Lars-Erik Larsson’s Concerto for Alto Saxophone and String Orchestra, Op. 14 (1934), stands as one of the most significant and technically demanding cornerstones of the saxophone repertoire. Written during a pivotal era for the instrument, it represents a masterful blend of neoclassical structure and pioneering technical exploration. Historical Background and Premiere
Larsson composed the concerto in 1934 shortly after returning to Sweden from studies in Vienna and Leipzig under figures like Alban Berg. The work was dedicated to and premiered by the legendary German-American virtuoso Sigurd Raschèr on November 27, 1934, in Norrköping, Sweden.
Raschèr, a pioneer of the instrument, heavily influenced the compositional process, encouraging Larsson to incorporate "personal tricks and devices" that pushed the saxophone's limits. Because the original version was deemed nearly impossible for most soloists of the time, Larsson released a "simplified" version in the early 1980s to increase its accessibility. Analysis of the Work
The concerto is structured in three movements, though they are often perceived as a continuous, unified whole:
I. Allegro molto moderato: Characterized by neoclassical clarity and complex, shifting tonalities.
II. Adagio: A lyrical movement featuring long, flowing lines and delicate interaction between the soloist and strings.
III. Allegro scherzando: A spirited and technically explosive finale that showcases the instrument's agility. Technical Demands and Altissimo
The work is most famous—and feared—for its extensive use of the altissimo register (often referred to as "top tones"). Raschèr was a staunch advocate for the saxophone's four-octave range, and Larsson’s concerto reflects this by requiring the soloist to play well above the instrument's standard high F. These demands remain a standard benchmark for professional saxophonists today. Score and PDF Availability Lars Erik Larsson | composer (2) - HeBu Musikverlag
Lars-Erik Larsson’s Saxophone Concerto, Op. 14 (1934) is a landmark of 20th-century woodwind literature. This paper examines its historical origins, its technical demands, and its role in establishing the saxophone as a serious solo orchestral instrument. The Collaboration with Sigurd Raschèr larsson saxophone concerto pdf full
The concerto was born from a pivotal meeting between the Swedish composer Lars-Erik Larsson and the German-born American virtuoso Sigurd Raschèr. Written in 1934, the work was a direct response to Raschèr’s pioneering technical abilities, particularly his mastery of the "altissimo" register. This collaboration mirrored Raschèr's work with other major composers of the era, such as Jacques Ibert, whose Concertino da Camera was composed around the same time. Stylistic and Structural Overview
Larsson’s concerto is scored for alto saxophone and string orchestra. Structurally, it follows a traditional three-movement form:
Allegro molto moderato: Characterized by Larsson’s neoclassical leanings, this movement balances lyrical lines with rhythmic precision.
Adagio: A deeply expressive movement that highlights the saxophone’s vocal qualities and capacity for subtle dynamic shading.
Allegro scherzando: A spirited finale that pushes the limits of the instrument’s agility.
The work reflects Larsson's exposure to European modernism during his studies with Alban Berg in Vienna, yet it retains a distinct Nordic lyricism. It is often described as "pantonality" influenced, blending tonal centers with advanced chromaticism. Technical Challenges and the Altissimo Register
The concerto is famous—and often feared—for its extensive use of the altissimo register. Raschèr’s ability to play far above the standard keyed range of the saxophone allowed Larsson to treat the instrument more like a violin or flute. For decades, the piece was considered unplayable by anyone other than Raschèr, leading Larsson to produce a "simplified" version in the early 1980s to make it more accessible to contemporary soloists. Key technical hurdles include:
Register leaps: Rapid transitions between the traditional and altissimo ranges. Lars-Erik Larsson’s Concerto for Alto Saxophone and String
Intonation: Maintaining pitch stability in the extreme high register.
Virtuosic articulation: Demand for rapid, clean tonguing throughout the third movement. Legacy and Impact
Larsson’s Concerto, Op. 14 remains his only work for the saxophone, yet it is a cornerstone of the repertoire. It proved that the saxophone could move beyond its jazz associations and handle the rigorous demands of a neoclassical concerto with strings. Today, it is a standard audition and competition piece, serving as a rite of passage for classical saxophonists.
💡 Key Takeaway: The Larsson Concerto is not just a piece of music; it is a historical document of the "altissimo revolution" led by Sigurd Raschèr, forcing composers and players to rethink the instrument's physical limits.
If you would like to expand this draft, I can help you with: Detailed movement-by-movement analysis.
A biographical section on Lars-Erik Larsson’s transition from Stockholm to Vienna.
A list of recommended recordings by modern virtuosos to study for performance style.
Title: Analyzing the Accessibility and Structure of Lars-Erik Larsson’s Saxophone Concerto, Op. 14: A Study of the Score and Performance Practice Sheet Music Platforms:
Abstract
This paper provides a comprehensive analysis of Lars-Erik Larsson’s Saxophone Concerto, Op. 14 (1934), one of the most significant works in the classical saxophone repertoire. While the search query "larsson saxophone concerto pdf full" suggests a demand for open-access sheet music, this paper addresses the legal and practical acquisition of the score while offering a structural breakdown of the piece. The analysis focuses on Larsson’s Neo-Classical style, the integration of the saxophone as a solo orchestral instrument, and specific technical challenges found within the full score and piano reduction. This document serves as a guide for performers and scholars seeking to understand the theoretical and practical elements of the concerto.
The finale is a lively, almost cheeky rondo in B-flat major. The recurring rondo theme is crisp and staccato, with off-beat accents that recall Prokofiev’s Classical Symphony. The episodic sections introduce more demanding technical passages: rapid arpeggios, slap-tonguing effects, and wide leaps that were unusual for the saxophone in 1934.
Midway through, Larsson inserts a brief, cadenza-like passage marked quasi recitativo—the saxophone alone, exploring the instrument’s full range. This leads to a final restatement of the rondo theme, now in a brighter, faster tempo, and a coda that ends with a decisive, good-humored flourish.
The concerto follows a traditional three-movement pattern, though each movement departs from convention in subtle ways. Total duration is approximately 18–20 minutes.
The first movement opens with a brief orchestral introduction (strings and woodwinds) presenting a lyrical, slightly melancholic theme in B-flat major—the home key of the concerto. The saxophone enters not with a virtuosic fanfare, but with a singing, almost vocal statement of the same theme, demonstrating Larsson’s belief that the alto saxophone’s greatest strength lies in its cantabile quality.
The second theme, in the dominant key (F major), is more rhythmic and angular, featuring dotted figures and syncopations that hint at Larsson’s Viennese training. The development section avoids overt dramatics; instead, Larsson fragments the themes, passes them through distant keys, and creates a dreamlike, unsettled atmosphere. The recapitulation brings back the themes in reverse order (second theme first, then first), a subtle homage to Beethoven’s late practice.
These large retailers often have a "Digital Print" option for Gehrmans publications.
If you genuinely cannot afford the $20-30 PDF, consider these ethical alternatives: