A COMPARATIVE STUDY OF SELECTED CLARINET WORKS BY

ARTHUR HONEGGER, DARIUS MILHAUD

. AND FRANCIS POULENC

by

THOMAS D. STIRZAKER, B.M.E., M.M.

A DISSERTATION

IN

FINE ARTS

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

DOCTOR OF PHILOSOPHY

Approved

May, 1988

ACKNOWLEDGEMENTS

I would like to thank my dissertation committee,

Keith McCarty, Richard McGowan, Kim Smith, Michael Stoune

and Richard Weaver, for their support and guidance on this

project.

I would also like to acknowledge the publishers of

the music used in this study for granting their permission

to reproduce the music used in the examples and the appen­

dices. Poulenc's Sonata was reproduced by kind permission

of the publisher and copyright owner J. & W.

Chester/Edition Wilhelm Hansen London Ltd. Milhaud's

Sonatine was reproduced by permission of Theodore Presser

Company, Sole U.S. Representative of Durand, and Honegger's

Sonatine was reproduced through permission of Editions

Salabert.

11

CONTENTS

ACKNOWLEDGEMENTS 11

PREFACE iv

I. "LES SIX" AND PARIS IN THE 1920s 1

II. A FORMAL ANALYSIS OF THE WORKS 6

Honegger's Sonatine 6

Milhaud's Sonatine 12

Poulenc's Sonata 18

III. AN ANALYSIS OF HARMONY, TONALITY AND TEXTURE 26

Honegger's Sonatine 26

Milhaud's Sonatine 31

Poulenc's Sonata 41

A Comparison of the Three Works 50

IV. PERFORMANCE PROBLEMS AND SUGGESTIONS 53

Honegger's Sonatine 53

Milhaud's Sonatine 56

Poulenc's Sonata 60

Conclusion 65

ENDNOTES 68

BIBLIOGRAPHY 69

APPENDICES

A. THE SCORE OF HONEGGER'S SONATINE 7 2

B. THE SCORE OF MILHAUD'S SONATINE 83

C. THE SCORE OF POULENC'S SONATA 99

• • • 1 1 1

PREFACE

The present study focuses upon and compares the

sonatinas of Arthur Honegger (1892-1955) and Darius Milhaud

(1892-1974), and the Sonata of Francis Poulenc (1899-1963).

These works were chosen in part, because of their medium of

performance, clarinet and piano. Honegger, Milhaud and

Poulenc were members of the group known as "Les Six" whose

name was bestowed by Henri Collet in the journal Comoedia.^

The present study will focus upon both the similarities and

the more personal characteristics of these composers. As a

comparative study, this work is unprecedented, for although

analyses have been made of the works by Poulenc and

Milhaud, there is no complete analysis of Honegger's

Sonatine.

Several studies have been made of Poulenc and Milhaud

that include analyses of their clarinet works. John

Laughton in his dissertation, A Comprehensive Performance

Project in Clarinet Literature with an Essay on the

Woodwind Music of Darius Milhaud,^ provides a short

description of the Sonatine. Nancy Mayland MacKenzie has

written a dissertation entitled Selected Clarinet Solo and

Chamber Music of Darius Milhaud3 which contains an analy­

sis of the Sonatine. Robert Petrella's dissertation. The

Solo and Chamber music for Clarinet by Darius Milhaud^^

also treats the Sonatine. Poulenc's work has been treated

iv

in a more general way by Mary Ann Stringer in her

dissertation. Diversity as Style in Poulenc's Chamber

Works with Piano.^ Moreover, Nancy Poulin in her disserta­

tion. Three Stylistic Traits in Poulenc's Chamber Works for

Winds,^ cites the clarinet Sonata to illustrate some of the

techniques of Poulenc's composition style.

CHAPTER I

"LES SIX" AND PARIS IN THE 1920s

In the 1920s Paris was recovering from the effects of

the First World War. The city of Paris had become the hub

of artistic life once again and a haven for artists and

philosophers in France as well as those from other

nations. The younger artists were caught between the

older traditional ideas in the arts and newer ideas that

spoke more directly of their generation. The older artists

were naturally more comfortable with their traditions.

Paris, however, was more than accommodating to both.

Many well known composers were living in Paris during

the 1920s. Included in this august community were Gabriel

Faure (1845-1924), Albert Roussel (1869-1937), Vincent

d'Indy (1851-1931), Paul Dukas (1865-1935), and Maurice

Ravel (1875-1937).

Among the foreign artists who were active at this

time were the Russian born composer, Igor Stravinsky (1882-

1971), and the Spanish born painter, Pablo Picasso (1881-

1973). The younger generation of French artists, including

the members of "Les Six," found many of the ideas of

foreign artists attractive, and thus were generally less

influenced by the Impressionists who had dominated music

and painting for so long.

Oddly enough, the members of "Les Six" found them­

selves grouped together in a review by the music critic

Henri Collet." In addition to Honegger, Milhaud and

Poulenc, the other members of "Les Six" included Georges

Auric (1899-1983), Louis Durey (1888-1979) and Germaine

Tailleferre (1892-1983). Although these individuals

differed in their compositional style and philosophy, they

felt that there were certain advantages in a group iden­

tity. As Milhaud stated, "Collet's article excited such

world-wide interest that the 'Group of Six' was launched,

and willy-nilly I formed part of it."^ The individuals of

"Les Six" realized that they could gain more recognition as

members of'the group than they could apart from it. This

they reasoned could help them gain public recognition and

performances of their works which would be vital to their

careers. Milhaud once again emphasized in his view of the

alliance: "One must not think, as many do, that according

to the name, we are alike in aesthetics; our activity and

our friendship united us."^

To some extent, the members of "Les Six" were inspired

by the musical aesthetics of Erik Satie (1866-1925) and the

writings of Jean Cocteau (1889-1963). They did not, how­

ever, endorse Satie and Cocteau in their more adamant

positions against Romanticism and Impressionism. But there

is no question that "Les Six" benefited from them. Cocteau

acted as a spokesman for "Les Six," often praising their

works and trying to gain much needed public support for the

group. He often attended' concerts of the group, and he

joined them occasionally in some of their activities as did

Satie.

Much of the reaction against Romanticism and Impres­

sionism had already passed before "Les Six" had formed.

Stravinsky's works, including the epic ballet Le Sacre du

Printemps, first performed in Paris in 1913, had already

started to crumble the tower of Impressionism; and the

death of Claude Debussy in 1918 marked the unofficial close

of the movement. Perhaps, because of those events and the

fact that even the eldest members of the group were a

generation younger than Satie, "Les Six" never formulated

any positions or philosophical platforms. Poulenc said,

"'Les Six' never existed, except as a friendship among

artists."10

The various interests of the group included machines

and mechanical devices, particularly those that produced

music, such as crank organs used by street musicians. The

members of "Les Six" often went out together visiting

street fairs and the like. Circus acrobats and clowns

excited them with their economy of movement in which each

gesture and movement never exceeded the minimum necessary

for expression.H "Les Six" also admired the simplicity of

popular songs and jazz which played in many of the music

halls, bars and clubs.

One of the places that the members of "Les Six" liked

to frequent as a group was Le Boeuf sur le Toit, which had

been established as the first jazz club in Paris during

the 1920s. As Chris Goddard has noted.

Almost overnight, Le Boeuf became the place to see and be seen. All the leading Paris intellectuals were to be found there nightly: painters like Picasso, Picabia, Derain and Marcel Duchamp, writers like Radiguet, Cocteau, Max Jacob and Andr^ Breton. Most evident of all were "Les Six": Arthur Honneger, Louis Durey, Germaine Tailleferre, Darius Milhaud, Georges Auric, Francis Poulenc—the half-dozen young French composers who had collected under the intellectual stage management of Jean Cocteau.^^

Although "Les Six" frequented the circuses, music

halls, and jazz clubs, and these events influenced their

compositional styles, none of these experiences were

formulated into any group philosophy or platform. Eclec­

ticism is the word that best describes their creative

efforts as well as their aesthetic inclinations. In this

sense they were true pioneers of 20th-century music. They

were never dominated by the strong influences of Roman­

ticism or Impressionism, but rather, felt free to cul­

tivate many forms and styles of past generations. Thus,

although they were never completely separated from the

past, each of them cultivated his own unique style.

Expressed another way, their personal styles were more

evolutionary than revolutionary; yet as Milhaud stated.

' ' ^ ^ ^ •

"music develops, continues, and transforms itself with

such speed that some listeners and critics cry out that a

revolution has come, and halt in the middle of the

road."13

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CHAPTER II

A FORMAL ANALYSIS OF THE WORKS

Honegger's Sonatine

The Sonatine, written by Honegger in 1921-22, was

dedicated to Werner Reinhart and first performed by Louis

Cahuzac in 1923. Rouart-Lerolle and Company published the

work in 1925. Its three movements are marked Modere, Lent

et soutenu and Vif et rhythmique. Each movement was dated

by Honegger at its completion. The first movement was

completed in July, 1922, the second movement in October,

1921, and the third in November, 1921. Each of the move­

ments is short with the performance time of the work

totaling only a little more than six minutes.

The first movement is a charming miniature of only

seventy measures. The form of the movement is ternary

with an exposition encompassing measures 1-29; a second

section, a contrasting section, includes measures 30-43;

and a third section, a recapitulation comprises measures

44-70.

The exposition possesses a ternary substructure. The

opening phrase, in the clarinet (m. 1-8), forms the first

part of the substructure. A fragmentation of the initial

phrase follows in measure 9 and extends to measure 15,

forming the second part of the substructure. A restate­

ment (m. .16) presents the initial clarinet phrase from

6

measure 1, thus making up the third and last part of the

substructure.

A rhythmic figure of three sixteenth notes serves as

a principal motive of the exposition (see Example 1).

This motive is shared in both the clarinet and piano parts

throughout the section.

Example 1. The Principal Motive in Honegger's Sonatine, the First Movement (m. 1-4).

Miidt*r<' CLARINETTi:

< n LA

PIANO

Copyright 1925 Edit ions Salabart

The middle section begins in measure 30 with the

theme announced in the piano. The main event of this

section is a three-voice fugato, which is based upon an

angular, chromatic subject unique in rhythmic character.

As in the exposition, the subject starts with a similar

sixteenth-note pattern (see Example 2).

Example 2. The Fugato Subject and First Answer in the First Movement (m. 30-33).

8

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-If^^.^ ^ m i

-• "^^^V^^

Copyright 1925 Editions Salabert

The subject is announced in the piano in measures 30-

31, and is answered in the piano in measures 32-33. The

clarinet answers in measure 36, at which time the texture

consists of three parts. The section reaches a climax in

measures 39-41 with a stretto in all three voices. In

measures 42-43 the section comes to an end with fragments

of the subject.

The recapitulation, beginning in measure 44, is much

the same as the opening measures. The fugato subject of

the middle section is added in the piano at this point,

however, and is placed in augmentation. The same subject

is once again stated in the piano in measures 57-60. Thus

the recapitulation restates materials from the middle

section as well as the exposition. Although the subject

is present, it is treated in a manner that subordinates it

to the principal theme which is so prominently stated in

the clarinet. The ternary substructure of the exposition

is not used in the recapitulation. Instead one finds a

binary substructure of more or less equal parts.

The second movement extends 33 measures. The form is

binary with the first section encompassing measures 1-14

and the second section, similar in material, encompassing

measures 15-33. The rhythmic movement in both the clari­

net and piano parts is less active than that of the first

movement.

The initial clarinet phrase (m. 2-9) is very angular,

expanding upward through a range of two octaves. The

piano lines are not as angular as those of the clarinet,

but are nevertheless quite disjunct in character. A second

phrase in the clarinet starting in measure 11, similarly

disjunct, leads directly into the second section in measure

15. Three quarter notes, b, f and £ in the clarinet are

derived from those in measure 2, although they are trans­

posed an octave higher. The character of the clarinet and

piano parts is much the same as in the first section.

Strong, formal outlines are not created, in part, because

of a lack of contrasting themes. The brevity of the

movement in some ways minimizes the development of a formal

outline in a structure that unfolds in a continuous manner.

The third movement is the liveliest of the three in

both tempo and rhythmic activity. It is also very short,

consisting of only thirty-seven measures. Its form is

10

ternary with the first section (m. 1-10) forming a

monothematic exposition; the second section, contrasting,

covering measures 11-19; and a recapitulation extending

from measure 20 to the end of the movement.

A syncopated ostinato figure in the piano appears

from the start of the movement (see Example 3). The

clarinet presents a rhythmic pattern, displaced by a

sixteenth note, at its entrance (m. 1-2). Also heard in

the clarinet at this point are numerous upward glissandos

(see again Example 3). The combination of the piano

ostinato and the eccentric clarinet rhythms and glissandos

create an impression of early jazz. The initial section is

very short> however, as it ends in measure 10.

Example 3. The Piano Ostinato and Clarinet Glissandos in the Third Movement (m. 1-5).

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Copyright 1925 Editions Salabert

11

The contrasting section is in obvious ways similar to

the exposition. Most obvious are the rhythmic figures in

the piano in measures 14-16. These rhythmic figures are

the same as those of the clarinet in the exposition. The

contrasting material of the section is presented primarily

in the clarinet. The part employs the technique of syn­

copation in creating its unique character. The same

material reappears in both the clarinet and piano in

measures 17-19 in an imitative fashion as the section ends.

The recapitulation, which begins in measure 20,

differs from the exposition in some notable ways. First,

the piano does not use the original ostinato figure within

the texture at this point (m. 20-26). Second, the clarinet

and piano exchange thematic materials (m. 27-32) from their

original statements in the exposition. Finally, the

recapitulation is expanded to almost twice the length of

the exposition, being eighteen measures in length. The

only segment of the recapitulation that compares exactly to

the exposition occurs in measures 33-35.

Summary

On the surface, Honegger's Sonatine appears to be a

simply conceived work derived from an economy of "material.

The work is short and uses the simple binary and ternary

forms. On closer inspection, however, the piece is rather

complex in its presentation of materials and their

12

treatment. The piano part is much more than a simple

accompaniment, often initiating thematic statements.

Milhaud's Sonatine

Darius Milhaud's Sonatine, opus 100, was written in

1927. It was not premiered, however, until 1929 when

Louis Cahuzac, to whom the piece was dedicated, performed

it in recital before the Societe Musicale Independente in

Paris. That same year the work was published by Durand.

The first movement, marked Tres rude, is in three

sections. The first section, an exposition, encompasses

measures 1-34. A contrasting section includes measures •ft

35-87, and a reprise occurs in measure 88 and extends to

the end of the movement, (m. 95).

An arpeggiated motive of four sixteenth notes leading

to a descending pattern of parallel seventh chords is found

in the piano at the beginning of the exposition (see

Example 4). The clarinet line is very angular in shape at

its initial entrance (m. 1-2). Many repetitions of measure

long segments occur in the movement, including the ostinato

pattern in the right hand of the piano in measures 12-15.

The second half of the exposition (m. 16-34) contrasts with

the first in that the initial clarinet motive in measure 16

is treated in a developmental way, and the character of the

clarinet part is generally more conjunct than before. The

clarinet motive in measure 16 is stated three times in

13

successively shorter rhythmic patterns, reduced progres­

sively from four beats in measure 16 to two and a half

beats in measures 18-19. All of this occurs over a

two-measure piano ostinato. In measure 20 the clarinet

continues with an ascending motive that is expanded melodi-

cally in measures 21-24. The piano similarly continues

with repeated patterns, but extends the section in chromat­

ically ascending parallel triads in measures 28-29 that

function as a transition to the beginning of a strongly

contrasting second section.

Example 4. The Opening Piano Motives in Milhaud's Sonatine, the First Movement (m. 1-3).

Tres ruU« CL.VMI.XKTTK f=:

en SI ••

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ude M.- iU .

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f

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1929 Durand S.A. Used by Peraission of the Publisher

Sole Representative D.S.A., Theodore Presser Co.

The contrasting theme begins with an anacrusis of

three quarter notes in the clarinet in measure 35. The

marking tris doux indicates a calm mood as the clarinet

states a very conjunct and lyrical theme. Although the

tempo remains the same, the dynamics are softer. A transi­

tion (m. 53-56) finds the clarinet marked forte and the

14

piano fortissimo as the meter changes to 4. During the

segment the clarinet reiterates a syncopated pattern that,

extending four beats, is repeated five times in the four

measures. At the same time the piano reiterates a five

beat rhythmic pattern underneath. This polyrhythmic

transition leads into another developmental passage, which

begins in measure 57.

The developmental passage treats materials from both

the exposition and the contrasting section. Material from

the exposition, which is typically fragmented, is develop­

ed in measures 57-71. Materials from the contrasting

section, which are both augmented rhythmically and modif­

ied melodically, are found in measures 72-87. The piano

part in measures 72-76, however, is very similar to the

part in the transition in measures 53-56. A reprise of

material from the exposition includes measures 88-95.

As one might expect, the second movement is much

slower in tempo than the first with a Lent marking at the

beginning. The movement consists of three parts: an

exposition extending from measures 1-15, a contrasting

development encompassing measures 16-40, and a recapitula­

tion comprising measures 41-58.

The exposition begins with the piano which is marked

tres doux et calme while the clarinet is simply marked

chante (m; 2). The clarinet theme is pastoral in character

and is generally lyrical throughout the section.

15

restricted largely to the clarion register. The exposi­

tion ends with a transition in the piano in measures 14-15.

The contrasting section begins in measure 16, marked

Un peu mo ins lent. Additionally, sombre is indicated in

the piano along with dramatique in the clarinet. The

initial theme in the clarinet is treated developmentally

by its extension throughout the range of the instrument,

starting in the chalemeau register, and gradually ascending

into the clarion register and finally reaching the altis-

simo range near the end of the section. The piano ends the

section with a short transition (m. 37-40).

The recapitulation starts in measure 41 and is identi­

cal to the original exposition statement except for an

added filler part in the piano. The movement ends with a

five measure codetta in which the clarinet descends over

two octaves to end on a low e* (m. 54-58).

The third movement is much the same in character as

the first movement, bearing the marking Tres rude. It is

in three major sections. An exposition consists of

measures 1-27; a contrasting development which comprises

measures 28-60 follows, and a developmental recapitulation

(m. 61-82) completes the movement.

The piano opens the exposition with a pattern of

descending parallel seventh chords that are similar to the

initial motive of the first movement (see Example 5). The

clarinet answers the piano with a similar motive at its

16

entrance (m. 3). This motive is used several times in the

exposition. The clarinet line is angular and moves in

many rapid sixteenth-note patterns throughout the exposi­

tion, which ends with a four measure transition in the

piano (m. 24-27).

Example 5. The Opening Piano Motive in the Third Movement (m. 1 - 3 ) .

Tree rude

•'M ui »J 1929 Durand S.A.

Osed by Peraission of the Publisher Sole Representative U.S.A., Theodore Presser Co.

