quartet, and Mr. J.D. Lattimer took over the tenor saxophone chair. Alta Wells
continued to play the alto saxophone and Arthur Wells continued to play the
baritone saxophone in the saxophone quartet. Gladys Harding was also gone by
this time and was replaced by Miss Letitia Whitten. The credentials of Mr.
Pompeji and MrT Lattimer are given in the 1915 brochure, and they are
comparable to that of Mr. Lewis and Mr. Shuttsfromthe previous brochure. The
saxophone quartet remained a significant portion of the program and a full-page
photograph of the quartet appears in the five-page brochure.
Mr. St. Elmo Pompeji is a thorough musician, playing a number of

instruments, and being particularly capable as a trombone soloist,
and as a performer on the Apollophone. His trombone solos have
occasioned great enthusiasm. Chosen from a wide field of
applicants, because of his musicianly attainments, his cordial
reception by patrons of the company has proved the wisdom of his
selection.
Mr. J. D. Lattimer has held important musical positions for
the past twenty years, such as clarinet soloist for a long period with
the famous Finney's U.S. Band, and Assistant Director of the
N.H.D.V.S. Band ten years. As a clarinetist, saxophonist and viola
de amour artist he has been winning new laurels since joining the
Apollos.
Miss Letitia Whitten is recognized by the musical world as
a dramatic soprano of great merit. She is a pupil of Mme. Alma
Brauman of New York. In addition to splendid vocal work she
adds variety to this notable program by her readings, pianologs and
ensemble numbers on the Apollophone. Her work commends
itself to the most critical audiences by its artistic merit and her
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charming personality. ("Apollo Concert Company" American
Memory Collection. 1915)
A 1917 article in True Tone indicates yet another personnel change in the
Apollo Concert Company. Mr. and Mrs. Wells remained along with J.D.
Lattimer, while new members, W.O. Morrison and Josephine Beasly replaced St.
Elmo Pompeji and Latitia Whitten. It is clearfromthe article that the saxophone
quartet was still a large component of the act and that the emphasis of the
company was still a concert format that focused, "primarily on high-class music."
However, there are some indications that the company was moving toward the
inclusion of novelty or comedy in the act that Clay Smith and Guy Holmes were
so adamantly against.
SMASH, BANG! The lightning flashed, the thunder rolled, and at

last the gale burst in its fury. The tornado had hit the big
Chautauqua tent at Erie, Pennsylvania, that Sunday night in June.
The Apollo Concert Company was on the stage playing to the two
thousand people. They knew that to stop playing at such a time
meant precipitating a panic so they played gamely on. The tent
crew worked like mad, double and triple staking the tent, hoping to
hold it secure in face of the gale. But, in spite of their efforts, the
tent crumpled up like an egg-shell. Men grabbed ropes and poles
while the screaming crowd scrambled to safely. The Apollos
finally emerged, unhurt, from underneath the wet, heavy canvas,
and numberless poles, with their Saxophones somewhat dented.
This was the opening day of Coit-Alber Chautauqua in Erie on the
seven-day circuit.
There are many reasons why the big managers in Cleveland
selected this musical company, who, with Ralp Parlette, the
humorist-lecturer, started things off. There is plenty of snap in the
Apollo program. Their, "honest-to-goodness-nobody-else-has-it-
style-of-entertaining," made them a most logical opening company
for this wonderful traveling university.
On many of the big musical lyceum courses of America
"Apollo night" has become an established institution. The
company has demonstrated an ability "to return" which is not
338
surpassed by that of any lyceum organization. "There is a reason,"
as the breakfast foods are want to say. Big variety is theirs. In
addition to the Saxophone Quartet, and the Apollophone—two big
features of the Apollos'program—they have Banjo, Trombone,
Viola and Vocal solos, Vocal duets, Readings and Pianologs. The
Saxophones were made by the Buescher Band Instrument
Company of Elkhart, Indiana. These instruments are the most
beautiful set yet made. They are of 22 k. gold, elaborately
engraved. No instrument in America is more universally popular
today than the Saxophone, and the work of the Apollo Saxophone
Quartet stands out as the one big feature of their program.
[...]. The personnel of the Apollo Company at present is
comprised of Mr. Arthur Wells, Mgr., Mrs. Arthur Wells, Mr. J. D.
Lattimer, Mr. W.O. Morrison, and Miss Josephine Beasley. These
peerless entertainers present a program devoted primarily to high
class music. A phase of their work often favorably commented
upon is their frank interest in their audiences, and the reciprocal
interest in their audiences in them. "It's hard work," they say, "but
it's our life's work so we like it." (True Tone vol. 10 no.3:2,12)
The colorful tone of the article may indicate that the company was turning
toward the inclusion of novelty, comedy, and extra-musical aspects in the act,
rather than the strictly musical program it had offered in the past. The fantastic
story of the thunderstorm is in contrast to the more conservative tone of previous
articles written about the Apollo Company. In that same issue of True Tone, the
tone of an article about the Smith-Spring-Holmes Quintet was in stark contrast to
the tone of the Apollo article. The quintet article is more conservative in its tone
and language and emphasizes the musically serious nature of their programs.
On August the twentieth the Smith-Spring-Holmes Orchestral

