Journal of the Conductors Guild

Home , Anton Bruckner, Arthur Jacobs, Frederick Delius

Volume 15 Number 2 Summer/Fall1994

Journal of the ConductorsGuild

Table of Contents

COMMENTARY 65

THE BRUCKNER SYMPHONIES PROBLEM RECONSIDERED 66 by JuanI. Cahis "NE'W' TO\rARD A (OLD) MINUET 80 by \flilliam Malloch

GRIEG AND THE CHAMBER ORCHESTRA 94 by John Jay Hilfiger

THAT HEGELIAN S\TING 101 'Webster by Daniel

SCORE: IMAGINATION AND REALITY 103 by PierreBoulez

CONCE,PT TO CONCERT: EVOLUTION OF A CHAMBER ORCHESTRA 108 by Alan Pearlmutter

TO\TARDS CREATING A COMPOSER-FRIENDLY ENVIRONMENT 1,13 by Victoria Bond

SCORESAND PARTS llg Aaro nt ""rff I : :::::;;" :;::: Ar b e rt o ' en t IV' Dan za ri n al " M al am bo " .Tlffi rf K::;;,T:;H

BOOKS IN REVIE\f by Henry Bloch t27

Arthur Jacobs,Henry J. lVood,Maker of tbeProms

r-_"** CONDUCTORS GUILD, INC. tournal of tbe Conductors Guild

103South High Street,Room 6 Editor JacquesVoois WestChester, PA 19382-3262 Tel.: 610/430-6010 AssociateEditor David Daniels Fax: 6to/ 430-6034 e-mailaddress: [email protected] Band/\7ind EnsembleEditor ...... Harlan D. Parker

Officers Chamber Music John Jay Hilfiger

President Adrian Gnam Choral Music .. Peter Gibeau President-Elect .....BarbaraSchubert Jonathan D. Green Vice President ...... 'WesKenney Secretary Charles Bontrager Editor-at-large . Jonathan Sternberg Treasurer Thomas Anderson PastPresident...... Larry Newland Assistant Editors Board of Directors Thomas R. Erdmann StephenHeyde Nurhan Arman Henry Bloch't Louis Menchaca Jon Mitchell Victoria Bond Mark Ettinger John Noble Moye John Strickler JoAnn Falletta Lauren Green Robert Gutter Martin Hardy Contributing Authors JosephHenry Kenneth Kiesler John Koshak Tania J. Le6n Douglas Adams Henry Bloch Frederick Peter Morden Eve Queler Victoria Bond PierreBoulez Harlan D. Parker Brian Priestman Juan I. Cahis JohnJay Hilfiger Madeline Schatz JamesSetapen \flilliam Malloch AIan Pearlmutter Kirk E. Smith Jonathan Sternberg'r Daniel'Webster Leslie Stewart Paul Vermel JacquesVoois Tsung Yeh Burton Zipser '? ex-fficio Production Staff

Advisory Council Administrative Director J"dy A. Voois Clerical Assistant Kerry C. Breslin CharlesAnsbacher Michael Charry Production Linco PrintingCo., Inc. SergiuComissiona Harold Farberman Lukas Foss SamuelJones Tlte publication date of tbe present issue of tbe Daniel Lewis Maurice Peress JounNer oF THE CoNoucrons Gurro is Spring, 1996; DonaldPortnoy GuntherSchuller consequentlythe publication date and the issuedate do Evan\flhallon not coincide. 'Vinners Theodore Thomas Award Effective Volurne 13, theJounNer oF rHE CoNouc- ToRs Gurro bas beenpublisbed semi-annually, tbe tuo Maurice Abravanel Leon Barzin issuesbeing numbered I and 2; the seasonalreferences Leonard Bernstein Pierre Boulez rernain unchanged, as is tbe journal's lengtb. Frederick Fennell Margaret Hillis Max Rudolf Robert Shaw The ICG's editors and stffi in eaaluating rnaterial Sir Georg Solti acceptedfor publication, will determine appropriate credit such contributions. 'Vinners for Thelma A. Robinson Award Library of CongressNo. 82-644733 @ Beatrice Jona Affron MiriamBurns Copyright 1996 by the Conductors Guild, Inc. LatraRexroth StevenMartyn Zike All rigbts reseroed. /SSN# 0734-1032 Commentary

With thecompletion of Volume 15,the Journal of the the publicationhistories of the symphoniesof Brucknerin ConductorsCuild has reacheda milestoneof sorts. Per- a mostorganized and creative fashion. Although a profes- hapsat thistime it would be of interestto thosewho have sor of computerscience in Santiago,Chile, Dr. Cahishas joined the Cuild in the lastdecade to learnsome of the spenta lifetimeresearching the works of Brucknerand circumstancessurrounding the inceptionof theJournal. Schubert.We are pleasedthat he selectedthe /CC aSthe Followingthe four-yearpresidency (1975-1979) of publicationof choicefor his extensiveand informative HaroldFarberman, Founding President of the Cuild, the research. organization'sleadership passed to CharlesAnsbacher, then The secondarticle, by the lateWilliam Malloch, is Music Directorof the ColoradoSprings Symphony. Al- reprintedfrom a 1985 issueof OPUS magazine;we are "President-elect" thoughthe position did not exist,it was indebtedto JonathanSternberg for bringingthis fascinat- understoodby the Boardthat MaestroAnsbacher would ing monographto our attention.Mr. Malloch'sresearch be succeededin 1981 by then Vice PresidentMaurice intomechan ical devices in useduring the Classicera speaks Peress. In one of the 1979 quarterlyBoard meetings, for itself;his premiseis compellingand shouldbe given Mauricepreviewed his leadership skills by stronglyrecom- seriousconsideration by the conscientiousconductor in mendingthat the Cuild undertakethe publication of a schol- orderto draw closer,possibly, to a moreaccurate Classic- arly journal in order to strengthenone of its statedmis- era performancetempo. sions:education. Thebalance of the issuefulfills another early directive: From 1974 until 1979,the futureFounding Editor of diversity.lt is hopedthat the articleby Alan Pearlmutter the Journalhad servedas Recordingand Corresponding will be the firstof severalsuch efforts that documentthe Secretaryas well as Editorof the Cuild's Newsletter.(ln creativeways in wh ich an ensemblecan respondto, inter- theearly days of the organization,several people wore sev- actwith and serveits community. The ideafor the series eral hats.) Becauseof theseliterary efforts, the Boardfelt originatedwith FranRichards, Director of Symphonyand that I was the mostviable candidate to assumeeditorship ConcertDepartment at ASCAP.Conductors who haveused of the new journal and, as often happens,I found myself theirensemble in creativeand uniqueways to servethe "volunteering" forthe position,little real izing that the length musical,cultural, social and educational needs of theircom- of the positionwould rival the endlessvoyage of Der munitiesare urged to contributetheir story for publication fliegendeHolliinder, an apt analogy,given my Dutch heri- consideration. "perk" tage. I recallthat the major to assumethe editorship Thecall for areaeditors and contributorsthat appeared offeredby the Boardwas thatother Board members would in the lasttwo issuesof the /CC hasborne fruit. The Area assumemy existingpositions. Editorsfor ChoralMusic will be Drs. PeterCibeau (a ln subsequentdiscussions regard ing Journal content, it cappella)andJonathan Creen (accompanied). Dr. Cibeau "germane was decidedthat the topicswere to be to the art is a memberof the facultyat the Universityof Wisconsin and craftof conducling,"and possessthat ephemeral qual- Center- Washingtonand Music Directorof the Moraine "shelf itycalled life." Thefirst article in thefirst issue of the Chorus(Wl). Dr. Creen conductsthe LeeCounty Orches- "The Journal(Vol.1, No. 1,Winter 19S0) was Max Rudolf's tra(NC) and is Directorof ChoralActivities at ElonCollege MetronomeIndications in Beethoven'sSymphonies." Since (NC). Joiningthe team of BandAl/indFnsemble assistant itsappearance, Rudolf's pioneering article remains the most editorswill be Dr. ThomasErdmann, who isconductor of requestedreprint in the historyof the publication. Need- the Company ShopsConcert Band (NC) and Directorof lessto say,it containedthe attributesset forth by the Cuild Bandsat ElonCollege (NC). We aredelighted to welcome Boardas have, l'm proudto say,the preponderanceof arti- thesespecialists to the /CC and look forwardto their con- clespublished in the sixteenintervening years. tributionsin the nearfuture. Thefirst two articlesof the currentissue also meet those The presentissue is printed in the CC Omega font; it criteria,inasmuch as the informationcontained therein is replacesthe CC Timesfont usedin previousissues. In the hardlydigestible in a singlereading. They are articlesthat opinion of the editorialstaff, CC Omega is a lighterfont should be referencedagain and again,the quintessential thatshould make the readingprocess more visually "shelf attributeof life." The first,by Juanl. Cahis,surveys pleasurable.Reader comments are invited. Ed.

JCG Vol. 15, No.2 65 The Bruckner Sy*phonies Problem Reconsidered

by Juan I. Cahis lNrnooucnoN symphonyas the composerintended? lt is the purposeof thisarticle to examinethese and other The currentexistence of dissimilareditions issuesand to proposea solutionthat would, if of the Brucknersymphonies has created consid- adopted,sign ificantly clarify and perhapseven erableconfusion among many of thecomposer's put to restthe BrucknerSymphonies Problem. devotees,amateur and professionalalike. Civen Much of the responsibilityfor the presentstate LeopoldNowak's completion in 1981 of his of Bruckner'ssymphonic output must be borne monumEntalpublication project that included by the composerhimself. lt would appearthat virtuallyevery authentic version of eachBruckner the presenceof greatmusical gifts did not immu- symphony,I believethe time is favorableto re- nize him againstdeveloping a personalitythat considerthe issueoften referredto as the wasriddled with insecurities.This character trait "BrucknerSymphon ies Problem." repeatedlyprompted Bruckner to questionthe Historically, the 'problem'has passed through qualityand public acceptabilityof many of his two main phases.In the distantpast the issue compositions,which in turn motivatedhim to was one of authenticity.Before the creationof rewritesome of his symphonies,a few of them the InternationalBruckner Society (lBS), severaltimes, resulting in the existenceof mul- 'how' Bruckner'ssymphonies were publishedby sev- tipleversions of the samesymphony. The 'im- eralindependent editors who feltthe needto of the revisionshas provedequally culpable: prove'themusical content. They were not schol- somerevisions exhibit a musicalstyle inconsis- arly editors but misgu ided meddlers, and their tentwith the previousversion, and certainsym- productsdid littlebut muddythe watersand gen- phonies even had original movements replaced erateerroneous impressions of Bruckner'smusic with entirelynew ones! One explanationfor and his statureas a composer.lncluded in this theseinconsistencies might be that aftercom- body of editionsare the spuriousand now for- pletingthe Fifth Symphonyand finding it a gottenversions of Hynais,Loewe and Schalk. sourceof personalpride and satisfaction, 'modernize' More recently,two separatedevelopments Brucknerdecided to his earlier have replacedthe authenticityissue. They are symphoniesusing the compositionalmastery the celebratedtextual differences in the critical he attainedand musicalstyle he developed editionsof RobertHaas and LeopoldNowak, and while composingthe Fifth. Whateverthe rea- thediscovery of multipleversions of a givensym- son,during the years 1876 to 1BB0he extensively phony,all of them havingbeen composed and revisedthe Second, Third and FourthSymphonies approvedby Bruckner h imself, and published and,during the lastyears of his life,virtually re- underthe samesymphony number. wrote the First. All of which raisestwo importantquestions: Beyondhis own personallyinspired revisions, How many symphoniesdid Bruckneractually presumablydesigned to renderthe musictherein write,and is it possibletoday to heara Bruckner moresatisfying to himselfand/or palatable to the

66 JCG vol 15.No. 2 public tastesof his time, Brucknerall-too-often THeHrnRT oF rHr Mnrren acceptedwell-intentioned but misguidedadvice fromhis pupils and friends, especially the Schalk An importantfirst step towardsacquiring a brothersand FerdinandLoewe. Althoughdevoted proper understandingof Bruckner'ssymphonic supporters,none was capableof giving mean- outputwould be to reviewand analyzethe his- ingfulcounsel to a composerof Bruckner'sge- tory of the Secondand EighthSymphonies, sim- nius and even less able to reviseand correct ply becausethe endlessdiscussion of the rela- Bruckner'smanuscripts which, on occasion,they tive meritsof the Haasand Nowak editionsis at would do when the composerrefused to imple- the heartof the current Brucknersymphon ies' menttheir suggestionr.1 controversy. Thefinal obstacle to a clearunderstanding of (A briefnote about nomenclature: The actual the presentBruckner symphonic condition is the symphonynumber [the number by which each tiresomediscussion about the comparativemer- symphonyis currently identifiedl is written in stan- "4" its of the Haasand Nowak editions. Today, dardnumerals, €.8., , f ollowedby a slashand this considerationshould be viewed as a non- the versionnumber written in romannumerals. issue. Exceptfor the Secondand EighthSym- Forinstance, Symphony No. 4/lll meansthe third phonies,the differencesbetween the two edi- versionof SymphonyNo. 4.) tionsare not noticeableto the generalpublic. Therefore,it is incumbenton all informed The EighthSymphony professionalsto eradicatethe perceptionthat the choicebetween the editionsof Haasand Nowak For quite some time, the presumedgeneal- is an importantconsideration. ogy of the two editionsof the EighthSymphony had been that the Haas 1935 edition reflected SvtttpHoNtcOvrnvrew the 1BB7version and the Nowak 1955 edition reflectedthe 1890 version.3 However,follow- Early-twentieth-centuryscholars identified ing LeopoldNowak's 1972 publicationof the elevenBruckner symphonies, ascribing to them authentic1BB7 version (B/1, recorded by Inbal), 'l the numbers00, 0, and to 9. Symphonies00, one had to concludethat both the Haas 1935 5,6,7 andpresumably 0 appearin onlyone ver- and Nowak 1955 editionshad their originsin sion. Symphonies1, 2 and B haveat leasttwo thesymphony's 1890 version (B/ll). This became originalversions, Symphon ies 3 and 4 at least evidentwhen one realizedthat both editions had three. Symphony9 is a uniquecase, since it re- the sameinstrumentation,4 the sametrio section mainedunfinished at the time of the composer's in the Scherzo,the sametonal structurein the death.2 Adagio,and the sameending to the first move- BecauseHaas and Nowak frequentlyheld dif- ment. Eachof thesefeatures is rendereddiffer- feringpoints of view, their independentefforts entlyin the 1BB7version. (althoughclarifying, correcting, and decertifying The actualdifferences between the two edi- earlier spurious versions) understandably eroded tionsof the Eighth's1890 scorestem from a dis- confidencein the absolutevalidity of many of agreementbetween the two editorsover certain Bruckner'ssymphonic efforts. Unfortunately, un- barsthat were eithercrossed out or replacedby fil each symphonywithin both editionsis cor- Brucknerin 1890. Haasassumed that the bars, rectly understoodin a historicalperspective, an which appearin the 1BB7version, should be in- informedoverview of the Brucknersymphonies cluded;Nowak, however,assumed that outside isvirtual ly impossible. influenceshad causedsome of the barsin ques-

JCG Vol. 15.No. 2 67 tion to be replacedor crossedout and,therefore, that they should 1. notremain in the 1890 Fl. , score. Both conclu- sionsare legitimate sincethe composer's motivationswill never be known for sure;of course,scholars will continue d iscussing the issuefor yearsto come. Nevertheless, this simpledifference of scholarlyopin ion shouldnot prompt us to inferthat each edition derivesfrom a different version of the symphony, written three years apart. However,it mustbe remembered that the only criticaledition of the Eighth's1BB7 version is the one publishedby Nowak in 1972;fortunately, it in- cludesall of thebars in dispute. Anton Bruckner,Symphony No. 2 in C minor (1877),Leopold Nowak, ed. (Vienna: IBS, The Second 1965). MovementII, pp 73* and 74*, with the original (1872) horn solo ending. On Symphony p. 73 of the 1877 yersion,the musical material in mm. IBlff is movedto mm. 1B}ff. The quarter-notestringpick-up (m IB0) becomesan eighth-noteViolin I pick-up (m. 179). Also, the musicalmaterial inmm. 184-85is truncatedinto a single measure(m I8j) The SecondSym- phonyhas a similarhis- tory. For a long time, it was believedthat the ally identical;and 3) the differences,mostly of Haas1938 edition reflectedthe Second's1872 orchestration,are so smallthat on theirown they versionand that Nowak's 1965 edition was based shouldnot precipitatethe conclusionthat each on the 1877version. ln my opinion,both edi- editionrefers to a substantiallydifferent version tions derivefrom the sameversion of the sym- of the samesymphony. phony. The reasonsfor this beliefare: 1) both A comparisonof theSecond's printed editions criticaleditions have the sameinstrumentation; is revealing. Both editionsidentify with (vilde) 2) if one ignoresthe optional(vilde) cuts that ap- bracketsthose bars that Brucknerintended to cut pear in both editions,the versionsare structur- in 1876-77,and both includeall suchbracketed

68 JCG vol 15,No. 2 horn and the clarinet alternativewhich was Fl.1 com posed befo re 1877),again giving the VioLl conductorthe freedom VioL2 to choose between