A development begins in measure 28 with a new motive

in the clarinet that is repeated in measure 29. The

rhythmic content of this motive is employed in the clarinet

throughout the section. A series of ascending sixteenth-

note patterns in the piano (m. 57-60) leads directly into

the recapitulation (m. 61).

The recapitulation is marked by the original motive

of the exposition on its original tonal level. At this

point the clarinet and piano play simultaneously, in con­

trast to the dialogue at the opening of the movement. A

two measure segment in the piano (m. 61-62) forms an

17

S^Stinato that is repeated ten times with only slight

alterations, extending to the end of the movement. The

original clarinet motive appears once again in measures

/(. 61-72, A second clarinet motive, found in measures 72-83,

resembles the motive of the contrasting section. The last

^ ' ^ • sures (m. 81-82) are marked sans ralentir, indicat­

ing that the movement should end abruptly.

Summary

Each of the three movements is a ternary form. The

' Ing Section in each movement is an exposition, while

X^i. e^^^^l® section contains contrasting materials which

' *T ^*ten treated in a developmental way, and each ending

^^W-'w^^^^ ® either a recapitulation, or in the case of the

. "^^vement, a reprise. While the major sections of e 1

.J , -." ^ nient form a logical progression, the events that

pk-^A S^^® within each section are less predictable and are

ally Very complex. The complexity and diversity found

V* ®ach section is generally balanced by the use of

^ T » repeated segments of material. This is most evident f ^Ith th*»

*e opening motives of t he f i r s t and t h i r d movements. m^.The simile . Jl*v- ' **arity of these materials, as well as others.

• • i f f ' • '

m^^'-l i |^;'terves «<, iig|i*4,( ^ '- a un i fy ing e f f e c t t h a t permeates t he work as a l^'A^'iirhole, ',..;.--.

18

Poulenc's Sonata

Francis Poulenc's Sonata for clarinet and piano was

composed in 1962, and is characteristically similar to both

the Sonata for Oboe and Piano, composed the same year, and

the Sonata for Flute and Piano, composed in 1956. The

Sonata for Clarinet and Piano was published posthumously in

1963 by J. & w. Chester Ltd. of London, and premiered by

Benny Goodman and Leonard Bernstein on April 10 of the same

year at Carnegie Hall. In three movements, entitled

Allegro tristamente, Romanza and Allegro con fuoco, Poulenc

dedicated the work to the memory of fellow composer, Arthur

Honegger.

Each of the movements is a ternary form consisting of

an exposition, a contrasting middle section, and a reprise.

It must be noted, however, that the middle sections do not

follow the developmental procedures that are associated

with sonata form, nor do the reprises restate but a portion

of the initial materials. Moreover, the movements are

unified by the use of cyclical motives presented in the

first movement.

The first movement opens with an eight measure intro­

duction. The passage is initiated by accented sixteenth-

note figures in the clarinet. The piano adds alacritous

eighth-note chords on the second upbeats of the first two

measures. During the remainder of the introduction, the

piano part remains sparse, while the clarinetist executes

19

rapid, technically difficult sixteenth notes. This intro­

duction may be said to create a capricious facade for the

exposition whose function becomes more obvious with the

theme in measure 9. Here the piano presents oscillating

eighth notes as the clarinet plays a new lyrical, ascending

phrase that extends to measure 18. A second theme appears

with an anacrusis in measure 18 and extends to measure 26.

The theme begins with the dotted rhythm that is found in

the first theme. Moreover, the opening statement of the

second theme constitutes a period consisting of two sym­

metrical phrases. The second phrase is marked by the

anacrusis of measure 23 with a sweeping thirty-second note

run in the clarinet. The second theme is again stated,

startiqgp»with the anacrusis of measure 27, and forms an

asymmetrical phrase. The antecedent is four measures long,

followed by a consequent of two measures. The second theme

is stated again with the anacrusis to measure 33 and

constitutes a phrase of similar structure. Following this,

a contrapuntal theme appears in the clarinet in measures

40-44, superimposed over an oscillating harmonic piano

accompaniment. Immediately following, the second theme is

once more stated, starting with the anacrusis of measure 45

and extending to measure 58. Measures 59-66 form the close

of the exposition, consisting of material derived from the

introduction. An abrupt cadence occurs in measure 66.

20

The middle section, beginning in measure 67, is marked

Tres calme, J = 54. It begins with an eleven measure

transition (m. 67-77). Initiated by the piano, the treble

line is answered by the clarinet four measures later.

Surtout sans presser in measure 78 marks the beginning of

the contrasting theme. The first statement of the theme,

which extends from measures 78 to 85, announces an angular,

expansive clarinet line which dominates an oscillating,

chordal piano accompaniment. A double-dotted figure is in­

troduced here which is utilized quite prominently through­

out the entire section (see Example 6). A second state­

ment of the theme begins in measure 86 and extends to

measure 93. This statement is much more repetitive in its

use of the double-dotted figure. A third and final state­

ment, which is almost identical to the second statement,

appears in measures 94-101. Measures 102-105, containing

motives of the contrasting theme, form the closing segment.

Excrmple 6. The Double-dotted Rhythmic Figure in the Firs Movement (m. 77-80).

m

^•urtout uins presser

- ^ ^ ^

£M

Reproduced by Kind Peraission of the Publisher and Copyright Owner

J t W Chester/Edition Wilhela Hansen London Ltd.

21

The reprise, which extends only twenty-eight

measures, begins in measure 106, restating material from

the introduction and the first and second themes of the

exposition. However, only seven measures of the first

theme (m. 106-112) and ten measures of the second theme

(m. 113-122) are restated. The codetta, which follows in

measures 123-133, concludes with material of the introduc­

tion.

The Romanza bears the same marking, Tres calme,J = 54,

as the contrasting section of the first movement. It

begins with a ten measure instrumental recitative in which

the clarinet presents a short motive leading directly to a

brief cadehza in measures 3-4. The single theme of the

exposition begins in measure 11, marked tres doux et

melancolique. Here the clarinet takes up an antecedent

phrase which utilizes the double-dotted motive introduced

in the contrasting section of the first movement (see

Example 7). The phrasing of this statement is asymmetri­

cal with the antecedent consisting of eight measures and

the consequent only six measures. The consequent phrase,

moreover, continues with fast, upward scalar sweeps in the

clarinet, extending to measure 24.

22

Example 7. The Double-dotted Rhythmic Motive, the Second Movement (m. 9-18).

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Reproduced by Kind Peraission of the Publisher and Copyright Owner

J « N Chester/Edition Wilhela Hansen London Ltd.

The piano initiates the contrasting section in measure

25 with a four-measure phrase that, once again, employs

double-dotted motives. The clarinet answers with a short

two-measure phrase in measures 29-30. The piano continues

with the next phrase, which is interrupted by the clarinet,

completing the phrase in measures 33-34. A short restate­

ment of expositional materials follows in measures 37-40;

and in measures 41-46 the initial contrasting phrase is re­

stated. This is answered in measures 47-54, with another

restatement of expositional materials similar to the

segment found in measures 37-40. Measures 55-62 form the

23

last segment of the contrasting section, restating the

opening phrase of the contrasting section. The contrasting

section thus derives its character through opposing new

thematic material against that from the exposition.

The reprise, beginning in measure 63, consists of two

parts, the first of which presents the theme of the

exposition, extending to measure 70. A codetta is

initiated by a fast, repetitive figure in the clarinet in

measure 71. This figure is very similar to the one intro­

duced in the cadenza in measures 3-4. The movement ends

quietly in measure 76.

The exposition of the third movement. Allegro con

fuoco, presents three distinct themes, the first of which

is stated by the clarinet at the outset of the movement and

extends to measure 12 (see Example 8). The second theme

encompasses measures 13-17, presenting restated material

from measures 40 to 42 of the first movement. A third

theme begins in measure 18 and extends to measure 43,

where the exposition abruptly ends.

Example 8: The First Theme in the Third Movement (m. 1-6).

Tres anime J: U4

24

Reproduced by Kind Peraission of the Publisher and Copyright Owner

J & H Chester/Edition Wilhela Hansen London Ltd,

The middle section begins in measure 44 and presents

a lyrical theme in augmented note values. The clarinet

states this theme first in measures 44-51. The piano

answers the clarinet in measures 52-58 with the same theme,

which is reiterated and expanded in measures 59-69. A

segment in^measures 70-79 is initiated by the clarinet and

consists of new material in diminished note values.

The reprise is an interesting structure that restates

not only material stated in the exposition, but also

material from the contrasting section. Measures 80-82

compare with measures 1-3 of the exposition. The third

theme group of the exposition, however, is restated

immediately afterward in measures 83-92. Subsequent to

this, materials from the middle section are restated in

measures 93-105. More specifically, this passage contains

portions of both themes in the middle section. Measures

106-115 again restate the first theme. Here a larger

portion of the original theme is presented, with measures

106-111 corresponding directly to measures 1-6. A short

25

phrase in measures 112-115 restates motives from measures

13-17 of the exposition and measures 40-42 of the first

movement. A codetta begins in measure 116 and extends to

the end of the movement in measure 128. Here the material

is new, but is nevertheless related in character to the

initial theme of the exposition.

Summary

Each of the three movements is a ternary form. In a

work entitled Sonata one generally expects at least one of

the movements to be a sonata form. Strictly speaking,

however, this is not the case in this particular work. The

familiar title of sonata in this case suggests more the

genre and general scope of sonata form than any prescribed

format.

The cyclical treatment of material found in this work

is particularly noteworthy. The second movement is identi­

cal in character to the contrasting section of the first

movement. It appears to be, in some respects, a continua­

tion of the musical processes that led to the creation of

its progenitor. The third movement also presents material

from the first movement. Here, however, only a small

segment of material is restated. The material does not

affect the established character of the movement at all.

In fact, without study, one would hardly notice that this

material appears earlier in the work.

CHAPTER III

AN ANALYSIS HARMONY, TONALITY

AND TEXTURE

Honegger's Sonatine

Honegger's work, despite its relatively short length,

is complex tonally and harmonically, and it displays

diverse textures. Indeed, the composer has explored many

compositional techniques within a relatively short space.

Moreover, the work is written as if the clarinet and the

piano were integrated as one instrument with a single

identity. Certainly the piano provides more than a mere

accompaniment.

The first movement, which is in ternary form, begins

with an exposition (m. 1-29) in which the principal motive

is presented by the clarinet at the very beginning. The

motive possesses a strong rhythmic character with the

three sixteenth notes leading across the bar to the first

beat (see Example 1 on page 7). The piano presents a

similar motive, starting from its initial entrance in the

first measure. This motive is a strong unifying element

within the whole movement.

The tonality of the exposition, as well as the entire

movement, is defined by a scale that encompasses two

symmetrical tetrachords c, d, e, f and f#, g#, a#, b. The

harmony is derived mainly from this scale and is basically

26

27

tertian, consisting of frequent seventh chords.

A thin, homophonic texture characterizes the first

eight measures of the movement. In measures 9-15, the

texture becomes thicker in the piano as the clarinet

continues with motivic fragments. The texture in measures

16-29 is similar to that of the first eight measures.

The contrasting section (m. 30-43) is, of course,

constructed as a three-part fugato. The first statement,

in the left hand of the piano, starts on g. The first

answer follows two measures later in the right hand of the

piano, starting on £#1. The second answer enters two

measures later, starting on ^ . The clarinet statement

finally enters another two measures later (m. 35) entering

on c^^. The tritone relationship between fugato entrances

is broken after the first clarinet entrance, however, as a

stretto begins in measures 38-41. It is at this point that

the texture reaches its greatest density in the movement.

The remaining two measures of the section contain short

fragments based on the initial rhythmic motive.

The recapitulation (m. 44-70) begins somewhat like the

exposition. Continuing in the piano, however, is the

fugato subject from the contrasting section, augmented

rhythmically in double the original values. As a conse­

quence, the texture of the recapitulation is thicker than

that of the exposition.

28

The second movement is a binary form in which the two

sections are unified by similar thematic materials. The

first part (m. 1-14) is dominated by a slow moving, angular

line in the clarinet in which all twelve tones of the

chromatic scale are used in the first six measures. The

piano, which is mainly accompanimental throughout the

movement, is also quite chromatic, using all twelve tones

by measure 7. A clarinet phrase that begins in measure 11

leads into the second section (m. 15-33) without interrup­

tion.

The character of the material in the second section

is similarly angular in shape as at the beginning. A

clarinet phrase that begins in measure 20 enters pianis­

simo and is at the bottom of the instrument's range. As

the phrase continues, the range is heightened gradually,

coinciding with a crescendo which leads to a forte in

measure 24, the climax of the movement. The line

continues in the clarinet and quickly subsides to a

pianissimo at the end of the phrase in measure 26.

Measures 28-33 constitute a codetta consisting of the

melodic and harmonic materials from the opening measures

of each section.

The third movement, which is in ternary form, is the

shortest of the three. The movement is characterized by

syncopated ostinatos in both the clarinet and the piano.

Both instruments are centered in d major during the

29

exposition (m. 1-10). Although the ostinatos are rhythm­

ically distinct, the clarinet line is more prominent,

creating a section that is basically homophonic in tex­

ture.

The contrasting section (m. 11-19) displays a con­

trapuntal texture, however, as the ostinato is temporarily

broken. The piano soon borrows the clarinet theme from

the exposition in measures 14-16. Here the key center of

the clarinet is c#, whereas the piano shifts from d to f#

and shifts again to d** to end the section in measure 19.

The recapitulation (m. 20-37) features the initial

clarinet theme transposed down one octave. The piano

states a modified sixteenth-note ostinato in the right

hand as opposed to the original syncopated ostinato figure

of the exposition. Both instruments are in d major. The

texture in the first part of the recapitulation (m. 20-26)

is once again homophonic, although it is slightly thicker

than the texture of the exposition because of the added

fugato subject.

A short passage in the recapitulation (m. 27-32)

continues with a dense, contrapuntal treatment of the

theme. Thematic exchange takes place with the clarinet

assuming the original rhythmic ostinato of the piano and

the piano borrowing the original clarinet theme. The

latter measures of the recapitulation (m. 33-37) feature an

exact restatement of material with measures 33-35

30

corresponding to measures 2-4. Measures 36-37 complete

the movement with repeated clarinet glissandos and final

scalar sweeps moving in contrary motion between the clari­

net and the piano.

Summary

Of particular interest in this work are the roles of

both instruments. The piano provides the accompaniment in

the homophonic sections. In the contrapuntal sections the

piano often initiates the material, as in the contrasting

section of the first movement. As one might expect, the

clarinet plays the primary role in the work. Although the

clarinet initiates most of the thematic material, at times

it is subservient to the piano, as in measures 9-15 of the

exposition in the first movement. Nearly all of the

dynamic markings are the same in both parts throughout the

work suggesting, among other things, that the instruments

are of essentially equal importance.

The rhythmic motion in the first and third movements

is lively. The first movement generates its rhythmic

motion from the motive of three sixteenth notes leading

across the bar. The third movement, on the other hand,

generates its motion from a lively ostinato in the piano

and the eccentric rhythms of the clarinet, which give the

movement the character of a perpetual-motion machine. The

essence of the second movement is generated more from the

31

tone colors of the instruments than the rhythm. In this

regard the second movement contrasts vividly with the outer

movements.

Although Honegger may have explored atonality in some

of his works, this particular work is quite tonal through­

out. Moreover, the harmony is tertian throughout. And

although the key centers shift quickly, they are identifi­

able. Of the three movements, the second is by far the

most chromatic, once again in contrast to the outer move­

ments.

Milhaud's Sonatine

Milhaud's Sonatine exhibits many of the compositional

techniques that are associated with "Les Six," including

polytonality and the use of polyrhythms. Moreover, the

music exhibits frequent modulations.

The exposition of the first movement opens with both

the clarinet and piano in b minor. This key is confirmed,

furthermore, by a tonic, treble pedal-point in the piano in

measures 12-15, although there is a noticeable textural

independence of the instruments in the first half of the

exposition until measure 15. The piano lines are mostly

conjunct, with the exception of arpeggiated sixteenth-note

motives, while the clarinet line is very disjunct, expand­

ing over a range of two and a half octaves. In the second

half of the exposition, beginning in measure 16, the

32

clarinet modulates to f# minor, although this is perhaps

not fully clear until measure 20. Meanwhile, the piano

remains more or less in b minor. In this segment both

instruments present lines that are mostly conjunct.

Furthermore, repeated patterns permeate both parts.

In the contrasting section, which begins in measure

35, the piano modulates to c^ major. Similarly, the

clarinet is in d'' major, enharmonically equivalent to c*

major. In measures 36 to 38, the dominant pitch (a^) is

reiterated, creating a Mixolydian flavor. This character

does not last, however, as the music firmly centers in d*

major from measures 44 to 52. Both instruments possess

lyrical and conjunct lines throughout this passage. The

piano, however, is mostly accompanimental and therefore

essentially subordinate.

A transition, which extends from measures 53 to 56,

suggests three different keys more or less simultaneously.

Although the syncopated clarinet ostinato consists of only

three pitches (a^, b , c^), it ends on b°^in each state­

ment. On the other hand, the parallel triads in the treble

of the piano suggest a center of ^, whereas the parallel

movement in the bass suggests d. Moreover, two isorhythmic

patterns are presented in the piano with the treble pattern

being two measures in length and the bass pattern being

just one measure. The tonal ambiguity, along with the

isorhythms in the piano and syncopated ostinato in the

33

clarinet, produce a disruptive character in the transition.

A development extends from measure 57 to 87. Here

the clarinet begins in c major while the piano is in

b minor. Both centers are obscured by sequence in

measures 60 to 71 where the instruments generate much

repetition of motives. The sixteenth-note pattern present­

ed by the clarinet in measure 57 is perceived as a conjunct

form of the arpeggiated sixteenth-note pattern of the

piano stated at the beginning of the movement (see Example

9).

Example 9. The Conjunct Motive of the Clarinet in Milhaud's Sonatine, the First Movement (m. 57-59).

^^mrmsM^ jr m > i f i ^

^^m

ff

sc: ife f-^

tl;e

I ^^m fflr^tft

wm ^

ppp

1929 Durand S.A. Used by Peraission of the Publisher

Sole Representative U.S.A., Theodore Presser Co.

The piano presents the conjunct form of the motive in the

developmental passage. Each of the motives are reiterated

on the level of f^(see Example 10).

34

Example 10. The Conjunct Piano Motive in the First Move­ment (m. 60-63).

1929 Durand S.A. Used by Permission of the Publisher

Sole Representative U.S.A., Theodore Presser Co.

In the second part of the development (m. 72-87) the

piano modulates to c major where the clarinet has remained.

Here the piano presents a bass ostinato that centers on e^.

By measure"77 the piano returns to b minor while the

clarinet continues in c major. However, the clarinet moves

to the level of b, Mixolydian, from measures 83 to 87.

Several interesting structural features are found in

the second part of the development. First of all, the

piano presents two isorhythmic patterns played simul­

taneously from measures 72 to 76 (see Example 11). The

isorhythmic pattern in the treble is two measures long

while the pattern in the bass extends just one measure.

This segment is very similar to the transition found from

measures 53 to 56. The other notable feature is that the

segment from measures 77 to 87 restates material from the

opening of the contrasting section. The dynamics and other

expressive indications are identical to those in the

35

contrasting section, restating not only the musical mater­

ial but mood as well. Both segments in the second half of

the development are restatements of material presented

earlier in the work, suggesting that this part of the

development is as much like a recapitulation as a develop­

ment. Finally, in a short reprise (m. 88-95), the instru­

ments reiterate the original materials in the tonic as the

movement ends abruptly.

Example 11. The Isorhythmic Piano Patterns in the First Movement (m. 72-76).

Hull .

f

Rail.

i ^

m rj. J 44 t=^i' i Ai ^

J3 3 1,5. iJ 3 ^ I !'»• f ^J !>i 1929 Durand S.A.

Used by Peraission of the Publisher Sole Representative U.S.A., Theodore Presser Co.

The second movement begins with both the clarinet and

piano in Mixolydian mode on e^. The piano presents a

recurrent motive in the right hand that is sequenced on

successively lower levels in each of the first six meas­

ures. Simultaneously, the left hand reiterates an ostinato

(see Example 12). All of this serves as an accompaniment

to a more freely composed, lyrical clarinet line marked

chante. A two-measure transition in the piano (m. 14-15)

36

leads directly into a contrasting section. In this sec­

tion, beginning in measure 16, the clarinet is in b, while

the piano centers in e major. The modality of the clarinet

is characterized by the lowered second, third, and fifth

scale degrees. The piano modulates to g# minor in measure

19, although this is never firmly established as the key

center.

Example 12. The Recurrent Piano Motives and Ostinato in the Second Movement (m. 1-3).

Lent

1929 Durand S.A. Used by Peraission of the Publisher

Sole Representative U.S.A., Theodore Presser Co.

A free, contrapuntal texture characterizes the con­

trasting section. The clarinet theme, in the first six

measures, consists of four motives that are developed in

several ways within the section (see Example 13). The

clarinet initiates each contrapuntal segment with one of

the motives which, in turn, is taken up in the piano.

Most of the imitation occurs in the right hand of the

piano, on different tonal levels. Imitation based upon the

second motive is carried out in the three parts, for

37

example, in measures 22 and 23 (see also Example 13). The

second motive, with its repeated notes, resembles the

initial clarinet theme of the exposition (m. 2-3) and is

developed more extensively than the others. A dissonant

transition of four measures in the piano (m. 37-40) leads

to the recapitulation.

Example 13. The Four Clarinet Motives and Three-Part Imitation, the Second Movement (m. 16-23)

I'n peu H»oius lent /

1929 Durand S.A. Used by Peraission of the Publisher

Sole Representative U.S.A., Theodore Presser Co,

The recapitulation begins in measure 41 on the same

tonal levels as in the exposition. Added dotted quarter

notes in the right hand of the piano are sequenced along

38

with the other material in one-measure segments. Each of

the first six measures of the recapitulation is sequenced

on successively lower levels in the same manner as in the

beginning of the movement.

The piano opens the third movement with a motive that

consists of downward moving parallel triads. This motive

is similar to the opening motive presented in the first

movement (see Example 14). Bitonality occurs frequently

in the exposition as the piano initiates a motive with the

right hand in c major. Simultaneously, the parallelism of

the left hand suggests the key of f* major. The clarinet

imitates the opening motive of the piano at its entrance

in measure 3, which is in c major. Both instruments

develop scalar and arpeggiated patterns throughout the

section.

Example 14. The Principal Motive of the First Movement (a.) and Principal Motive of the Third Move­ment (b.)

a. Principal Motive, First Movement (m. 1-3)

Tree rudw CLAHINKXTK

CM S I ••

PIA.\0

Tres rude

P ""TS ^ ^

^ ^w ^

r" ff r. r « r — | i ^ t = t = ^ ^

lit "g f -

^=rf-r[ s i

i

39

b. The Principal Motive in the Third Movement (m. 1-3)

Tree rude

Tree rude

4 ^ ^ ^ 9 ! ^ T . ;^iz

^1}LU j - ' ^ ^

^m f-^ij^g^*^

1929 Durand S.A. Used by Peraission of the Publisher

Sole Representative U.S.A., Theodore Presser Co,

At the beginning of the development (m. 24) the

bitonal key relationship resumes with the clarinet center­

ing in c major and the piano in a" major. The clarinet

introduces a new theme in measure 28 that is interjected

several times in the first part of the development, which

ends in measure 50. The piano part contains a two-measure

segment (m. 28-29) which includes an arpeggiated sixteenth-

note pattern similar to the initial motive of the movement.

This segment is presented several times in the first half

of the development.

The second part of the development (m. 51-60) may seem

more like a transition than a development. Both instru­

ments, but particularly the piano, develop repetitive

scalar patterns. The key in the clarinet is e^ major; the

piano, however, is chromatic with flats and sharps freely

mixed.

The recapitulation (m. 61) is marked by the original

expository clarinet and piano statements presented on the

40

same tonal levels. Here the clarinet line is much more

free than the piano and it encompasses two segments. The

first segment extends from measure 61 to 72 and contains

restated material from the exposition, while the second

segment, extending from measure 73 to 82, consists of

material derived from the clarinet theme in the develop­

ment. The texture is homophonic throughout the section as

the piano ostinatos are overshadowed by the technically

difficult clarinet line.

Summary

Milhaud exploits polytonality throughout many

sections of his work. At times the polytonal sections are

very dissonant, and at other times the dissonance is less

overt. The rhythmic language is enriched by syncopation,

ostinatos and polyrhythms. Milhaud no doubt has adopted

some of the rhythms found in popular Brazilian music,

evident in other works dating after his stay there as an

attache at the French Legation from 1917-1919. Although

the Sonatine does not sound at all Brazilian, the use of

polyrhythms and ostinatos may be traced to the complex

rhythmic style of the music that Milhaud must have heard

while living there.

The texture is, for the most part, freely contra­

puntal, but homophony is also found. Imitation is also

fairly common.

41

Another interesting aspect of the work is the cyclical

relationship of the opening motives of the first and third

movements. Not only are the opening motives similar, so

are the arpeggiated sixteenth-note motives that permeate

each movement. Moreover, the Tres rude markings at the

beginnings of the first and third movements suggest that

both should be played in a similar style. Perhaps the work

as a whole could be viewed as a large ternary structure

with the second movement constituting a central contrast

within the overall structure.

Poulenc's Sonata

Poulenc's work contrasts with Honegger's and

Milhaud's works in several ways. First, Honegger's and

Milhaud's works are predominantly polyphonic, while

Poulenc's is much more homophonic. Secondly, Poulenc's

work consists of more clearly delineated phrases and period

structures. In addition, the sections are more clearly

differentiated one from another, with character and mood

changes being very apparent.

In other ways, the three works are quite similar.

Although developmental processes are employed by each

composer, no truely distinct developmental sections can be

found in any of the works; and each work modulates often

and with little preparation. Moreover, there is a

similarity between Poulenc's and Milhaud's works in the use

42

of cyclical materials, materials that will be presently

analyzed.14

The first movement begins with an eight-measure

statement in which the clarinet reiterates, on successively

different tonal levels, a sixteenth-note turn or double

(see Example 15). Although the clarinet begins and ends on

e_, no clear key center is established in the rather capri­

cious opening.

Example 15. The Sixteenth-note Motives in Poulenc's Sonata, the First Movement (m. 1-2).

Allegretto Js us

CLARINET is Bk

PIANO

Reproduced by Kind Peraission of the Publisher and Copyright Owner

J « W Chester/Edition Wilhela Hansen London Ltd,

The sense of exposition seems clearer in measure 9,

with the oscillating octaves of the piano on c_, and the

theme, initiated by the clarinet, on the anacrusis of

measure 10. The theme is very curvilinear as it opens with

ascending arpeggios, complemented by descending scalar

figures. The theme continues until measures 17-18, where a

disjunct, arpeggiated segment containing dotted rhythms

43

ends the first theme, which by this time has modulated to

g minor. The concluding figures of the first theme now

become the basis of the second theme, which starts on the

anacrusis of measure 19. The shape of the second theme is

similarly curvilinear, being dominated by arpeggiated

shapes and dotted motives. Specifically, the initial

portion of the second theme is presented in g minor as a

period of two contrasting four-measure phrases (m. 19-26).

The second and third statements (m. 27-32 and 33-38),

however, are asymmetrical periods in which the antecedent

phrases are twice the length of the consequent phrases.

During the third statement the key modulates from e minor

to c major. A transition in measures 40-44, which recalls

the motives and the capricious character of the opening

statement, is essentially in b minor. Immediately follow­

ing, the second theme returns with the anacrusis of measure

45, a period of two four-measure phrases which cadences on

b . The second four-measure phrase is reiterated in

measures 53-56, creating an echo effect cadencing on e .

The close of the exposition (m. 59-66) recalls the motivic

material and the general character of the opening state­

ment.

The character of the middle section, which begins in

measure 67, is much different than the exposition. Here

the tempo is much slower and, for the first time, the

piano initiates thematic material. The first eleven

44

measures of the middle section (m. 67-71) form a transition

consisting of original material centered in a . A con­

trasting theme in the clarinet enters in measure 78,

characterized by arpeggiated and double-dotted motives.