Quintet closed their Chautauqua season at Glendive, Mont. They
opened the season at New Orleans, La., April the eleventh on the
Ellison-White big seven-day circuit, which by the way, is the
largest Chautauqua circuit in the world, running one hundred and
twenty-seven consecutive days.
This company is one of the old standard attractions and also
one that continues to grow. In fact, they are one of the oldest
339
companies in point of personnel in the business, and
PROFESSIONALS not coached AMATEURS.
[...]. The wide experience of the Smith-Spring-Holmes
company in the concert field has taught them the rare art of
program building. They have unlimited variety. Their
instrumentation is so varied that one selection on each instrument
or combination of instruments is all that can be crowded into one
concert, with the exception of course of the ensemble, which
appears three times. There is also only one dramatic reading, one
vocal solo and one musical reading on each program. They believe
in using the BEST in music, but also recognize the fact that the
man who paid his admission and "jist wants to hear a tune," is
entitled to some consideration, and they seem to have the knack of
satisfying this man without (as it is often termed), "playing down
to him." There is not a single, "trashy," number in their entire
repertoire, neither do they resort to clowning, wearing funny
bonnets or dragging in the flag to gain applause. [...]. (Ibid.)
Further insight as to whether or not the Apollo Company was introducing
a novelty component to their act can be found by examining the instruments used
by the company. The earlier True Tone article refers to new 22-karat gold
saxophones produced by Buescher especially for the Apollo Concert Company
(True Tone vol. 10 no. 3: 2,12). In the private collection of Dr. Paul Cohen there
exists a one-handed soprano saxophone. The instrument is a gold Buescher
curved soprano saxophone, serial no. 23815, and bears the inscription, "Made
Especially for The Apollo Concert Company." This saxophone has a series of
extra keys, not normally found on a standard saxophone, that allow the performer
to play most of the scale utilizing the left hand only. A conventional saxophone
only allows the player to play down to gl with the left hand. The added
mechanism allows the performer to play down to el, all with the left hand only. It
is believed that this instrument was played while allowing the performer to juggle
340
or do something else with the right hand. This type of "clowning," as Clay Smith
might characterize it, was not a part of the Apollo Company's program while
Smith and Holmes were with the company. Evidently it was a part of the program
after they left. The one-handed saxophone was produced circa 1915.
It is not clear how much of this type of novelty was utilized by the Apollo
Company. In all of the articles and publicity materials that have been located
there are no overt references to these types of activities. In contrast many other
groups on the lyceum and Chautauqua circuits made it completely clear that
comedy, clowning and stunts were a part of their acts. A particularly well-known
example is Tom Brown and the Six Brown Brothers. This group, which featured
a sextet of saxophones, dressed in clown costumes and black face. The use of the
saxophone ensemble by the Brown Brothers was as an adjunct to their comedy
and vaudeville act. The Apollo Concert Company never gave any indication, in
either their promotional materials, advertisements, or the articles found in
newspapers and musical periodicals, that their programs included a level of
novelty or comedy even remotely approaching the level of a group like the Brown
Brothers. Evidence suggests that while the program of the Apollo company may
have been altered somewhat to involve some novelty or comedy aspects, that for
the most part the company retained a concert format in which the emphasis was
on music, just as it had been during the tenures of Clay Smith and Guy Holmes.
The Apollo Concert Company continued performing well into the 1920's.
An article in True Tone magazine from circa 1920 indicates that the Apollo
341
Concert Company was still touring throughout the globe, and still featuring a
saxophone quartet. The company members names are not given, butfromthe
accompanying photograph the personnel can be identified as the same members
as those named in the 1917 True Tone article: Arthur and Alta Wells, Lattimer,
Morrison and Beasly. The 1920 article details a tour of Australia and New
Zealand.
[...]. The year 1919 was spent by the Apollo Concert Company in
Australia and New Zealand. Where the company gave the first
chautauqua programs ever given in those far-away lands.
The following is an article written by Mr. and Mrs. Wells,
giving some of their experiences while on their trip abroad. [...].
'We sailed from Vancouver, B.C., Sept. 23,1919, with the
Ellison-White Chautauqua party on board the 'Niagra' for Sydney,
Australia, with Honolulu, Fiji Islands, Auckland and New Zealand
to be included in our itinerary. The three weeks' regular voyage
was lengthened to almost six on account of 'flu' quarantines. We
had several interesting experiences with British authorities
(necessary during war times), but at last landed at Sydney on
November 1st. Shortly after our arrival we heard announced
through megaphones on the streets that the American Chautauqua
party were in the city and could be seen and heard in speeches and
songs opposite the Australian Chautauqua office. Evidently this
method of publicity is effective, for we were rushed to the
appointed place to face an audience of thousands eager to 'see and
hear.' [...}. (True Tone c.1920)
As of 1919 the Apollo Concert Company still had five members, featured
a saxophone quartet, and was apparently still thriving as evidenced by then-
ceaseless touring and their trip to Australia and New Zealand. After the summer
of 1920, health concerns forced Alta Wells to stop touring and performing
(Smialek 24). For this reason the Apollo Concert Company took a hiatus from
performing for almost two years. An announcement in Lyceum Magazine from
342
1922 indicates that the Wells' were once again performing as the Apollo Concert
Company, presumably still featuring a saxophone quartet. This reorganization of