Vtr them.6 Thus,Nowak's printed edition of this Vc. symphonyincludes Kb. more music than Haas's.z In my opinion,all optional (vilde)cuts Ft.t thatwere insertedinto Hn, 1i!F a score for a specific public performance Viot.l mustbe ignored,even when thatpremiere or Viol.2 a subsequentperfor- Vl^. mancewas conducted

YC. by Bruckner. Such cutsare of historicalin- Kb. terestonly and should not be considereda sign ificant textual alter-

Hta. native;they certainly lioF do notjustify a conclu- sion that two versions Yiol.l of the samesymphony VioL2 exist, becausenearly all of Bruckner'ssym- VL phonies were per- Vc, formed at their pre-

Kb. m ieres with severe cuts.8 Nowak himself- sectionsin the maintext.s The only differenceis probablyby happenstancerather than by design thatHaas, in hispreface, recommended that these - contributedto today's confusionabout the bars be performed,and Nowak, in his, recom- SecondSymphony. In the prefaceto his 1965 mendedthat they be omitted. Neithereditor en- criticaledition (curiously labelled "ll" insteadof dorsedone arrangementover the other,and the 'll/2," aswas hiscustom), he explainedthat that finalchoice remains the conductor'sprerogative. editionwas of the symphonyas it had existedin Haasincludes only the first(horn solo) ending to 1877.To supporthis rationale for publishingthis the second movement composed in 1872. version,Nowak notedthat Brucknerhad referred Nowak includesboth originalendings (the solo to the 1872 versionas "the old arrangement."

JCG Vol. 15, No. 2 69 The differencesbetween both "arrangements" were outli ned but not describedbY Haasas earlyas 1938:theY consisted of "cuts,modifications and alterations."More imPortantlY, Nowak clearlynoted that his 1965 editionwas basedon Haas's1938 publication; Haas in turn statedthat his 1938 edition was based on the manuscriptof 1877. Thus,in- tentionallyor not, Nowakgave the clear impressionthat he knew of the existenceof a different,unpublished first version of the Second SYm- phony's 1872 Urfassung(first edition)that, for whateverrea- son, had been eschewed bY Haas. And this, desPitehav- ingwritten in the prefaceof his

editionof the FirstSymPhony's Ktr.. lirB secondversion of 1890-91, publishedin 1980: Violl

This new edition of the rr'id.2 secondversion of the First Vh.

Symphony,along with Vc.

the secondversion of the Kb. com- Third SymphonY, Bruckner, Symphonyl,{o.2 (1877), Leopoldl',lowak,ed MovementII, p' 74, on pletesthe publicqtionof with the clarinet solo ending. To compensatefor the two measuresremoved (m all versions of all p. 73, Bruckner adds a one-measureextension to theflute/violin solo 198) Brucknersymphonies, so and to the clarinet solo (m 206) that the reader can now detectfor himselfwhere the differences editionwas based on a sourceother than the Haas betweenthe two versionslie. 1938 edition. Explanation #1: if a substantially differentfirst version of the 1872Urfassung ex- the Canone assume that Nowak knew about but de- isted,it remainedunpublished. Clearly, both based cidednot to publishthe Urfassungof theSecond Haas1938 and Nowak 1 965 editions were producedwith a Symphonymentioned in hispreface of 1965? on the same1877 version, but #2: an Until recently,there were two possibleex- differenteditorial approach. Explanation version planationsfor this perplexing question. Neither, acceptanceof the factthat only a single com- however,carried any implicationthat Nowak's of the SecondSymphony had ever existed,

70 JCG vol 15,No. 2 (published (vil Carragan by the @ IBS in 1993), who also has ig-!.--- i-'---_-_> publisheda compellingper- formanceed ition of the N inth Symphony's fourth movement,we now know thatthe Li!B Klu. correctanswer is Explanation Zin B #1. Carragan'sedition dem- onstratesthat an unpublished Urf assung of the SecondSym- phony did indeedexist, and that it is quite differentfrom the Haasscore. (ThisUrfas-

A.I sung was recentlyrecorded P6. B. by KurtEichhorn.lo;

Pk. Tnr Nownx EDrnoNAND THt QursrroNoF ComplrrENEss

Eachof Nowak's printed editionsreflects his considered opinion about how a specificversion of a Bruckner symphonywas set to paper by the composerwithin a specifictime frame. The un- fortunatem isconception that Nowak scoresare incom- pleteprobably derives from the fact that Nowak began his publishingefforts with

Bruckner, SymphonyNo. 2 (1877), Leopold Nowsk, ed. MovementIV. the f inal version of each p. I j9. The (vi/de) brackets betweenm.540 and m.562, demonstrate symphony;the f inal ver- the inclusivephilosophy of the Nowak edition. sions,with few exceptions, have shorter movements posedin 1872,revised by the composerin 1876- than their earliercounterparts.ll Now that 77 and again in 1891 . lf this secondscenario Nowakhas published the initialand, where ex- werecorrect, the emendationsof 1876-77 would tant,middle versions of all the symphonies(ex- representonly small changesto the work's or- cludingthe SecondSymphony Urfassung pub- chestrationand the additionof the alternate,op- lishedby Carragan),this criticism no longerob- tional thirtytwo-barclarinet solo endingto the tains. I cannothelp but rvonder,if Nowak had secondmovement.9 begunby publishingall of the initialversions, Thanksto a new criticalscore of the 1872 would he havebeen criticized for includingtoo versionof the symphonyproduced by William much music?

JCG Vol. 15,No. 2 7l THr CoprplexHtsroRtEs or SvmpHoNlrs3 nHo 4 edition of the 1BB0version (4/lll), but it was omittedin the 1944 reprintof that score. Thehistory of theThird Symphony is compli- Thefirst three movements of the symphony's cated. lt was originallycomposed in 1873, ar- 1BB0 versionare identicalto the 1B7Bversion rangedin 1876, rearrangedin 1877, and rear- with yet anotherFinale that was revisedonce rangedyet againin 1889. One could say,with againin 1886. Thisis the versionmost frequently somejustification, that the symphony'screative performedtoday. lt shouldnot be confusedwith 'partially 'partially processwas not one of composition,but rather the authentic'(or spurious') of evolution.The publishing history of thework's version of 4llll edited by Loewe and corrected variousversions is as follows:the 1B23version (but apparentlynot authenticated)by Bruckner by Nowak in 19 77; the lBTTversionby Oeserl2 in 1BBB.The Loeweversion did receivenumer- in 1950and by Nowak in 1981;the 1BB9ver- ous performancesprior to World War ll and was 3 sion by Nowak in 1959;and the Adagioof the publishedby Eulenburg.l 1876version by Nowak in 1980, as an adden- "3/1." dum lo Tnr QuesnoNor PnrrrRENcE It has become apparent,however, that the Adagioof 1876 belongedto an earlierphase of Inasmuchas severalof Bruckner'ssympho- the 1877 revision. This secondrevision, then, nieshave two or moreauthentic versions, should would appearto have had two phases. To the one version be accordedpreference over the "a firstphase of 1876 (called rhythmicrevision" other(s)?Logic would dictatethat the lastver- by the composer)belong the Adagio,a revision sionof any symphonyshould be consideredthe of theScherzo (not including the coda) similar to definitiveone, since it representsthe final inten- the 1877version published by Oeser,and possi- tionsof the composer. However,in the caseof bly somepreviously unpublished material from Bruckner,most scholars believe that some of the the Finale.To the secondphase belongs the 1877 influenceof his friendswas deleteriousto the versionas publishedby Nowak in 198 1 (3/ll) musicalend productof certainrevisions. For this wh ich included the Scherzo' s coda. very reason,Deryck Cooke decided to identify "first Sincesome materialfrom the first phaseof his definitiveversion" of eachsymphony as the Finaleis probablylost, the only complete the lastrevision composed by Brucknerprior to extantmovement of the firstphase is the Adagio, any deleteriousinfluence generated by friends, publishedby Nowakin 1980. Thismovement is musiciansor critics. a reworkingof the 1873 Adagio,and similarto At the time,Cooke's solution was indeedin- it. The 1876Adagio, a beautifulmovement simi- novativeand on the surfacea reasonableone. lt "Totenfeier" lar to Mahler's (an earlyversion of must be remembered,however, that in 1975 the firstmovement of his SecondSymphony) in when Cooke first attemptedto implement his that it can be performedas a stand-aloneselec- solutionto end the BrucknerSymphonies Prob- tion, was recentlyrecorded by Rozhdestvensky. lem, the LJrfassungenof manyof Bruckner'ssym- SymphonyNo. 4 was composedin 1874. lt phonieshad not yet beenpublished or recorded. wasrewritten in 1878,aI which time it received Sincethe scoresand recordingsof all versionsof "Volksfest") a Scherzoand Finale(the so-called the Brucknersymphonies are now available, thatwere entirely different from thoseof the 1874 Cooke'ssolution has lost much of itsoriginal ap- version(4ll). The firsttwo movementswere also pealand logicalbasis. extensivelyrewritten. Haasincluded the score To seewhy, letus consider the compositional of the 1B7BFinale as an appendixto his 1936 historiesof theThird, Eighth and FourthSympho-

72 JCG vol 15, No.2 nies. As statedearlier, the Third Symphonywas and againby Nowak in 1980 (page56)117 In Ihe composedin an evolutionaryprocess between MusicalNews/etterarticle, Cooke also states that the years1873 and 1889. lf one dismissesthe thefirst defin itive version of the Eighth Symphony "recalled" 1BB9version because Bruckner it due is the revisedversion published by Haas(a posi- to Schalk'scriticism, what justificationwould tion wh ich alsorejects that Urf assung), but in the "Late remainto selectthe 1877version over the origi- RomanticMasters" article (page 57), he nal of 1873?.14The EighthSymphony was also statesthat the firstdefinitive version of the Eighth composedin an evolutionaryform but, irrespec- Symphonyis the Urfassungof 1BB4-BZ published tiveof personalpreference, why shouldthe later by Nowak in 1972. (1890)version take precedenceover the original one of 1BB7? After all, Brucknercreated Bruckner'sSymphon ic Total the 1890 versionbecause the 1BBZ version was not acceptedfor a possiblepremiere performance At a time when the spuriouseditions of s by the conductorHermann Levi.l Theseare im- Loewe,Schalk and othershave been dismissed portantcons iderati ons. as editorialaberrations, we are left to placethe By way of contrast,Bruckner's Fourth was valid versionsof the Brucknersymphonies in a composedin 1874,drastically revised in l BZB(a new perspective.Let us begin by challenging revisionthat includeda totallynew Scherzoand the traditionalfixed totalof nine; if we include Finale)and again in 1BB0(Finale only), in a'revo- numbers0 and 00 (theso-called "student Sym- lutionary'rather than evolutionary process. There phony")our totalalready reaches eleven. were no friendly inducementsfor any of these Thisapproach is analogous to the issue,"How creativeor recreativeefforts. Furthermore,there manyFidelio overtures did Beethovenwrite?" To remainsthe issueof a rejectedversion (1874) and thisquestion the answeris four. I do not believe a significantlydifferent first definitive version (the thatany serious scholar would claimthat Leonore "Volksfest" 1B7Bversion containing the Finale). 2 and Leonore3 resultedfrom the textual inter- lf oneapplies Cooke's criterion to this symphony, pretationsof two scholarswho simplyproduced thenthe mostfrequently performed and recorded differentcritical editions; nor would they try to version(1880) would be viewedas representing combine both Leonorasinto a singledefinitive an afterthoughtby Bruckner,and thus of lesser version,as Haastried to do in his edition of 16 importan.". Bruckner'sEighth Symphony.l B Using Beet- Apparently,Deryck Cooke was somewhat hoven'sFidelio overtures as a model,then, one confusedby hisown criterion. In hiscelebrated could identifybetween eighteen and twentyau- "The "symphonic essay, BrucknerProblem Simplified" (The thenticBruckner symphonies or es- Musical News/etter,NY, 1975),he arguesthat says,"with specificvalues and attributesinher- thefirst definitive version of the ThirdSymphony ent in each. is that of 1877, a positionthat eliminatesthe Consider,for example,the 1874 and 1BB0 Urfassung.In the catalogueof Bruckner'sworks versionsof the FourthSymphony. The structure "Late which appearsin Cooke'scontribution to of eachparallel movement is uniqueand, asex- RomanticMasters" (The New Croves'Books, col- plainedearlier, the Scherzosand Finalesthere- lectedarticles from the fhe New Crove Diction- from entirelydifferent. Why then shouldwe at- ary of Music and Musicians,New York: W. W. temptto distillall the validvariants into a single Norton, 1985),we are told that the firstdefini- frameworkhaving one symphonicnumber? Why tiveversion of theTh ird Symphonyis that of 1873- should not each symphonicessay be given its 'l 77, pnntedby Oeserin 950, by Nowak in 1977, independenceand perceivedas two uniqueyet

JCG Vol. 15,No. 2 73 Table I: A SuggestedList of Bruckner's SymphonicEssays

Essay Sym. Year Publisherand year Recorded No. No. cpsd. (BrucknerSociety) (Conductor)

I 00 1863 Nowak, 1973 Rozhdestvensky[Chant du Monde2-LDC-278-851152] Inbal [TELDEC] 2 lll 1866 Haas,1935; Nowak, 1953 many("Linz version") 3 0 1868 Nowak, 1968 Chailly [LONDON 421593-21,Inbal[TELDEC] Rozhdestvensky[Chant du Monde2-LDC-2'18.851'152] none 1869 ? no ("B-flat" unfinishedsketch) 4 2ll 1872 Carragan Eichhorn(See main tex0 [CAMERATA 30CM-195/6] 5 3ll 18?3 Nowak, i977 Inbal("Wagnersymphonie") ITELDEC 8 429222K1 '7'1597-2AW] 6 4/l 1.874 Nowak, 1975 Inbal [TELDEC LopezCobos ITELARC CD-80244] 7 5 18'7618 Haas,1935; Nowak, 1951 many 8 2lll 1877 Haas,1938 many(See main text) Nowak, 1965 many(See main text) 9 3lll 18'16/7 Oeser,1950 Kubelik [CBS,out of print] Nowak, 1980/81 Haitink 10 4/ll 1878 Haas,i936 seeEndnote 1l Nowak, 1953/81 no 11 4llll 1878/80 Haas,1936144 many("Romantic Symphony") Nowak, 1953 many('Romantic Symphony") 12 6 1881 Haas,1935; Nowak, 1952 many 13 7 1883 Haas,1944; Nowak, 1954 many 14 8/I 1887 Nowak, 1972 Inbal[TELDEC 8.482182L], Tinmer [ubal Records,LP] 15 3/III 1889 Nowak, 1959 many 16 8/II 1890 Haas,1935; Nowak, 1955 many(see main text) 17 1/II 1891 Haas,1935; Nowak, 1980 Wand [DeutscheHarmnoia Mundi, out of print] Chailly [LONDON 42109| -2] 18 9 189416 Orel, 1934;Nowak, l95l many

Table II: MeasureTotals and Duration of Bruckner's SymphonicEssays

Essay Sym. First Adagio ScherzoTrio Finale Total Duration (min.) No. No. Mov.

1 00 625 r28 90 39 372 t254 5l 2 Ur 351 168 159 39 396 1113 47 3 0 353 160 r92 56 317 1078 46 4 2tl 583 2lr r54 r25 806 t879 67 5 3lr 746 278 t52 116 764 2056 67

74 JCG vol 15.No. 2 6 4tI 630 246 362 r32 6r6 r986 7T 7 5 511 2tl 382 148 635 1887 74 8 2fil 570 209 157 t2r 702 1759 61 9 3lrr 652 289 160 116 638 1855 60 652 25r 201 116 638 1858 60 10 4ill 573 247 259 54 477 1610 59 11 4IIII 573 247 259 54 541 1674 64 t2 6 369 177 110 52 4r5 tt23 57 13 7 443 219 272 136 339 r409 69 l4 8/I 453 329 2rl 105 771 1869 86 15 3IITT 651 222 160 116 495 r&4 54 r6 8/II 4t7 291 195 93 709 r705 81 17 IIII 345 l7l r66 44 393 1119 48 18 9 567 243 250 264 0 t324 61

Table III: Historical Information About Publicationand Premieres of the First and Non-Critical Editions of Bruckner's SymphonicEssays

The scoresinitially used in Nos. 5, 6 and9 werevery differentfrom Bruckner'soriginals.

Essay Sym. Year First Performance No. No. publ.