The texture is again homophonic at this point, with the

clarinet dominating most of the section. Three distinct

two-measure phrases are presented by the clarinet in

measures 86-91, and are repetitive in character and

centered in a minor. In measures 92-93, the piano states

the contrasting theme. A six-measure segment following in

measures 94-99 is almost identical to the segment in

measures 86-91. The close of the middle section (m. 102-

105) consists of material from the initial transition and

contrasting theme, fragments that are stated alternately in

each instrument.

The reprise begins with the clarinet presenting the

first theme in the tonic. The piano reiterates the second

theme, beginning with the anacrusis of measure 113. The

clarinet answers in measure 115 with the transitional

motives that appeared first in measure 40, and then

continues the second theme on the anacrusis of measure

117. The tonality, from measure 117 to the end of the

movement, is b minor. A codetta begins on the anacrusis of

measure 123, developing the sixteenth-note motives of the

opening statement. The piano answers the motives with

arpeggiated figures in measures 127-130, leading to the

45

clarinet tremolo in measures 132-133 that ends the

fement.

The Romanza begins with a ten-measure instrumental

^*J«citative in g minor. The clarinet initiates a motive in

asure 1-2 that leads to a brief cadenza based upon the

•tfpeated neighboring tone figure in measures 3-4. A four-

asure theme is stated by the clarinet in measures 5-8,

ilowed by a two-measure piano transition in measures

^ 1 0 , The exposition continues in measure 11, with the

clarinet stating the principal theme in an eight-measure

phrase extending to measure 18. The theme is very lyrical

d repetitive, and it utilizes the familiar double-dotted

tive. A second phrase of the principal theme is in-

iated by the clarinet in measure 19 in a fast ascending

eep which is reiterated in measure 21, extending the

;p^ wa-rase to measure 24, the end of the exposition.

fetti The middle section begins in measure 25 with a con-

l r ^ ting theme in b minor announced by the piano. The

i>€ning statement forms a symmetrical period of two six-

isure phrases, the second of which is in a minor. The

acacter of this theme is similar to the principal theme,

J en though it begins in a descending manner. Moreover, it

gplays the familiar double-dotted motive (see Example

)• The principal theme is interjected in measures 37-40,

?! ^ ® O' ly, half the length of its progenitor. The key is Mf

'?5v '^inor, as before. The piano continues with a

If

^4..

*';'

•4ir' • •« • if< 1'.'-'. « [V

46

four-measure phrase of the contrasting theme (m. 41-44)

which modulates from b minor to b^ minor in measure 43.

The principal theme is then reiterated in its original form

in measures 47-54. The tonal level is b** minor at this

point, as opposed to the original g minor level. A four-

measure phrase (m. 55-58) reiterates the phrase of measures

41-44 on the level of b minor. The close of the middle

section occurs in measures 59-62 and modulates to g minor.

Example 16. The Double-dotted motive in the Second Movement (m. 25-26).

Reproduced by Kind Peraission of the Publisher and Copyright Owner

J » W Chester/Edition Wilhela Hansen London Ltd,

The reprise begins in measure 63 with the principal

theme in g minor, although the first phrase extends only

six measures, as opposed to the original phrase of eight

measures. A two-measure segment (m. 69-70) creates an

echo. A codetta begins in measure 71, with the clarinet

stating a repetitive neighboring-tone figure resembling the

47

pattern of the cadenza in measures 3-4. The movement ends

quietly in measures 75-76 with a half cadence in the piano.

The clarinet opens the exposition of the third

movement with a fast, sharply contoured theme in c major

superimposed upon eighth-note chords in the piano. The

first phrase repeats in measures 8-12. The initial impres­

sion of the theme is perhaps that of a circus or a carou­

sel. A- short segment adapts cyclical material from

measures 13-17 in e'' major. A second theme appears in the

clarinet in measure 18, beginning in eP minor and forming a

symmetrical period of eight measures (m. 18-25). The

antecedent phrase reminds one of the repetitive neigh­

boring-tone figure in the second movement. The consequent

is lyrical at first, but leads to a brittle, staccato

motive. A second statement of the theme (ra, 26-53) con­

stitutes a symmetrical period on the level of a^. The

close of the exposition occurs in measures 34-43, which is

based largely upon motives borrowed from the second theme.

The middle section begins with the clarinet, present­

ing a lyrical, conjunct phrase (m. 44-51) in b minor,

moving at a slower rhythmic pace. The piano repeats the

phrase (m. 52-58), which modulates to g major in measure

56. The clarinet adds a third statement with an eleven-

measure phrase (m. 59-69). A transition in measures 70-79

is constructed from the preceding material; however, it

moves at a faster rhythmic pace. The transitional

48

character of this passage is heightened by the French

augmented-sixth chord in c major, which briefly touches

the dominant in measure 79 and resolves to the tonic in

measure 80.

The reprise, which begins in measure 80, is really a

collage created of themes and materials from the entire

movement. A restatement of the first theme occurs in

measures 80-82, and a restatement of the second theme

occurs in measures 83-89. A transitional passage occurs

in measures 90-92, consisting of fragments of the second

theme. A restatement of the theme from the middle section

occurs in measures 93-105, in the original key of b minor. •a

The first theme is restated again in measures 106-111 on

the tonic level. Quickly following in measure 112 is a

restatement of the cyclical material of measures 13-14.

Another bit of cyclical material, similar to that found in

measures 45-46 of the second movement, appears in measures

113-115. The clarinet presents an arpeggiated theme in c

minor at the beginning of the codetta in measure 116. This

theme resembles materials used in both the first and second

themes. The mode finally changes to the major in measure

122. The piano introduces eighth-note diads in measures

125-127, perhaps reminding one briefly of a child playing

chopsticks at the piano. The movement ends abruptly in

measure 128.

49

^ Summary

% Compared to the other works, Poulenc's Sonata is

largely homophonic with the clarinet the dominant instru-

0ent# although the piano becomes active thematically in the

'fiddle sections of the movements. Somewhat exceptionally,

the piano actually initiates the theme in the middle

section of the second movement. In the third movement, the

[:: plano shares prominent phrases in the middle section. Thus

although the clarinet dominates the beginning of each

;jmovement, the piano is important in connecting the various

sections.

Many modulations occur in this work, causing the

tonality to seem transient, although the integrity of the

;<|iic is generally respected in the reprises.

Strong contrasts can be found between the sections of

|t the movements. For instance, the introduction of the first

ppvement is very capricious in character; however, the

middle section is very contemplative. In the third move-

I Bent, the exposition is fast paced, bright and convivial, %:4. 1: labile the middle section is more lyrical and plaintive.

The contrasting moods of the work make it alluring for the

listener, while presenting the performers with formidable

llenges.

3,i.

50

A Comparison of the Three Works

The categorical titles of the works in this study

entertain certain visions about the breadth and scope of

the music. In the time of Mozart and Haydn, the title

Sonatina suggested a work of smaller dimensions than

Sonata. It also implied that the central development was

either abbreviated, or omitted altogether. In this sense

the works of Honegger and Milhaud are appropriately titled.

Honegger's work is but six minutes in length, and Milhaud's

is not much longer. Milhaud and Honegger make use of

developmental techniques such as imitative counterpoint and

the transient development of thematic fragments, but no

part of their respective works is purely developmental.

The same can be said of Poulenc's work. Although entitled

Sonata, it lacks a central development. Thus the work,

being only slightly longer than Honegger's or Milhaud's,

could still appropriately be entitled Sonatina.

These works display a great diversity of textures.

Milhaud and Honegger commonly exploit contrapuntal textures

in which both instruments are more or less equal and the

independent parts are very skillfully woven together. In

contrast, however, Poulenc's work is almost entirely

homophonic, with the clarinet the dominant instrument.

Moreover, his Sonata exhibits long, lyrical melodies that

characterize him as one of the foremost song composers of

his day. This is not to say that neither Honegger's nor

51

Lhaud's work is melodious, nor that Poulenc's work is

rer contrapuntal, but rather that the three works are,

balance, quite different, as has been shown in the fore-

Lng analysis.

On the other hand, all three works exploit a rather

5e, fluid, moderately dissonant tonal language, something

it is implied by the lack of key signatures. Each

nposer pushes the major-minor system of tonality to its

:e remote limits, with Honegger being the most chromatic

3 Milhaud making the greatest usage of polytonality.

irly all of the harmony in these works is tertian, with

ne sonorities extended to form ninths, elevenths, even

Lrteenths. In this respect, the composers are rather

iservative, comparing many figures of the twentieth

itury.

As has been shown, the works are widely different in

iracter. Honegger's work seems to be constructed from a

•gely rhythmical point of view. In a number of ways, the

k is similar to a clock or machine in which a system of

irs and parts are working together. The parts in this

le are, of course, rhythmic and melodic motives,

haud's work is also rhythmically complex, but it makes

ih greater usage of syncopation and polyrhythms. The

thmic complexity may be traceable to the time spent in

zil listening to and collecting indigenous popular music

le serving as an emissary of the French Government.

52

Poulenc's work can best be characterized by the contrast

and interplay of two moods: the one, happy and lively; the

other, reflective and melancholy; and although rhythm is

important in Poulenc's work, the expressiveness of his long

lyrical melodies is paramount.

*'.

CHAPTER IV

PERFORMANCE PROBLEMS AND SUGGESTIONS

Honegger's Sonatine

Honegger's work possesses a rhythmic vitality that is

most apparent in the first and third movements. Both

instruments must play rhythmically, for the precision that

is required is much like the gears of a clock working

together to keep accurate time.

There are several choices that must be made by the

performers of this work. It takes mature musical judgment

to adjust the delicate balance between the instruments.

For instance, the dynamics are similarly marked in both

parts throughout the work, yet when the texture thickens or

the parts are exchanged, alterations in the dynamics will

be needed. Also important are the tempos of each movement.