the Apollo Concert Company lasted for a maximum of two years (qtd. in
Smialek). Promotional brochures from 1924 and 1925 indicate one, last
reorganization of the Apollo Concert Company. Mr. and Mrs. Wells retained the
Apollo name, but were now performing as the Apollo Duo ("Apollo Duo", 1924
and 1925). Obviously, they were no longer able to feature a saxophone quartet in
their duo format. They continued to perform as a duo until their retirement
around 1930.
The Concert Bands of Chautauqua
While concert companies and variety acts prospered on the Chautauqua
and Lyceum circuits for decades, the biggest draw on any Chautauqua program
was the concert band. "The bands of John Philip Sousa, Bohumir Kryl, Salvatore
Ciricillio, and Jaroslav Cimera were headliners known from coast to coast"
(Schultz 119). As venues and money became scarce for the touring concert bands
after 1910, a number of bandleaders turned to Chautauqua. Sousa and some of
the elite concert bands continued to prosper touring independently. While Sousa
found it more profitable to operate independently many other bandleaders that
lacked his reputation and stature found it increasingly difficult to keep their bands
afloat independently. Chautauqua offered greater security, even if the money was
less (Schwartz, 248).
343
The bands that toured with great success on the Chautauqua circuits
included the Italian Concert Bands of Liberati, Creatore, Vessella, Philippini, and
Ciricillo. Sousa alumni Bohumir Kryl, Jaroslav Cimera, and Fredrick Innes, all
took their bands to Chautauqua. The bands of the Chautauqua were often more
colorful and flamboyant than their counterparts in the business and concert bands.
Bohumir Kryl, with his pageantry and showmanship, became one of the leading
bandsmen on the Chautauqua circuits. He was one of the top headliners for ten
years and was famous for his flowing hair, which became his trademark (Ibid.
232,248). A number of the bands that were featured on the Chautauqua circuits
have been discussed in chapter eleven of this dissertation. Sousa, Liberati,
Creatore, and Innes all appeared on the Chautauqua circuits and all of these bands
featured saxophone quartets on their programs. Perhaps the most successful band
in Chautauqua, and among the first of the concert bands-leaders to migrate to the
circuits was Al Sweet. Al Sweet and His White Hussars opened a whole new
market for bands. The regular band market was being oversupplied, and the
demand for band music was beginning to dwindle. By 1910a number of the
weaker bands were on the point of discontinuing operation, when the Chautauqua
Circuit injected new life into these ensembles for an additional few years. Al
Sweet was known in music circles from coast to coast as, "Mr. Chautauqua,
leader of Al Sweet and His White Hussars" (Ibid., 244).
The programs of Sweet did not differ substantially from those of the other
concert bands. A typical Sweet program would feature operatic and symphonic
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transcriptions such as Suppe's "Poet and Peasant Overture," Beethoven's "Minuet
in G," Dvorak's "Humoresque," and the "Pilgrim's Chorus" from Wagner's
Tannhauser. The programs included Sousa marches as well, and popular airs and
melodies. Where Sweet differed from the concert bands of Sousa, Innes,
Conway, and Liberati were his uniforms and the inclusion of vocal numbers, by
his, "singing band."
Sweet was a handsome man, with wavy blond hair and a million
dollar personality. He liked flashy uniforms, and he created one
which became a sort of trademark. He dressed himself and his
men in gleaming white uniforms, liberally festooned with gold
braid. White capes lined with white silk were rakishly draped over
their shoulders. On their feet they wore knee-length, white kid
boots tooled with gold, and on their heads was an elaborate busby
or shako, surmounted by a flowing white plume. (Ibid. 245)
As Sweet and his band increased in popularity, the demand for the band
became greater than they could cover as a single entity. Ralph Dunbar and other
Chautauqua and Lyceum managers created a slew of bands built on Sweet's
model and capitalizing on his name. Dunbar thought up other names for these
groups: the Black Hussars, the Red Hussars, the Imperial Hussars, the Grenadier
Guards, the Imperial Grenadiers, the Royal Dragoons, and others (Ibid. 246).
Al Sweet featured a saxophone quartet. As discussed earlier the Hussars
were known by many names. The following description comesfroma publicity
brochure published by the World Amusement Service Association of Chicago, for
Al Sweet's Chicago Cadets.
"Al Sweet knows what the public wants and gives it to them," says
the Detroit Free Press. Al Sweet who has made his Singing Band
famous has again rung the bell of popular approval in presenting to
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the amusement-loving public his CHICAGO CADETS, a lively
young aggregation of Instrumentalists and Singers. Sixteen clean-
cut manly young college chaps comprise an extraordinary Band
and Glee Club. They play and they sing and they feature all sorts
of entertaining novelties. A saxophone quartette, marimbaphone,
vocal solos, instrumental solos and smashing choruses. [...]. ("Al
Sweet's Chicago Cadets")
There are other documented appearances of saxophone quartets on band
programs in Chautauqua. The Tuskegee Institute Band, Orchestra, and Glee Club
was active on the Lyceum and Chautauqua circuits during the first two decades of
the twentieth century. An undated publicity brochure distributed by the Mutual
Lyceum Bureau of Chicago, shows photographs of the band and glee club, as well
as a photograph of a saxophone quartet. The members are all African-American,
dressed in military-type band uniforms, and holding four saxophones: two altos,
tenor, and baritone. The brochure gives a description of the musical organization,
has a few press clippings, and gives some information about the Tuskegee
Institute. Apparently the travels of the band were quite extensive in the lyceum
and Chautauqua circuits and beyond. One press clipping cites concerts in
Australia and the Fiji Islands. The brochure provides the following description of
the band.
The Mutual Bureau takes especial pride in offering for Chautauqua

entertainments the great Tuskegee Band, Orchestra and Glee Club,
of Tuskegee, Alabama. Never before has so unique a musical
attraction been offered Chautauqua committees. This great
organization consists of forty members, selected from the 2200
students of Booker T. Washington's school. These students are
selected for their peculiar musical ability [...].
The programmes to be presented by this company will be
unique in that every jubilee or plantation melody they give will
have additional value in its historical meaning. The programmes
346
will consist of band, orchestra and glee club numbers, the entire
forty voices taking part in the vocal selections. Many of the
selections are arranged for both voice and instruments. ("Tuskegee
Band")
The saxophone quartet is not mentioned specifically in the body of the
brochure's text. However the last page of the brochure gives a sample program
on which the saxophone quartet is featured. The program is a mix of popular
numbers, spirituals and songs, and classical pieces including works by Verdi and
Rossini. The saxophone quartet is featured twice performing, "Swanee River,"
and "Peter Go Ring Dem Bells" (Ibid.).
Thel920'sandbevond
The Chautauqua and Lyceum circuits enjoyed their greatest popularity
during the first two decades of the twentieth century, but they continued to
operate through the 1920's. During the 1920's saxophone quartets remained a
consistent part of the music making activities on the circuits.
In 1923 the Buescher Company published a pamphlet entitled, "The Story
of the Saxophone." The pamphlet contained historical information about the
saxophone, advertisements for Buescher saxophones, and listings and
photographs of saxophone ensembles from the era. These ensembles ranged from
professional, nationally prominent acts, to local, amateur ensembles. The most
famous act was Tom Brown's Famous Six Brown Brothers. The Brown Brothers
received a full-page photograph, and are shown in clown outfits and makeup, with
Tom Brown in black-face. Underneath the photograph a notice appears
347
announcing that the Brown Brothers were, "now touring America with their 30-
piece Saxophone Band." Several of the ensembles featured large numbers of
saxophones. The Chicago Health Department Saxophone Band: nine
saxophonists, the Zurah Shrine Temple Octet, the El Za Gal Sax Band: 19
saxophones, the Studebaker Six: six saxophones, the Joe Thomas Saxotette: six
saxophones, and the Chicago Masonic Saxophone Band: eight saxophones are all
pictured in the booklet. Two of the groups modeled themselves so closely on the
Brown Brothers that they wore clown outfits, make-up, black-face as well. Dr.
Wagner's Saxophone Band of Omaha Nebraska featured nine saxophonists all in
clown costume and makeup, one in black-face. The Hollis Saxophone Quintet
also featured clown costumes.
Of the thirteen ensembles that appear in the pamphlet two are saxophone
quartets: the R.H. Cass Quartet and the H.V. May's Silver Sax Choir. In contrast
to most of the other ensembles that appear in the booklet, both saxophone quartets
are pictured wearing much more traditional clothing. H.V. May's Saxophone
Choir are shown wearing formal concert attire. The R.H. Cass Quartet are shown
wearing the military-type band uniforms. The attire of the groups contrasts the
more serious nature of the saxophone quartets with the sensationalism and
popular appeal of the larger saxophone ensembles.
Large ensembles of saxophones were not uncommon. They began to be
found around the turn of the century, and increased greatly during the 1920's.
The pages of Conn's Truth. Buescher's True Tone. Variety, and other musical
348
periodicalsfromthe period reveal a number of large saxophone ensembles. In
1912 the Four Musical Cates announced the formation of a large saxophone
ensemble, The Cates Saxophonic Symphonic Band (Variety 10 December 1912:
196) and in 1923 the Brown Brothers were featuring a large ensemble of
saxophones as well ("The Story of the Saxophone").
Despite the growth in popularity of larger saxophone ensembles,
saxophone quartets continued to be found touring the Lyceum and Chautauqua
circuits through the 1920's. Most of these saxophone quartets were operating in
the same concert company format that had been so popular during the preceding
two decades.
The Hippie Concert Company, active during the 1920's, was one such
multi-instrumental company that featured a saxophone quartet. Their promotional
brochure, which dates from the 1920s, contains a photograph of the company as a
saxophone quartet with an AATB instrumentation. The brochure states that the
company's programs feature, "xylophone, flute, piano and cornet solos,
saxophone quartets," and other ensemble combinations. The brochure states that,
"The company's program as usually given is both classical and popular in
character. [However], a strictly classical program will be given on request"
("Hippie Concert Company").
The Hull Family Concert Company also featured a saxophone quartet. A
promotional brochure from the 1920's shows the Hull family pictured with their
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saxophones: soprano, alto, tenor, and baritone. The brochure gives the following
description of the company.
Seldom is it possible to offer to the American public a group of

entertainers as attractive and versatile as The Hull Family Concert
Company.
Consisting of Capt. and Mrs. B.H. Hull and their daughters
Alice and Benita, the public performances of this completely
unified group, reflect before their audiences a congenial domestic
harmony which has made it possible for them to combine an ideal
home life with a large measure of public service and entertainment.
Entertainers of long and varied experience, Capt. and Mrs.
Hull began the musical training of their children early in life, and
Benita enjoys the distinction of being the youngest student ever
admitted to the Arizona School of Music, Phoenix, Az. [.. ].
All four of this interesting family are gifted Saxophone
players, and for several years were members of The Duane Sawyer
100-piece Saxophone Concert Band, in Detroit, with which the two
girls have appeared as soloists. In addition, Mrs. Hull is a soloist
on the cornet and piano; Capt. Hull, violinist; and both of the
daughters highly proficient at the violin and piano. [...]. ("Hull
Family Concert Co.")
A second promotional brochure for the Hull Family Concert Company,
also datingfromthe 1920's, was found in the American Memory Collection at the
Library of Congress. This brochure, published by the Abbott Lyceum Bureau,
contains a sample program. The first half of the program features six pieces, four
of which are saxophone quartets. The works for saxophone quartet were, "March
from Tannhauser," by Wagner, "Largo Appasionata," by Beethoven, "Minuet,"
by Paderewski and, "Light Cavalry Overture," by Suppe. The second half of the
program has seven works listed, two of which are saxophone quartets. Both
works listed are original concert works for saxophone quartet! The first work is,
350
The Banqueters March by G.E. Holmes the second was Jean-Baptiste Singelee's,
Allegro de Concert ("Hull Family Concert Company").
From the title, "Allegro de Concert," it is probable that the Singelee was
Lefebre's arrangement published by Carl Fischer. Although not indicated, G.E.
Holmes probably did the four saxophone quartet arrangements. The Wagner,
Paderewski, and Suppe can all be found listed on the cover of the published
saxophone quartet compositions and arrangements of G.E. Holmes published by
Barnhouse (Donizetti arr. G.E. Holmes).
The Theodore Knox Concert Party, whichfromtheir publicity materials
seems to have been primarily an acting troupe, featured a saxophone quartet.
Their promotional brochure, datingfromthe 1920's, contains a photograph of the
company as a saxophone quartet, dressed in concert attire and holding soprano,
alto, tenor and baritone saxophones ("Theodore Knox Concert Party").
Another multi-instrumental companyfromthe 1920's, the Greenfield
Orchestral Quartet utilized a saxophone quartet as one of their instrumental
combinations. Their promotional brochure states that the company presents,
"classical and semi-classical ensemble selections, varying with popular numbers."
As regards the use of the saxophone it is made clear that, "Saxophones are
employed in the instrumentation but not as 'jazz' instruments. The Greenfield
brothers demonstrate that, as played by them, the saxophone is capable of
beautiful harmonic effects" ("Greenfield Orchestral Quartet").
351
A promotional brochure from 1928 for the Chicago Recital Company
features a photograph of the group on its cover wearing formal concert attire.
Three of the members are holding string instruments: violin, viola, and cello, with
the fourth member seated at a piano. The inside of the brochure provides a
photograph of the company as a saxophone quartet featuring two altos, tenor and
baritone saxophones. There is a sample program on which the saxophone quartet
is featured twice. Specific pieces are not given. The rest of the program features
various instrumental and vocal combinations with works by Verdi, Wagner and
Rossini as well as some popular songs and folk melodies. The brochure offers the
following description of the concert company.
The Chicago Recital Company offers a program sparkling with