1 00 ? Franz Moissl (Mar. 18 and Oct. 10, 1924) 2 TIT Anton Bruckner (May 9, 1868) ) 0 1924 Frarlz Moissl (Oct. 12, 1924) 4 2tr Anton Bruckner (Oct. 26, 1873) 5 3tr JosefKeilberth (Dec. 1,1946) 6 4tr Kurt Woess(Sept. 20, 1975) 7 5 1896 Fralz Schalk(April 8,1894) Sigmund von Hausegger(Nov. 20, 1935) 8 2trl 1892 Anton Bruckner (Feb. 20, 1876) 9 3fil 1878 Anton Bruckner (Dec. 16, L877) 10 4ltr ? 11 4ltll Hans Richter (Feb. 20, 1881) 12 6 1899 Gustav Mahler (Feb. 26, 1899) Karl Pohlig(Mar. 14, 1901) 13 7 1885 Arthur Nikisch (Dec. 30, 1884) t4 8tr Hans H. Schoenzeler(Sept.2, 1973) 15 3IIII 1890 Hans Richter (Dec. 21, 1890) 16 8/II 1893 Hans Richter (Dec. 18, 1892) T7 Uil 1893 HansRichter (Dec. 13, 1891) 18 9 1903 Ferdinandl.oewe (Feb. 11, 1903) Sigmund von Hausegger(April 2, 1932)

JCG VoL 15, I,{o.2 75 completemanifestations of a single,original ar- formerand the obviousheir to the throne?And, tisticinspiration? Was this not the casewith Le- if a conductorperforms the standardversion of onoras2 and 3, or with the Opus 47 and 112 the FourthSymphony but replacesthe finale of "Volksfest" symphoniesof Prokofievthat to this day share 1BB0with rhe finaleof 1878,is he or the number4? she performinga differentessay than the con- At the very least,a new cataloguingformat ductorwho usesthe entire1BB0 version? When would solvethe problemsof stylisticinconsis- we add to all this the fact that some scholars tencywhere they occur and where they would doubt that Brucknerwrote and subsequently be perceivedby the seriouslistener. lt would destroyedother symphonic essays (such as that of alsohelp explain why the versionof Symphony 1864,the supposed first version of SymphonyNo. No. 3 that was favoredby Von Karajanand con- 0), we can only sympathizewith theirdilemma tinuesto be performedby many conductorsis and challenge. more closelyrelated to SymphonyNos. 7 or B Of paramountimportance in the determina- than to SymphonyNo. 2; why the FirstSym- tion of any new symphonicsequence would be phonyversion performed by almostall conduc- whethera// emendationscomposed by Bruckner tors(except Wand and Chailly)is closer in style asa resultof externalinfluence - or evenimpo- to the "Nullte"(number 0) and to the No. 3 of sition- shouldbe rejected. lf that becamean Inbalthan to Von Karajan's3rd? Because,in absolutecriterion, then the 1BB9version of the the creationphase, this new cataloguingsystem ThirdSymphony, the mostwidely performedand would assignthe number15 or 16 to the sym- recordedone, would haveto be rejected. In my phonic essaypreferred by Von Karajanand the opinion,the resultsof suchdogmatism would be number9 or 10 to that preferredby Inbal,since tragic. Had thistype of eliminationderby taken the latterwas writtensixteen years earlier. placein the recentpast, we would now find our- Simply stated,contemporary Bruckner selveswithout mostof the maturesymphonies of scholarsshould now create- and the Interna- Prokofievand Shostakovich,masterpieces that tional BrucknerSociety ratify and endorse- a werewritten in accordancewith theguidelines of "Bruckner newsequence of authentic Symphonic the Sovietgovernment; in thedistant past, we would Essays."Each essay would be treatedas an haverejected many of the eighteenth-centurysym- e independentworkl and no attemptwould be phoniesthat were composedto satisfythe tastesor madeto establisheither a historicalor subjec- needsof a composer'spatron. tive defin itive-and-most-authentic version of One lastinterrogative. Should we refrainfrom any symphony. performingany of the originalversions (such as In the cataloguingprocess, Bruckner scholars certainUrfassungen and SymphonyNo. 0) that will have to wrestlewith some very thorny is- were withdrawn by the composerfrom concert sues. Questionswill abound. How manyver- usage?Yet anotherthorny issuesince, if imple- sionsof the SecondSymphony actually exist? ls mented,we would then be obligedto relegate the 1886 revisionof the FourthSymphony's fi- the first three of Beethoven'sLeonoras to archi- nalesufficiently unique to permitus to treatit as val scholarlyuse only. a separatesymphonic essay apart from the 1BB0 In my view, the Brucknersymphony scores version?20Will a revisionsimilar to that by edited by Nowak would make a good starting Berlioz of his Symphonie Fantastiqueprompt point for the creationof a numberingsequence, scholarsto considereach effort as a differentver- providedthat to it isadded the firstversion of the sionof the samesymphony, or will the latterver- SecondSymphony. Such an approachwould sion be viewed as a correctedversion of the producebetween eighteen and twenty legitimate

76 JCG vol 15,No. 2 andauthentic Bruckner symphon ic works. lf each essaysshould today's conductors consider in the essayis further identified by a differentopus num- meantime? ber (inthe samemanner as the four Fidelioover- My performancerecommendations for the tures),we would greatlysimplify and demystify 1990s and beyond are: our presentunderstanding of Bruckner'ssym- a) SymphoniesNos. 00 and 0; they deserve phonicoutput. lt would certainlytake time for greaterpubl ic exposure. the public to becomefamiliar with and accept- b)The first version ("Linz",1866) of the First ing of any new symphonicnomenclature and Symphony,and the newly published first version catalogue. This was, after all, the casewith (1872)of the Second(Carragan edition). Kochel'scatalogue of Mozar|'sworks. Never- c) The firstversion (1873) of the Third Sym- theless,such an effortseems justified, consider- phony(Nowak 1977 edition). ing itspotential for clarifyingthe presentconfus- d) Thefirst and the lastversions of the Fourth ing situation. In the meantimewe remainin- Symphony(1 874 and 1BB0). debtedto LeopoldNowak for providingus with e) Forthe adventurous, the Eighth Sym phony the opportunityof becomingfamiliar with all of usingthe standard1890 (Nowak 1955) score for "symphonic Bruckner's leonoras,"and not just the first three movements,and the 1BB7score the supposeddefinitive ones. (Nowak1972) for the Finale.This arrangement A finalthought. I do not think any purpose seemsto providegreater fidelity to the original would be servedby changingthe presentnum- manuscriptsthan the traditionalHaas mixture. bersof the symphonies.The primarygoal of this fl For the remainderof the symphonies,ei- proposalis twofold: first, to identifyall the legiti- therthe Haasor Nowak scores. mate,qualitative symphonic works that Bruckner composed,discarding only the insignificantand BRucxnrR'ssyl,rpHoNtc EssAys: A SuccEsrED ill-advisedemendations by Brucknerand the spu- Cnrnlocur Lrsr riousones of hisdisciples; and second, to assign a specificopus numberto eachsymphonic essay Table I is a suggestedcatalog list of the which could in the futureserve as the basisfor a Brucknersymphonic essays which clarifymy comprehensivenew cataloguingof all the intentionsand recommendations.2lTo be in- composer'sworks. cluded,a symphonic essayhad to containat leastone movementthat the seriouslistener A SrlrcrroNPnocrss would perceiveas significantlydifferent from the correspondingmovement in an originalor Which worksshould be includedin a perfor- earlierversion of the samesymphony, even if manceI ist of Bruckner Symphon ic Essays?Tra- the music were basedon the sameor related ditionally,the answerto thisquestion has been: thematic material.22 With the exception of the firstversion ("Linz") of the FirstSymphony, Symphony2/l (EssayNo. 4), the numberspro- the secondversion (Oeser edition) of the Third, videdunder "sym. No." arethose used and the lastversions of the rest, using Haas's in the Nowakscores. scores. Practicalexamples of this formula are the complete recordingsof Barenboimand AcTNowLEDcMENTs Haitink. Inasmuchas the most optimisticprediction Fortheir comments, contributions and edito- for the creationof any new cataloguingsystem rial assistancewith draftsof this paper,the au- would be yearsaway, if ever,which symphonic thor wishesto expresshis gratitudeto Professor