No specific tempo indications are given, leaving the

performers some latitude in tempo. The initial tempo of

each movement is important as it directly influences its

character.

The strong rhythmic character of the first movement,

which is marked Modere, may be distorted if the tempo is

too slow. The opening motive, which consists of three

sixteenth notes followed by a longer note value, is shared

by both instruments. The longer note should receive agogic

emphasis, but this is effective only if care is taken not

to stress the sixteenth notes that precede it. With this

53

54

suggestion in mind, the rhythmic flow of the exposition

becomes smoother and more continuous.

The contrasting section requires accurate subdivision

of the beat, for none of the entrances of the subject occur

on the beat. The section is so tightly constructed that a

misplaced or careless entrance could easily destroy the

contrapuntal fabric.

Several dynamic changes are required in the first

movement. Although both parts are marked g£ in measures

9-15, the piano states interesting chords that should be

brought out over the fragments of the clarinet. In the

recapitulation, a stratified rhythmic texture is created as

each of the parts move at different rates. The fugato

subject, which is placed in augmentation in the piano, must

be projected. The line can be easily lost if the pianist

does not play louder than £ and/or the clarinetist plays

too aggressively.

The long phrases of the second movement present the

clarinetist with various problems. A number of subtle

dynamic changes must be made in order to give distinction

to the phrases. For example, although the first phrase is

marked mf, a slight diminuendo must be made in measures 4-5

so that a short, effective crescendo can be made in

measure 6, leading to the d£ on the first beat of

measure 7.' There are several dynamic indications;

however, the performers must shape the dynamics to fit the

55

melodic contours of the phrases. There are few rhythmic

problems, although care must be taken not to initiate too

slow a tempo or the movement can easily stall. Caution

must be exercised if rubato is used to shape the phrases,

as the tempo can easily be slowed and recovering the pace

could be difficult.

The tempo of the third movement should be established

by the pianist, as the difficult opening figure is indi­

cated f and marked with staccatos. If too fast a tempo is

initiated, the crispness of the ostl.nato figure will be

lost while a slow tempo will ruin the vivacious character.

The steadiness and rhythmic exactness of the ostinato will

provide the stability for the clarinetist to execute the

difficult syncopations that might otherwise be incorrectly

played on the upbeats. The syncopations will be enhanced

further by observing the tenuto markings which call for the

syncopations to be performed in a legato manner. The

indicated glissandos in the clarinet are effective only if

the notes between e£ and gl are fingered chromatically in

rapid succession.

There are several places in the third movement where

the balance of the instruments might be adjusted slightly.

The syncopated line of the clarinet starting with anacrusis

of measure 2 must be brought out slightly over the piano

ostinato. ' The opposite must occur when the instruments

exchange lines in measures 28-31. The piano must bring out

56

its part in measures 14-16 over the less rhythmically

interesting clarinet part. Finally, care must be given in

measures 20-26 that the piano part does not cover the more

rhythmically interesting clarinet part.

Milhaud's Sonatine

There are three major difficulties that one encounters

in the performance of this work. The^first difficulty is

the independent rhythmic relationship between the parts.

Each of the performers must be rhythmically secure with

their parts. A second concern is the technique required of

the performers. The music modulates frequently without

any notice," and there are also many wide melodic skips in

each part. Not only is this concern a technical one, but

also an aural one as for the clarinetist being capable of

hearing the larger intervals before playing them will

greatly improve the intonation. The third major difficulty

is that of the adjustments that must be made in the dynamic

levels where the textural density changes frequently.

This is not a work for a young and inexperienced musician.

The first movement exhibits a rough character at the

beginning with angular turns and wide melodic skips being

present in both parts. Close attention must be given to

accents and sforzandos marked in the initial measures of

the piano part. The clarinetist must observe the slurs in

the opening measures as most of these help to accentuate

57

the wide melodic skips. In contrast, the second half of

the exposition exhibits a much more tranquil mood. Here

the clarinet line is much more conjunct than before and

must be performed in a more subtle manner.

Several dynamic changes are necessary in the exposi­

tion. The clarinetist must reduce the dynamic level in

measure 10 on the sustained a£ in order for the sextuplets

in the piano to predominate. Attention must also be given

to the piano ostinatos in measures 16-22 so that they do

not cover the more melodic clarinet phrases.

The middle section begins with a piano part that is

generally much more conjunct than in the exposition. Here

the lyrical phrases in the clarinet should be brought out

over the piano in measures 35-47. Both instruments should

crescendo as indicated in measures 48-52, which leads to

the subsequent transition (m. 53-56). Both performers

should play the transition in an aggressive manner to

create momentum going into the development passage. Many

dynamic indications are added in measures 57-71, and these

must be carefully observed in order to create a sense of

development in the passage. (A treble clef indication is

missing before the second beat of the treble part in

measure 67). Another transition in measures 72-76 should

be performed in a similar manner to the first transition

(m. 53-56)'. However, the momentum must quickly be halted

in measure 77 where both calme and softer dynamics are

58

indicated. The mood in measures 77-87 should be similar to

that projected in measures 35-52. The impending recapitul­

ation should display the same rough character from the

exposition. The movement should end in a very abrupt

manner.

The second movement presents fewer balance problems

than the first movement. Although Lent is indicated, too

slow a tempo can destroy the pastoral character of the

music. As indicated in measure 2, the clarinet must play

in a lyrical manner and should generally dominate through­

out the exposition. The middle section is, of course, much

more contrapuntal than the exposition. Although few

dynamics are indicated, the performers should balance the

imitative entrances that permeate the section. A sense of

climax should be projected in measures 33-34. The return

should again be dominated by the lyrical and expressive

clarinet phrases.

The third movement recalls the mood of the first

movement at the outset. The tempos of both movements

should be the same, for the character of the parts, which

encompass many wide melodic skips and angular turns, are

also similar. The opening motive of the piano is reiter­

ated six times in the exposition with each statement being

marked with a louder dynamic than any preceding or subse­

quent material. Each appearance of the motive should be

projected over the material as in measure 5, where the

59

pianist must play the motive at ^ over the clarinet line

marked mf.

The development is characterized by a more lyrical,

conjunct clarinet part, and generally softer dynamic

indications in both parts. The lyrical and conjunct

clarinet phrases should be brought out slightly in measures

28-44, for here the piano part is repetitive and less

interesting than the clarinet. Both instruments should

play the same dynamics in measures 51-60. During this

segment the dynamics steadily increase from inf, indicated

in measure 51, to ff at the beginning of the return in

measure 61. A primary concern of the performers is to

produce a momentum that will carry over into the return.

Although the return is composed of material from the

exposition, the single ff indication in measure 61 suggests

that the music be performed continuously at that level

throughout the remainder of the movement. This can create

problems for both performers, as it is difficult to sustain

this mood throughout the section. One suggestion is that

the performers start at f_ instead of f^ in measure 61 and

crescendo in measures 73-78 to reach a ff by measure 79.

The San ralentir literally means relentlessly, and must be

strictly observed as the movement should end just as

abruptly as the first movement.

60

Poulenc's Sonata

Poulenc's work, being more homophonic,puts the clari­

netist in a more prominent position. Although there are

fewer problems with balance and tempo (tempos are clearly

indicated throughout the work), the work is difficult

technically and requires much skill in evoking its various

moods. The work, being published posthumously, contains

some editorial markings in the 5th and 6th editions, which

are placed in square brackets.

The capricious opening statement should be performed

almost as if it were a joke or witty statement. The

sixteenth note turns, or double motives of the clarinet

must be absolutely steady or else the statement could

quickly be distorted into a clumsy beginning. The first

theme exploits much of the clarinet's practical range in an

extended lyrical phrase. The opening notes, marked g_, are

stated in the chalumeau range. When the range is expanded

upward in measure 12, the dynamic level is increased to mf.

The melodic soaring of the first theme is the precursor of

the melodic shaping and dynamic coupling that permeates

much of the work. Hence, the first statement of the second

theme constitutes a period of two symmetrical phrases that

require continuous dynamic shading in order to complement

the various colors of the solo instrument. The mood is

61

interrupted briefly in measures 40-44 with motives from the

opening statement. The change in character must be as

quick and abrupt as the juxtaposition of materials. The

more serious, lyric character returns again in measure 45,

and leads into the closing of the exposition, which should

again be capricious. One may wonder if the five-note

figure of the clarinet in measure 66 might be articulated

in the same manner as found in measure 6.

The contrasting section projects a grave and austere

mood. The surtout sans presser indication in the score in

measure 78 specifies without any sense of hurrying or

urgency. Also indicated in the piano part is doucement

monotone, meaning a soft, slow and reserved manner. With

the clarinet marked £ in measure 78 and f in measure 80,

the natural tendency is to create a crescendo in measures

78-80, especially since the melodic line expands upward.

This should not be overdone, for the rising tessitura takes

care of the crescendo as a matter of course, with the

higher notes naturally projecting more than lower tones.

The f in measure 80 is strengthened by an accent and should

be performed in a subito manner. A similar subito attack

should be used with the accent in measure 83. Also criti­

cal to the ambience of the section are the double-dotted

motives, which should not be incorrectly played as if

written with a single dot. The doucement monotone indica­

tion is again found in measure 86. In the remainder of the

62

section, both performers should create an emotionless,

expressionless void that contrasts vividly with the charac­

ter of the exposition and impending reprise. The contrast

of moods in the reprise should correspond to those of the

exposition as the themes are similarly juxtaposed.