novelty: a finished artistic effort that never fails to delight.
Committees everywhere have pronounced this program among the
finest they have ever heard. In variety of action it is
unapproachable by any company now appearing before the public.
Vocal Quartettes and Duets, Cello and Violin Duets and Solos,
Saxophone Quartettes and Musical and Comedy sketches follow
each other in rapid succession. Each production is a truly artistic
endeavor and the management presents the Chicago Recital
Company with confidence in its ability to please the most
discriminating audiences everywhere. ('The Chicago Recital
Company")
The saxophone quartets featured on the band programs in Chautauqua and
those that were part of the concert companies were almost identical in terms of
instrumentation and repertoire. SATB and AATB combinations were the
predominant instrumentation of the saxophone quartets found on the Lyceum and
Chautauqua circuits. The repertoire of these saxophone quartets consisted of
original works, transcriptions and arrangements of classical and operatic works,
352
marches, and setting of popular songs and airs. The saxophone quartets in
Chautauqua had no significant differences, in terms of repertoire or
instrumentation,fromthe independent concert saxophone quartets or the
saxophone quartets affiliated with the concert and business bands. This statement
is true of both the professional and amateur ranks of saxophone quartets. The
primary differences associated with the saxophone quartets of the Lyceum and
Chautauqua circuits were attire, venue, and the predominance of multi-
instrumentalists. The saxophone quartets that performed on these circuits were a
substantial and important part of the development of the concert saxophone
quartet.
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CHAPTER IX
CONCLUSION
Understanding the repertoire, history, and performance traditions of the
saxophone quartet, is essential for performers. As outlined in the introduction
several factors contribute to the inconsistency that exists in saxophone quartet
performance practices. The saxophone's lack of a strong orchestral tradition, its
role in popular music, its role in jazz, saxophone pedagogy, and choices in
mouthpieces are all contributing factors. Rather than present a performance guide
to any particular piece or pieces, this dissertation creates a context for saxophone
quartet performance. That context was created in several steps. The early works
for saxophone quartet and saxophone ensemble have been identified and
examined. The composers of those works have been examined both individually
and collectively. An analysis of the repertoire has been conducted using the lyric-
form archetype and comparison with operatic examples from the primo ottocento
repertoire. The early saxophone quartet performers have been identified and
examined, and the early performance history of the saxophone quartet has been
documented. In combination the historical, aesthetic, and analytical elements of
354
the dissertation combine to identify and establish a performance context for the
saxophone quartet.
The Repertoire
When considering the early works for saxophone quartet and ensemble as
a whole, several trends emerged. Amongst all the possible saxophone ensembles,
the saxophone quartet emerged as the primary saxophone chamber ensemble.
Works were written for saxophone quintet, sextet, and larger ensembles of
saxophones, however the majority of original works were written for saxophone
quartet. Of the twenty-eight total original works, discovered until now, composed
between 1844 and 1928, twenty-one of those pieces are for saxophone quartet.
That number includes two pieces for saxophone quartet plus piano, and one piece
for saxophone quartet plus chamber orchestra. Of the remaining pieces no more
than two works were written for any one particular combination of saxophones.
Among the saxophone quartets, the SATB formation (soprano, alto, tenor,
baritone) emerged as the primary instrumentation. Of the twenty-one saxophone
quartets composed between 1844 and 1928, seventeen of them are scored for
SATB quartet. Three pieces have instrumentations other than SATB, and there is
one piece for which the exact instrumentation is unknown.
When examining the repertoire as a whole, two groups or categories of
works emerged: the operatic-inspired works and the bridge pieces. The operatic-
inspired works are the group of pieces that were created at the inception of the
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saxophone quartet. The bridge pieces represent the sporadic production of
original works during the late nineteenth century and early twentieth century.
These pieces bridge the gap between the operatic-inspired works and the
proliferation of saxophone quartets written in the twentieth century beginning in
the 1930's.
The operatic-inspired works are classical chamber works, composed by
well-respected, successful professional composers. The most readily apparent
and important stylistic, compositional, and aesthetic influence in these saxophone
pieces is opera. All of the composers were immersed in the operatic life of Paris
as composers, performers, and conductors. Many were involved with the Paris
Conservatoire, where opera dominated the landscape. These saxophone pieces
share many common traits with nineteenth-century operatic music, especially
Italian opera, which was the primary influence on their composers. Among the
shared traits are: the predominance of melody-accompaniment texture,
complimented by the use of tutti passages and harmony lines; regular and
repetitive accompaniment patterns; syntax dominated by regular, symmetrical
periods; frequent use of dotted rhythms; and an emphasis on melody over
harmony and large-scale structure.
The second group of pieces, the bridge pieces, represent a broader scope
of compositional styles and influence. These pieces include the first saxophone
quartets by American and German composers. These works are classical, concert
works for saxophone quartet. They differ from the operatic inspired works in
356
several important ways. The bridge pieces employ a greater diversity of textures,
including counterpoint. These pieces often feature classical forms and structure
such as fugue and theme and variation. In general these pieces represent a variety
of compositional styles, by a variety of composers of different nationalities. They
were produced sporadically over a large period of time, 1879-1928.
Analysis
The lyric-form archetype and melodic phrase analysis in this dissertation
further establish the link between the operatic-inspired saxophone quartets and the
music of the primo ottocento composers such as Rossini, Bellini, Donizetti, and
Verdi. The most important element of the music of the primo ottocento, and
nineteenth-century opera in general, is melody. Melody is more important than
form or long-term harmonic goals. Because of this emphasis on melody over
harmony and form, traditional analytic methods such as Schenkerian, linear, or
harmonic analysis that are often used for analyzing the instrumental music of the
nineteenth century reveal little about nineteenth-century Italian opera. This
statement is also true of the operatic-inspired works for saxophone quartet. The
lyric-form archetype and melodic phrase analysis have become standard tools for
examining the music of the primo ottocento. Using these same tools in the
analysis of the operatic-inspired saxophone helps to illustrate the common traits
between the saxophone works and the primo ottocento. Close comparisons
between operatic examples and saxophone quartet examples have been made to
357
reveal similar compositional approaches and traits. The analysis reveals that these
saxophone quartets are, in large part, an instrumental application of the lyric-form
melodic structure that originated in the context of Italian opera. Melodies that
conform to the lyric-form archetype and its variants abound in the saxophone
quartets. As with melodies in the primo ottocento repertoire, analysis utilizing the
lyric-form archetype yields insight into the melodies in the saxophone quartets
that do not conform to the archetype or its variants. Beyond individual melodies,
the analysis reveals, that much like the operatic examples, lyric-form melodic
structures often are the basis for large-scale structure and form within a movement
or an entire work.
As an instrumental application of the compositional practices and melodic
structure of operatic music, these early works for saxophone quartet fall squarely
into the classical repertoire, leaving little doubt as to the classical roots of the
saxophone quartet.
Performance History
Identifying the performers and understanding the performance history of
the saxophone quartet completes the context for saxophone quartet performance.
Like the composers of the early works for saxophone quartet, the earliest
saxophone quartet performers camefromthe circle of Adolphe Sax. Thus, they
shared many of the same associations as the composers of the early saxophone
quartets and ensembles: an immersion in the operatic life of Paris as performers,
358
conductors, and composers; affiliations with the Paris Conservatoire; and
affiliations with the French military bands. The saxophone quartet was therefore
born in Paris, and its earliest performers and performances were in France and
later throughout the rest of Europe.
By the 1870's saxophone quartets could be found performing in America.
These saxophone quartets were professional, touring ensembles performing in a
concert setting. As the number of saxophone quartets increased, the repertoire
grew. Caryl Florio composed his three saxophone quartets for E.A. Lefebre and
the New York Saxophone Quartette Club. Gustav Burnke composed his
saxophone quartet that precipitated saxophone quartet activity in Germany and the
eventual formation of the Berlin Saxophone Quartet. Saxophone Quartets
continued to be composed in France and Belgium as well, including works by
Raymond Moulaert, Maurice Schoemaker, and Jean Cras. These pieces bridge
the gap between the initial group of operatic-inspired works and the modern
saxophone quartet repertoire. In addition to a slightly expanded original
repertoire, over the course of the late nineteenth and early twentieth centuries
myriad arrangements and transcriptions, primarily of classical and operatic music,
were produced for the saxophone quartet. Most of them were done by active
saxophone quartet performers such as Frank Kimball of the California Saxophone
Quartette, Edward Lefebre of the Lefebre Saxophone Quartet, and Clay Smith and
G.E. Holmes of the Apollo Saxophone Quartette.
359
Saxophone quartets were often affiliated with the professional, touring
concert bands. Patrick Gilmore, John Philip Sousa, Frederick Innes, Guiseppe
Creatore, and others all featured saxophone quartets. So too, many amateur and
semi-professional bands featured saxophone quartets. By the turn of the century
there was a proliferation of amateur saxophone quartets throughout United States.
Saxophone quartets were ubiquitous in the touring Lyceum and Chautauqua
circuits either as self-contained ensembles or part of larger multi-instrumentalist
concert companies.
Several of the conclusions drawn from the historical evidence concerning
the saxophone repertoire andfromthe analysis of the early works are supported
by the performance history. The performance history confirms the classical,
chamber music origins of the saxophone quartet. All of these saxophones quartets
were performing in a classical concert setting. There were professional chamber
ensembles such as the California Saxophone Quartette, New York Saxophone
Quartette Club, and the American Saxophone Quartet. The concert band was the
primary purveyor of classical music in the United States, at a time when
symphony orchestras were few in number, and limited to major urban centers.
The saxophone quartets were affiliated with the concert bands in much the same
way a string quartet can be affiliated with an orchestra. Even in the Lyceum and
Chautauqua circuits the saxophone quartet was usually the classical portion of the
program.
360
The performance history also confirms the saxophone quartet as the
primary saxophone chamber ensemble. The number of saxophone quartets
performing outnumbered that of any other saxophone ensemble. This statement is
especially true of the professional saxophone ensembles, where saxophone
quartets reigned supreme. The establishment of the saxophone quartet as the
primary chamber ensemble is further supported by the myriad arrangements and
transcriptions for saxophone quartet that these performers and ensembles
produced. Hundreds, if not thousands, of arrangements and transcriptions for
either SATB or AATB saxophone quartets were produced in the late nineteenth
and early twentieth centuries. The number of saxophone quartet arrangements far
eclipses that of the arrangements for all other saxophone ensembles combined.
Applications for Saxophone Quartet Performance
The analysis and examination of the operatic-inspired works provides
saxophonists with a specific reference to inform their performances practices.
Operatic music and performance practices, especially those associated with the
primo ottocento, can be referenced by saxophonists to inform their phrasing,
interpretation, style, and tone concept when approaching the early works for
saxophone quartet. The analysis provides specific insight as regards the melodic
structure and form in the early saxophone quartets. A level of sophistication,
especially as regards melody, has been revealed in these works that have often
been dismissed as trite and simple fantasy pieces.
361
The overall classical context of the saxophone quartet illuminated by this
dissertation can also encourage saxophonists to look to other classical chamber
ensembles to inform their performance practices. As stated in the introduction, it
is an orchestral tradition of performance that most greatly informs classical
chamber playing for winds. Saxophonists are encouraged to reference these
traditions in other instruments and chamber ensembles for models of tone-
production and blend, as well as standards in articulation, intonation, and
interpretation.
In an effort to accomplish these goals it is hoped that saxophonists will
reconsider their equipment choices, and make more informed decisions as regards
mouthpiece selection. That is not to advocate the use of vintage or period
instruments or mouthpieces based on the historical context of saxophone quartet
performance, but rather to encourage saxophone quartets to choose their
equipment with specific goals in mind: an emphasis on tonal blend over
penetrating, bright sounds; consistent tone throughout the range rather than pure
volume; a standard of intonation commensurate with other classical chamber
ensembles such as the string quartet or woodwind quintet; and an approach to
sound that is not incongruous with the orchestral traditions that inform chamber
playing for winds.
It is hoped that saxophonists will be encouraged to apply these
performance models, standards, and equipment choices to the entire saxophone
quartet repertoire, not only the early works. In the same manner in which other
362
classical chamber ensembles bring an orchestral approach to both their classical
and modern repertoire. That is not to say that saxophone quartets should ignore
the elements and style ofjazz that are part of the saxophone quartet repertoire, but
rather to bring a better balance to the jazz and classical traditions of the
saxophone quartet. The early works for saxophone quartet, the context in which
they were composed, the traditions of the early saxophone quartet performers, and
the compositional elements explained in the analysis can all contribute in a
meaningful way to a more informed approach to saxophone quartet performance.
Areas for Further Study
The connection between the operatic music of the primo ottocento and the
early saxophone quartet examined in this dissertation, likely extends beyond the
saxophone quartet repertoire. There are hundreds of arrangements and original
works, for saxophone and piano and saxophone alone, based on opera themes. An
examination of the solo nineteenth-century saxophone literature and the influence
of opera seems fertile ground for further study.
This study has provided musical analysis of the nineteenth-century,
operatic-inspired saxophone quartet repertoire. In establishing a context for
saxophone quartet performance the bridge pieces for saxophone quartet have been
discussed and examined. However, there is no analysis of those works contained
in this dissertation. A musical analysis of those pieces, and an examination of
how those pieces bridge the gap between the nineteenth-century saxophone
363
quartet repertoire and the modern saxophone quartet repertoire, would also seem
fertile ground for further study.
364
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Sponsoring Committee: Professor Esther Lamneck, Chairperson