JCG Vol.15. No.2 77 a BrianNewbould, Head of theMusic Department Wh"n creatingthe 1890version of the EighthSymphony, threemovements, but madecuts ofthe University of Hull,England, Professor Wil- Brucknerrewrote the first and emendationsto the fourth movementover a copy of liamCarragan of NewYork, and to Dr.John Noble the existing 1BB7score. Thus,only the finaleof the 1887 Vooisof the edito- Moyeand Dr. Jacques JCC's versioncontains the sameinstrumentation used for the en- rialstaff. tire1890 version. (l suspectthat Bruckner, during the com- positionof the finaleof the 1887version, gave some thought ***,*{.*r to reorchestratingthe entiresymphony. Hermann Levi's negativereaction to the symphony'sscore simply strength- ened Bruckner'sresolve to rewriteit.) ProfessorJuan I. Cahis,from Santiago,Chile, scientistwho in 1971founded and is a computer s Th.y are: bars4BB to 5ig (32 bars)in the first move- Sci- was appointedfirst Directorof the Computer ment;48 to 69 (22 bars)in the Adagio;and 540 to 562 (23 ences Departmentof the Catholic University of bars)and 590 to 655 (66 bars)in the Finale;for a total of '143 Chite (CECICO),which is now one of the most bars.lt isinterestingto notethat in theAdagio,Bruckner prestigiousin Latin America. Since 1960 his did not cut the correspondingpassage from the recapit- (bars in Nowak'sscore). musicstudies have concentratedon the history ulation 121to 134 of the symphoniesof Schubertand Bruckner,re- 6 Bur, 178 to the end (bar 209). Brucknerprovided a collecting pertinent information searchingand secondending (scored for a clarinetsolo) as an alternative from around the world. in the eventthe originalending (a horn solo playingthe The authorwould welcome commentsor in- samemelody) proved too difficultfor the soloist. quiriesregarding his extensive Bruckner sYm- 7 is phonic researchat his address:Moctezuma 1948 On" additionaldifference between the two editions with Bruckner'sintentions, (Vitacura), Santiagode Chile, Chile, South that Nowak, in accordance omitted the repeatmarks for the A and B sectionsof both America. the Scherzoand Trio. Of late,there has been much discus- repeatsin eighteenth- ******** sionabout the necessityof performing and nineteenth-centurysymphonies. Was Brucknerpro- practicesof ENoNorrs viding uswith someinsights into performance the late-nineteenthcenturY? 1 JosefSchalk (1857-1901) was a pianistand piano teacher B lf r conductorperformed this symphony with the Nowak at the ViennaConservatory. He championedthe musicof score,included the musicwithin the optional(vilde) brack- Brucknerand HugoWolf . FranzSchalk (1863-1931) was ets, usedthe horn solo ending of the secondmovement, thedirector of theVienna Court (State) Opera from 1918to and ignoredthe repeatmarks in the scherzoand Trio, it 1929. He conductedthe premiereof Strauss'sDie Frau would bevirtually impossible for the listenerto detectwhich ohneSchatten in 1919. His careerincluded opera con- score- Haasor Nowak - the conductorwas using. ductingin Prague(1895-1898), at New York'sMetropoli- tan Opera House (1898-1899),and at London'sCovent 9 Nowak probablyviewed the secondalternative Carden(1898, 19O7 and 1911).Ferdinand Loewe (1865- Leopold severalinconsistencies within his edi- 1925)was an Austrianconductor who worked in Munich asthe correctone. suchas his inclusionbetween (vilde) andVienna. tion shouldbe noted, "for brackets technicalreasons" of thosebars that Bruckner (in opinion he should 2 Thu scoreof the firstthree movements is complete;the deletedin his 1876-77version my of this volume sketchof the Finaleis completeto the beginningof the haveomitted them entirely),the labelling "ll" "lll2," move- coda. insteadof andtheinclusion of bothsecond ment endings. Could the explanationbe that it was his 3 For.example, the linernotes for Wand's recordingof the belief that all the additionalchanges made by Bruckner EighthSymphony (Haas version, Deutsche Harmonia from 1872to 1877hardly justified the publicationof a sepa- '1884187 Mundi) referredto the version." rate Urfassung?.

78 JCG vol 15,I,{o. 2 10 "The About the 1 877 versionWilliam Carraganwrote: versionthe one of 1880. In my opinion,for this to gainany vi/dematerial included in the Haasand Nowak scoreswill validity,too many historicaland intellectualconvolutions not be printedin the new 1877 score(which is to replace would haveto be partof the rationale. the 1965 Nowak score). Nowak had made this decision 17 by 1983when contemplatingdoing a new editionof the Was the book's editor suggestingthat the versionsof Secondhimself. These cuts came from a rethinkingof the 1873and 1877 be combinedinto one? whole pieceand haveinternal logic, even if we do not like 1B them. Surely,if peoplewant to hearthis vi/de music,they ln the New Crovebook, Cookerefers to Haas'scritical "composite shouldlisten to the 1872version. As to the Haasmixture, editionof the EighthSymphony as a version" "But it ought to passout of use. We have so many versions; (page57). On page36 he writes: Haaswas thinking why createmore?" of a conductor'sscore that would be in constantuse, and his edition standsas a conjecturalrestoration of what 11 The principalexceptions are the Scherzoof the 1877 Bruckner'srevision would have been like without Josef versionof the Third Symphonyand the lastof the three Schalk'sinterferen ce." I agreewith hisevaluation for purely finalesof the Fourth Symphony. The second (Volksfest) musicalreasons, but is not that sentencea practicaldefini- finaleof the FourthSymphony, published by Nowak in tion of what a performingversion is, exemplifiedby Car- 1981, was recentlyrecorded, but not yet published,by ragan'srestoration of the finaleof the N inth? HubertSoudant with the MelbourneSymphony Orchestra In my opinion a better,albeit unorthodox. solution on the AustralianBroadcasting Commission label (ABC). would be the following: Becausethe finalesof both the 1BB7and 1890 versionsare very similar in orchestration 12 Although Oeser'sedition was not sponsoredby the and structure,and becausethe 1887 finaleis more related BrucknerSociety, it is a well-researched,authentic edition to the full vesionof 1B9Othan to its accompanyingfirst and shouldbe given seriousconsideration for use in per- threemovements, would it not be morefaithful to Bruckner's "mixed formance. scoreto performa version,"that is,to usethe first three movementsfrom the 1890 version(using Nowak's 13 In the foreword,Hans F. Redlichrefers to this scoreas score),and the finale from the 1BB7version (alsofrom "VersionlV of 1BBB."lt isthe only revisededition that was Nowak'sscore)? alsoemended by Bruckner. lt would be very helpfulif .19 scholarscould ascertainwhich revisionsderived from This approachis the exactopposite to the one usedin Loewe and which were made by Bruckner. This might the well-knowncatalog of Bruckner'sworks compiled by shedsome light on theextent to which the correctionsmade RenateCrasberger, titled WerkeverzeichnisAnton Bruckner by Brucknerrelate to the composer'sunusual approach to (WAB),in which everysymphony appears only once, irre- other partsof this symphony. This versionwas first per- spectiveof the numberof versionsthat areextant. formedunder Hans Richter in Viennaon January22,1888. 20 The FourthSymphony's revision of 1886 was discov- 1a ln the prefaceto hiscritical score of the Third Symphony's eredafter the publicationof the symphony's1BB0 score by "The 1873 UrfassungNowak wrote: formal integrityof the Haas,and it isthus included only in the Nowak editionof Third Symphonyis most clearlyperceived in the Adagio. the 1880version published in 1953. The mostimportant Its278 bars,later reduced to 251 (1877)and finallyto 222 changewas made by Brucknerin the lastnine barsof the (1889/90),represent the usualbalance among the threecom- finalewhere, for a performanceof this symphonyin New ponentsand the coda;whereas in the first revisionof 1877 York underAnton Seidl,he reorchestratedthe main sub- the secondrecapitulation of the firstsubject and part of the ject of the firstmovement to be playedby the horns. Obvi- secondsubject are cut; nor are they restoredin the second ously,the 1886changes to thissymphony are not sufficient revisionof 1BB9/90. Only the firstversion reproduces the to speakof a differentversion. whole movementas Bruckneroriginally conceived it." 21 A "BSWV" num ber (" BrucknerSymphonlsche Werke 1s HermannLevi (1839-1900) was a Cermanconductor Ver-zeichnls")similar to Bach'sBWV seemsa legitimate who championedBruckner's music. He conductedthe option. premiereof Wagner'sParsifal in 1882. 22 Any optional (vilde)cut (like the one found in Haas 16 Anotherapproach would be to rejectthe 1874and l BZB and Nowak from bar 270 to 373 of the Finaleof the Fifth versions.Such a positionwould make the first definitive Symphony)does not constitutea significantdifference. JCG Vol. 15.No. 2 79 Toward a "New" (Old) Minuet

