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Percy
Grainger's brilliant arrangements of the British folk tune Molly on the
Shore were written between 1907 and 1950 and exist for a variety of
instrumental groups, including orchestra, band, violin and piano,
string quartet and solo piano. This version for alto saxophone and
piano developed through the acquaintance of the American saxophonist
Cecil Leeson with Grainger during the late 1930s while both were staff
members at the Interlochen summer music camp in Michigan. Although
Grainger was an outspoken and ardent admirer of the saxophone and had
written extensively for it in his works for orchestra, band, saxophone
choir and chamber ensembles, he had yet to write a solo work.
After collaborating on several recitals at Interlochen, Leeson
attempted to interest Grainger in composing a work for saxophone and
piano for his concert tours. Grainger initially declined. When Leeson
requested a concerto for the saxophone, Grainger replied, "I am sorry,
but as an Australian and a socialist I am against putting any one
instrument ahead of another." After persistent efforts, Grainger agreed
to an alto saxophone and piano setting of Molly on the Shore. He
completed the piano score and the beginning of the saxophone part.
Leeson received a copy of Molly in the mail with the understanding that
they would collaborate on the remaining measures. The completed Molly
was finished in 1938. Leeson performed the work numerous times,
including at least two performances with Grainger at the piano. I
discovered the original manuscripts in both the Grainger and Leeson
archives, and I reconciled the versions to the performance set Leeson
used in his concerts.
This edition has been restored to the original key of Ab, and all of
Grainger's colorful editorial suggestions appear exactly as found in
the manuscript. Grainger uses his "blue-eyed English," in which words
derived from Latin and Greek (especially those found in music) were
purged from his vocabulary. This was Grainger's attempt at purifying
the English language from seemingly culturally corrupt influences.
Thus, "solo" becomes "to the fore," "louden bit by bit" replaces
"crescendo," and "feelingly" replaces "espressivo."
Grainger's original articulations and dynamics have carefully been
retained. In performance they add a dimension and variety that reveal
Grainger's very special vision of Molly on the Shore. Combined with his
spirited tempo marking, this is a Molly of great energy, charm and
sophistication; a perfect marriage of his favorite instrument and
music. To the Fore Publishers is pleased to offer Molly on the Shore as
part of its series of original Grainger works for saxophone, including
Lisbon (SAATB) and the Annunciation Carol (SAATTBBs).
Paul Cohen
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