Professor Paul Cohen

LYRIC-FORM ARCHETYPE AND THE EARLY WORKS FOR SAXOPHONE

QUARTET, 1844-1928: AN ANALYTICAL AND HISTORICAL CONTEXT

FOR SAXOPHONE QUARTET PERFORMANCE

Program in Music Performance

Submitted in partial fulfillment

Rowe, for their help and guidance.

Lamneck served as my mentor, and also as my dissertation chairperson. I would

my dissertation. Her support and encouragement was integral in the completion

of my studies. I would also like to thank Dr. Lamneck for inspiring me as a

you Esther for broadening^ my musical landscape, for exposing^ me to so much

New Music, and for helping me to grow as a performer.

and suggestions helped me tofocusmy research, and to ultimately complete the

years. He has nurtured my saxophone playing since my time as an undergraduate

supporter of my performing activities, my academic pursuits, and my teaching.

first settled on the topic for my dissertation. I conducted my first research

Thank you to Dr. James Noyes, my colleague at William Paterson

encouragement to persevere when I thought of throwing in the towel.

WPU, and CW Post. And, thank you to all of my students.

Lastly, I would like to thank my wife Lynne to whom this dissertation is

other. How wonderful it is to know that as I complete this leg of my journey, I

can look forward to a lifetime shared with you. Thank you.

LIST OF MUSICAL EXAMPLES xi

Need for Study 1

III INDIVIDUAL ENTRIES ON COMPOSERS 38

Jean-Georges Kastner (1810-1867) 41

INTRODUCTION TO ANALYSIS, METHODOLOGY 69

Categorization of the Early Works for Saxophone Quartet 69

Lyric-form Archetype and the Saxophone Quartet 90

ADOLPHE SAX AND THE EARLIEST SAXOPHONE

QUARTET PERFORMANCES 207

THE SAXOPHONE QUARTET CROSSES THE ATLANTIC 218

VIII THE LYCEUM AND CHAUTAUQUA CIRCUITS 294

The 19th Century through the 1910's 294

The Repertoire 355

1 Tally of Saxophone Quartet and Ensembles, 1844-1928 21

2 Instrumentation of Saxophone Works, 1844-1928 22

3 Chronological Listing of Saxophone Quartet and Ensembles,

4 Categorization of Saxophone Quartets and Ensembles, 1844-1928 70

1 Side by side comparison of Kerman and Huebner analysis of

3 ABA structures created through an internal expansion of the

4 Emile Jonas Priere. ABAC Structure created through additive

5 Structure of Singelee Premiere Ouatuor Mvt. II. Form created

6 Schematic of Savari Ouatuor pour saxophones Mvt. I, quasi

1 Verdi Nabucco "Anch'io dischiuso un giorno," melody conforming

2 Jean Baptiste Singelee Grand Ouatuor Concertante m.28-43.

3 Victor Sambin Cinq Ouatuors pour Saxophones Mvt. II m.5-20.

4 Emile Jonas Priere m.56-72, lyric-form melody in a saxophone

5 Verdi Nabucco "Anch'io dischiuso un giorno," ternary shape

6 Verdi Attila "Ella in poter del barbaro!" Ternary shape lyric-form

7 Singelee Grand Ouatuor Concertant m.28-43. ternary shape

8 Sambin Cinq Ouatuors pour saxophones Mvt. H m.5-20, ternary

9 Donizetti Roberto Devereux "Un tenero core," binary shape

10 Louis Mayeur Premiere Ouatuor Mvt. II m. 1 -16, binary shape

11 Jean-Baptiste Mohr Ouatuor m.l 17-133, binary shape lyric-form

13 Mayeur Premiere Ouatuor Mvt. II m. 1 -16, fusion of development

14 Vineenzo Bellini Norma Act I "Si, fa core e abbraccia mi," fusion