by Villiam Malloch

The following article originally appearedin studies of pianotechn ique (includ ing one on im- the August, 1985 issueof OPUS, THeMncnztrur provisation,recently republishedl ), h" alsogath- or RrconoroCnsstcs. The current version is pub- eredpertinent information about composition and lishedin a revised,edited and updatedform with performance.His objectwas to documentprop- the permissionand assistanceof the author. erlyall aspectsof the musicalpractices of hislife- time - a very long one, given the actuarialsof the day. He studiedunder Beethoven and taught Liszt. He had absolutepersonal integrity and Thesedays we are more interestedthan ever madeno enemies. His memorywas superb,by in recoveringour musicalpast. But while we his own accountand thoseof others(including 'everything' conscientiouslyuse original versions of Beethoven),and through innumerable four-hand - texts,instruments, pitch - in someinstances we keyboardtranscriptions of symphonic,operatic haveforgotten, appearances notwithstandi ng, the and chamberworks by Haydn, Mozart, Beet- heartbeatof music,tempo. We seeminsensitive hovenand others,he lefthis impressionsof how to the factthat authenticity of tempocarries with thismusic should be performed.He neverstrayed it the ring of a work's spirit. Music hasalways far from Vienna; instead,people from all over had itshand on the pulseof the time thatgave it Europevisited him, allowinghim to remaincur- birth;any deviationfrom that pulseis to the det- rentwith musicalhappenings everywhere - and rimentof our understandingand to the perilof to documentthem faithfully. our sensibilities. Czernywas a consummateand fiery pianist Thisarticle is in parta previewof recordings (thoughhe admiredHummel's pearly tone), a that,though they have yet to be made,will surely dedicatedteacher, and a thorouShlyprofessional appearsomeday. Primarily it hasto do with the composer. Today'sassessment of Czerny'smu- 'divine minuetof the late-VienneseClassical symphony, sic isthat it lackedthe spark;'but Czerny, and how its tempo hasbecome stultified in the the intellectual, cou ld appreciategen ius. More- handsof today'sperformers, without exception. over, he did somethingabout it. We shouldre- Yet it really has to do with the symphoniesof memberthat his edition of Bach'sWell-Tempered Haydn,Mozart and Beethovenas a body,for the Clavier,understandably relegated to the statusof minuet was the centerpostaround which the a historicalcurio by today'spianists, was an at- whole apparatusturned. tempt, as he statesin the preface(often missing The mentionof Carl Czerny (1791-1857) from moderneditions), to documentBeethoven's quicklyraises the quiet horrorof an enormous performanceof thesepreludes and fugues. (He setof stoicalteeth, black and white, beforewhich had heard Beethovenplay them innumerable so manyof us satwhen young,counting off the times;both hadthe work memorized.)How fas- minutes. Fortunately,Czerny was much more cinating it wou ld be to have a recording of thanjust a pianoteacher; much of his otherpro- Czerny'sedition performed in this spiritand on 'li- fessionalefforts stemmed from a passionfor an appropriateinstrument. braryscience.' Although he compiledelaborate Beyondthe usual tempo and expression

80 JCG vol 15,No. 2 Ml,nI.zrr's MnrRoNoMEnnt BnyoNl more conservativethan Beethoven's,for the mostpart Czerny'sM.M.s dovetailnicely with The double-pendulummetronome was patented the marks Beethovenleft for his symphonies circa 1815by JohannNepomuk Maelzel(1772-1832), and stringquartets. Those latter marks, usually builder of the Maelzel Panharmonicon referredto in quitefast, are often dismissed as beingsuperfi- this article),who had evidently appropriatedthe idea cial,unreliable or unplayable.The phrase'id- from Dietrich Nikolaus Winkel (ca. 1780-1826;builder of the Winkel Componiumalso referred to). From that iosyncraticBeethoven'comes to mind. He was day to this, composershave had the assistanceof a great composer, we s?y, but ffiy, what an M.M., i.e.,Maelzel's Metronome, to conveya fairly eccentricway he had with his tempos. How preciseidea of the tempo of any work or section. legitimateis this appraisal when we discoverthat Admittedly, not all composersor performershave not only do Beethoven'stempos find their echo availedthemselves of the metronome'sservices since in Czerny'smarks, they are completelyconsis- its invention.Now, however,more and more musical tentwith those professionalsare using othermechanisms that simi- of Beethoven'scontemporaries larly have existedfor two centuriesto supporttheir composerssuch as Reicha,H ummel and contentionthat many oft-performed Classical-era Moscheles. Apparently,Beethoven was not works are currently being renderedat slower-than- alonein his eccentricities. historically-indicatedtempo s. Ed. AntoineReicha (1770-1836) published metronome marksfor eighteenwoodwind quintets marks, Czerny left metronome marks for Beet- fromhis Opp.BB,91 and 99 (1817-19),and prob- hoven'sBach. He had a healthyrespect for the ably more. The metronomemarks for the minu- metronome. This device is much malignedto- ets rangefrom J.: 96 through 144,extremely d.y, for no two live performancesof a givenpiece fast,and tempos that, once heard,would obvi- "scherzo" by the samemusician ever adopt exactly the same ously be considered tempos. ln two tempo,nor is any one tempo strictlymaintained works,he supplementsthe word "Minuetto" with " for very longby a performer(unless it isthe elec- Scherzo,"and that with anythingfrom " AIle- "Allegro tric drummernow so popularin clubs). But a gretto"to vivo." Significantly,Johann metronomemark should be regardedlike a snap- NepomukHummel (1778-1837),whose marks shot,i.e., a significantslice from a once-liveevent, arealso quite quick, heads the appropriatemove- " in this casea performancesituation, or at least mentin hisSeptet, Op. 74 (ca.1 B 1 6), Minuetor an activeelement in the chemistryof our musi- Scherzo." We may now find this ratherstrange, cal consideration;in that sense,Czerny was an butonly untilwe realizethat Hummel was think- expeftmusical photographer. Beethoven said that ingof a kind of musicthat the latetwentieth-cen- such markscould indicateonly a piece'sstart, tury musicianwould associatewith the waltz.3 for the hearthad itstempo, too. Still,in setting The minuetdid not reallyhave to undertake the pace for a piece,the metronomemark also aerobictraining to becomethe waltz; such fast setsthe tone. dancesin threehad existedall along. The min- Among Czerny'sextensive writings is a vol- uet,at leastfrom the seventeenthcentury on, was ume called On the Proper Performanceof All Janus-faced.There was indeed the aristocratic Beethoven'sWorks for the Piano.2 Works cov- and sfow Frenchminuet. Czernycalls it "stately, eredinclude the pianosonatas, violin and cello . . . with amorousdelicacy and gentlegrace, the sonatas,trios, concertosand more. Czerny left realdance-minuet."4 But there was also the ltal- metronomemarks for these,too, all in the spirit ian versionof the dance,high-spirited and fast, of histime, and generallylivelier than isour cur- moretheatrical and showy,one withoutso many rent mode of performance.Though sometimes regal associations.The French,too, were ac-

JCG Vol. 15, l,,lo.2 8l Dornc rsn Dt<;ctNc ChristopherHogwood and the Academy of Ancient Music have begun a complete Haydn symphoniescycle One of the most inrportantaspects of the burgeoning (t-'Oiseaut.yre). and he too hasmy informationat hand. early-musicmovement is that it hasprompted rnusicians In the early symphoniesissued to date,the minuetsrather to work togetheron a one-to-onebasis, experimenting with chug along,and his Adagio from the 34th symphony,last- thisand that. tsutwithin the world of conventionalinstru- ing. with repeats,more than twelve minutes,surely goes ments,in a time of too many concert-programturnarounds. at abouthalf the pace it should. The andantes,however, it hasbeen left to the semi-professionalensembles to do arenot dragged.Hogwood has since conducted the minuet "Military" thatkind of digging- thekind thathelped musicians grow of Haydn's Symphonyin the Hollywood Bowl in the past,to becomeless ordinary. (One fondly recalls at a tempoclose to Czerny's).: 66. LeopoldStokowski's noble experiments in rehearsalswith Roy Goodman,in his parallel Haydn serieswith the "The the Philadelphians.) llanoverBand (Hyperion), says in the albumbooklet, To the bestof my knowledge,Benjamin Zander, who tempo markingswhich Hummel and Czerny gaveto sev- first called my affentionto the Hummel marks, was the eral Haydn symphonieshave promptedme to assesspar- first conductorto systematicallyexplore in public perfor- ticularly the speedof Andante and Minuet movements, mancethe HummellMozartandthe Beethovenmetronome which are nowadaysoften performedmuch too slowly." marks(including a much-discussedNinth), as wellas those So far, Goodman'sslow movementsalso do not drag, of Mendelssohn,Schumann and Tchaikowsky. He accom- though the minuets,with one notableexception (see plishedthis with the BostonPhilharmonic and the Boston endnotel6), do not exactlyleap up to catchthe challenges Youth ChamberOrchestra, proving in the processthat one implicit in the sourceshe cites. orchestramade up of volunteersand anotherof musicians In this countrry,standard symphony orchestras and their whoseaverage age is aboutfifteen can successfullyman- conductorsseem still to timidly ignoreall this ferment,with agethe temposin question. Which leavesus with only David Zinmanas a sometimeexception. Jorge Mester did two words for all the other orchestras,but especiallythe aMozart 4l d la Hummel/Czemyat Aspen,but only Ben- professionals: w anti, avant i. jamin Zander(Boston Philharmonic)and the late Max It is gratifying to seethat sincethe time I wrote this Rudolf (Philadelphia'sCurtis Institute)seem consistently article,things have moved on somewhat.Sir CharlesMack- to have shownthe courageto experimentwith the tempo errashas recordedall the Mozart symphonieswith the areasspelled out by Hummel, Czerny,Reicha and others. PragueChamber Orchestra for Telarc(with my notes).He This tempo information,by the way, is confirmedin gen- has had at hand all the information I found not only on eral by far more early mechanicalinstruments than the minuets,but also on adagiosand andantes(for informa- handfulI cited in the article. "Carl tion on these,see my Czerny'smetronome marks My recent recording of the Bach Ouvertures("The for Haydn and Mozart symphonies,"Early Music, Feb. Bach Suitesfor Dancing") is now availableon Koch "Boston 1988,72-82). InternationalClassics (3-7037-2). I conductthe ThoughSir Charles'sminuets do not go at the break- Early Music Soloists"(no connectionwith the Boston neck pacesof Hummel and Czerny,they are someof the Early Music Festival).The tempo and tempo relationships fasteston records,and the adagiosand especiallythe an- are quite unusual- and I think proper. It is the first re- dantesmove along quite smartly. NicholasMcGegan put cordingto have all four suitesplayed one on a part on on a concertwith the PhilharmoniaBaroque Orchestra of early instruments,complete with all repeats- and all the West (San Francisco)in which he really tried to play on one CD. An extensivearticle I put togetheron the Mozart's lastthreesymphonies atthe Hummel-Czernytem- thinking behind the performances,with much on tempo pos. He cameclosest. The slow movementsin the new and tempo relationshipssources from timings,pendulum RogerNonington Mozart 39 and41 (EMI) areeven more marks and metronomemarks, appearedin the May, l99l d la Czernythan Mackerras's,but the temposfor the minu- Musical Ouarterlv. etsare disappointingly conventional.