Several caesuras (*>) create short breaks or pauses in

the music. These generally occur at structural points in

the music, such as between the end of the first theme and

beginning of the second theme in measure 18. Caesuras

should also be observed as indicated in measures 39, 58,

59, 102 and 104.

Although the beginning of the second movement is marked

the same as the contrasting section of the first movement,

it must be filled with an expression of subtle dynamic

shadings. The clarinet should clearly dominate the ten-

measure instrumental recitative, playing the cadenza in a

very free manner using some rubato. The combination of

sweet and melancholy moods in the movement might first

appear difficult for the performers; however, the bril­

liance of Poulenc's lyrical writing seems effortless as the

music almost plays itself. The first phrase of the prin­

cipal theme begins with a ££ marking in measure 11, fol­

lowed by a 2. marking in measure 13. The crescendo should

continue to the inf indicated in measure 16. A slight

diminuendo' can be made in measures 17-18. The fast,

ascending sweeps in the clarinet in measure 19 should be

63

played in a subito manner, since the f coincides with an

accent. Once again, the melody should soar in measures

19-24.

In the middle section, the piano initiates several

phrases that are completed by the clarinet. The instru­

ments must work as a single identity in this section—more

than at any other moment in the work. The task of complet­

ing the piano phrases is most difficult for the clarinetist

in measures 33-34, 43-44 and 57-58, where any lack of

control over the high tessitura could destroy the internal

balance of phrasing. Again, both performers must execute

the double-dotted motives accurately.

In the reprise, the clarinet must perform the repeated

pattern in measures 69-70 in such a way as to create an

echo of the preceding two measures. The codetta, which

begins with the repeated neighboring-tone figure similar to

the one found in the cadenza, should be performed as

indicated and with rubato. A caesura indicates a slight

pause at the end of measure 72. The sixty-fourth notes on

the anacrusis of measure 75 can be played in a freer rubato

manner if so desired.

In the third movement, both performers must observe the

accents that are indicated in the opening measures, for

they help create the bright and energetic character. The

rhythmic figures of the clarinet in measures 3-4 and 10-11

require absolute technical dexterity and rhythmic

64

exactness. The first thirty-second note in measure 11, an

incorrectly printed d£ for the clarinet should be corrected

to b^ instead. The second theme is brittle in character,

utilizing neighboring-tone figures in measures 19-20 and

the repeated patterns in measure 24. Although the patterns

in these measures are indicated with staccatos, they must

be emphasized as well as detached to help bring out their

brittle quality.

The middle section begins with an extended, lyrical

phrase in the clarinet, marked f. Although the phrase

extends to measure 51, no other dynamics are indicated. A

diminuendo should be initiated by the clarinetist, starting

in measure 47 so the piano line in measure 50 can be

projected. A second phrase begins with the piano stating

the melody, while the clarinet plays an extended tremolo.

Both parts are clearly indicated f_} however, the clarinet

must play softly to allow the piano theme to be brought

out.

The reprise juxtaposes themes more closely than in the

exposition and also interjects the theme from the middle

section, providing the performers only brief moments to

recreate the appropriate moods. For instance, only three

measures of the energetic first theme are stated and are

quickly followed by the brittle second theme. The cyclic

material in measures 112-115, marked £, should be performed

as if it were only a faint reminder. The codetta should

65

possess both the energetic and brittle qualities of the

first and second themes.

Once again, as in the first and second movements, a

number of caesuras are indicated. Those in measures 12,

17, 43, 89, 92, 111, and 112 indicate that slight pauses

should be made before continuing. These pauses help accen­

tuate the contrasting moods of the various sections in the

movement.

Conclusion

Honegger's Sonatine, despite its brevity, contains

noteworthy problems. Consider, for instance, the tied note

values and"the complicated fugato subject in the first

movement. In addition, the principal theme in the third

movement may prove rhythmically difficult. The balancing

of dynamic levels is also an important task for the per­

formers. Although this work is perhaps not as technically

difficult as the other two, it still requires the abilities

of an advanced student or a professional to bring forth its

finer musical qualities.

Milhaud's Sonatine, because of its angular lines, is

technically very difficult for both performers. Moreover,

even though the dynamic indications are perhaps not as

ambiguous as those in Honegger's work, they still require

considerable thought as far as the balance and the shaping

of phrases are concerned. The complex contrapuntal

66

textures might prove to be more difficult than those in

Honegger's work, causing many problems for young and

inexperienced performers.

From the performer's point of view, the Poulenc Sonata

may be considered the most aesthetically satisfying of the

three works. For the clarinetist it offers long lyrical

lines, even though from the pianist's point of view the

work seems less challenging and rewarding. In this sense,

of course, the work is more characteristic of the tradi­

tional solo clarinet repertory. What is attractive and

also sometimes difficult are the mood changes from one

section to the next. Like the other two works, it requires

an ability to interpret what is written on the page.

Quite obviously, these works are most suitable for

advanced students and professionals; and what may be at

first overlooked are the technical and musical difficulties

of the piano parts. Therefore, the performers will find it

impossible to prepare these works successfully with only

limited rehearsal time.

Each of the works are quite adaptable to most recital

programs. Poulenc's Sonata might be an excellent work with

which to end a program; yet the work could stand alone on

almost any program. In contrast, Honegger's and Milhaud's

works might prove more suitable on programs devoted more to

contemporary music. Honegger's Sonatine, because of its

brevity, and the fact that it is written for clarinet in A,

67

is less frequently performed than the other two, although

it contains, as do the others, all the wit and charm of the

French musical tradition.

ENDNOTES

1 Darius Milhaud, Notes Without Music (New York: Alfred A. Knopf, 1953), p. 97.

2 John Charles Laughton, "A Comprehensive Performance Project in Clarinet Literature with an Essay on the Woodwind Music of Darius Milhaud (1892-1974)," (D.M.A. dissertation. University of Iowa, 1980).

3 Nancy Mayland MacKenzie, "Selected Clarinet Solo and Chamber Music of Darius Milhaud," (D.M.A. dissertation , University of Wisconsin, 1984).

4 Robert Louis Petrella, "The Solo and Chamber Music for Clarinet by Darius Milhaud," (D.M.A. dissertation. University of Maryland, 1979).

5 Mary Ann Stringer, "Diversity as Style in Poulenc's Chamber Works with Piano," (D.M.A. dissertation. University of Oklahoma, 1986).

^ Nancy Lynn Poulin, "Three Stylistic Traits in Poulenc's Chamber Works for Winds," (Ph.D. dissertation, University of Rochester, 1983).

7 Milhaud, p. 97.

8 Ibid., p. 97.

^ Darius Milhaud, "The Evolution of Modern Music in Paris and in Vienna," North American Review 217 (April 1923): 550.

10 Francis Poulenc, "The Essence is Simplicity," Musical America 69 (November 15, 1948): 27.

11 Observed by Vera Rasin in "'Les Six' and Jean Cocteau" in Music and Letters 38 (April 1957): 166.

12 Chris Goddard, Jazz Away from Home (New York: Paddington Press Ltd., 1979), pp. 117-118. It is noteworthy that the resident pianist at Le Boeuf, Jean Wiener, together with Louis Cahuzac, premiered Honegger's Sonatine in 1923.

13 Milhaud, "The Evolution of Modern Music," p. 554.

14 For another view of the cyclical treatment, see Poulin, pp. 105-108.

68

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Weston, Pamela. Clarinet Virtuosi of the Past. London: Novello and Co. Ltd., 1971.

More Clarinet Virtuosi of the Past. London: Halstan and Co. Ltd., 1977.

Wiener, Hilda. Pencil Portraits of Concert Celebrites. London: Sir Isaac Pitman and Sons, Ltd., 1937.

Wilson, Lawrence A. "Ragtime: Its Roots, Style and Influence on 20th Century Music." D. Music dissertation, Indiana University, 1981.

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APPENDIX A

* ^ -THE SCORE OF HONEGGER'S SONATINE

"4 •.^

it

f 72

ff WriHtr REINHART

SOflATirlE pour CLARINETTE <>n LA ct PIANO

I

73

A . H O I V K G G i : ! !

M«»d«''r«» CLARINETTi:

• n LA

P I A N O

^ J ^

^ r ^ ^ f t S ^

Copyr icht 193S by R n u a r l - L c r o l l e • C - 'ovi awi ' t o iucur ioi i .U IL IQUI ot MMOOUCTOII E D I T I O N S S A L A B F R T . 2 2 , Rue Chauchal , P A R I S ( 9 « ) i ' » . . . * . O I . ^ . M . ( « . , r s >ou. r e « ' M I

(CullcutivM ROOART-LIROLLE) •* L. I I S U i C'.** » con*«is i * tuioc i t w .v ie i if i.f BMI I I *M

74

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75

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diminuendo motto

R. L. I I S U k C*'-

76

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tir p tf.

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R. L. IISU & Ci**

77

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R. L. I ISU K c'r

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K. L. I I S U « C<.*

APPENDIX B

THE SCORE OF MILHAUD'S SONATINE

83

A CAHUZAC

SONATINE

84

Clarinette et Piano DARIUS MILHAUD (1927}

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85

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I'tHflam Kir 1 . ; ?

APPENDIX C

THE SCORE OF POULENC'S SONATA

99

100

* • ' • t» m*moirtde Arthur Hontfg-tr

Hurmiivn IS mins.

SONATA for Clarinet in BV and Piano

L ALLEGRO TRISTAMENTE Allegretto Js us

FRANCIS POULENC (1»«3)

CLARINET is BV

PIANO

CopTTicht tor M tamMm lt«S C J.a W. OMttcr Ltd., Leadoa. X.C.I J.W.C. ttM

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