82 JCG Vol 15, No. 2 quaintedwith the fasterminuet. (Theyclaimed About 1750,dances in three,products of the 'invented' to have it.) Handel, a Continental, provinces,began to invadeVienna. Cenerically, composedboth kinds. My studiesof the timings they were often referred to by the word " John ChristopherSmith made for the 27}-odd Deutsche,"although individually they bore pieceshe programmedfor a greatmechanical or- many names. The slow Ldndlerwas a danceat gan he bui lt for the Earl of Bute begin n ing in one end of the tempo spectrum.(Keep in mind 1762,5turn up a retativelyslow one, at ).: 46, that Ldndlerspaced at a brightwaltz tempo also and a fastone at J.: 68 ("Come,and trip it as existed.) Beethoven'sFirst Modlinger Danceis you Eo," from L'Allegro, il Penseroso,ed il like a slow Ldndler;the rapid-firewoodpecker- Moderato,marked Menuetto.) Smith also pro- like notesof the Frenchhorns - that unexpect- gramsa Ceminiani Minuet with Variation(after edly eruptas the playersare 'waking up' to the the final Allegro from the Concerto,Op. 2, No. music- insurea slow tempo,about the paceof 1) at a pace that amountsto J.: 59. Shortly Mozart'sDon Ciovanni minuet. But at the other beforehis death,circa 1905,Johann Strauss lll end of the spectrumwas a fastdance, precursor recordedVoices of Spring,leading his orchestra to the waltz, the kind of DeutscheMozart was to from the violin at about).: 66.6 By simple celebrateso brilliantlyin the danceshe composed comparisonwe learnthat Handel's latter minuet- forthe Vienna court late in hislife. ThisDeutsche like pieceand Cemininani'swork areboth pro- tempo was, if anything,faster than the ordinary grammedto go at about standardwaltz tempo. waltz,somewhat akin to the whipped-upCharles Munch perfor- TABLEAU mance of the end ri'2. Ta8LEAU N: r. jtoo l"o Ec rrrr r Ituo l"o of, ou trrrs .u'c^r o'^r.i. rrrirrosorlr. r. reirzel. 1"" l"t Dlirroror r. , F f-_-l.ool..rf...1-rt.ir::i::lrrrJrr",."; of Ravel'sLa Valse '-'""""J';;J''oJ'to'"":,o"oo'o:,",':r:,""'o',,:r:",'r,"o, c J''oJ"oJ'oo - and I do mean t Il...l,":,o?,o?.o?|o.|oo|||oi.;;i;i,:|'::i'::i",i;;5,,:i',i.,!;:":",,':,"",;,:,."',',:,'"';,,,",,"'o',,',,",o'*::!:: troo.o.70..o.,o,-,^^-,,^i:ri'::':::t':: o'oQ'o' .ii t Vv V, V...Vl',rv , l'""1"".L'"1'"lr,irl,.'or'oor"o V I | 1....,.!| , r'"?'"?rr'r,?"?'oo?"or''"r"'r"o?"oo'or | ,,,,., | | r. r | | the vortex-like endi ng. Mozart conve- t (,* ;i::iil:T:-"|':;::: nientlylays out the s 1,,.i'.:0,"i,* r,:f*i;f i;ii;i;;[[$FitFI: rangeof pacescov- ered by the old Frenchminuet and this new Cerman Dance in Don " " " "'v'oo o'r'.'.:.rr"'"!:;'h ; :: :: : Ciovanni'sAct I fi- c'i' q,.'.".1'0' l" i" f: l;::f: if I i' nale, Where he plays them together(along with

tro! ! .tr.lir.bor &. rouv.r.r,' :--.t', . a countrydance) in 4.. rr ..J.r : t.. : i i:.,.:' 'arr:L *..;ry:;:r;1 .^j5..,,-::::,.. :r*..i i tl r r/.-rrc e. :'n1 I J ; : au.6:ro.l: p.ro C I rr.,o' rr2. rt. I o,=rall!, such a way that It\r' l 1 .l I t' I rrrtr :ntotondfl t .^I.F.:r"dllP,io lC , ...rr.r a. =r! l! 1 cr one beat of the rrrirrrrr elhfro 1p's';C .,..., : .ttl,r,,,rol'2. =ul ! ; t, I :-l r(rrrrur.r f ^ll.gro I =rrr lC .t.rt .ADd.tt. tt:lrolt f ' I : l'-.-1" I minuetequals one t r. , = tlol c' rr,.,, ^lt.rro = r" a t,rt !cit! i o P '

JCG Vol. 15.No. 2 83 be a realwhirling dance; heady and athletic, with Tnupo CoNrrNurrYAND PnopoRrtoN nothinglumpish about it, it moveslike the wind.B Theremight exist an authenticmetronome mark A striking characteristicof the Hummel and for Mozart'sDon Ciovanni minuet-cumCerman Czernymetronome marks for the works of Mozart and Dance;it was proferredby the Praguecomposer Haydn is the continuity of tempo from one sectionto anotherwithin a given piece. I also found this ten- WenzelJohann Tomaschek to CottfriedWilhelm dencyamong the temposthat John ChristopherSmith Fink,editor of Vienna's Allgemeine Musikalische laid out, from piece to piece, for the Earl of Bute's : gA Zeitung,in 1739:for the minuet,) (.1.: mechanicalorgan. There,too, is an ongoingbut flex- 32);for the CermanDance, ).: gO.9 rble tactusthat seemsto unite a 'set.' Evidently,the FromMozart's example it isclear that the slow tactusthat fifteenth-centurytheorists wrote about was French-styleminuet, though fading in popularity, a continuingthing. It is there in Beethoven'smetro- stillexisted alongside the friskynewcomer. The nomemarks (Stephen Owades has written a simplebut insightfulunpublished paper pointing out suchrelation- minuethad long existedwithin the symphony. shipsin Beethoven'smarks for his Ninth Symphony), Butas the symphonymoved out of courtsettings in Czerny'sBeethoven marks and in the marksof their intothe new publicconcert halls (and as the danc- contemporaries. ing soon was to move from court into public It appearsthat from Baroquethrough Classical dancehalls), the old was elbowedout by the gay times,no one wrote much - if anything- aboutthe andfree-swinging new Cermanwaltz-like dance. evidentsurvival of proportionalrelationships. Appar- It was fun, showy,risqu6, with much body con- ently,continuity of tempowas like sex:everybody did it, but nobodytalked aboutit. tact. The new Deutschecarried with it a nice ChristopherHogwood and the Academy of An- anti-royaltydig. lt was democraticand down-to- cient Music demonstratea constantsensitivity to this earth.People liked it; it spokefor them. aspectof eighteenth-centurymusic-making. For ex- Throughoutthe ages,composer directives for ample,if we line up Hogwood'stempos for Mozart's meter,tempo and expressionhave meant no- Linz Symphonyalongside those of Czerny,it is imme- wherenear as much to the performingmusicians diately apparentto the eye, though more apparentto the ear,that they are for the most part very asthe conclusionsthey drew from theirown pin- similar in spirit(the introductions are actually at the sametempo); headinterchanges about what constitutes 'true' a similar,that is, exceptfor the minuets. In Hogwood's adagio,eIc. lt isthe soundthat counts, the sound- CD, a proportionalrelationship exists between the sec- ing musicorganism, with whateverdesignation ond movementand the minuet (roughly, .h : J ). But, - or noneat all. At thistime the musicof Vienna at least accordingto Czerny and Hummel, it's the evidenceda wide tempo rangefor a givendance wrong one (roughly, Jll-] : ). ). , a three-to-two type;consequently, there were plentyof 'minu- relationship). To theoristsof music's relative antiq- 'waltzes ' 'sch uity, the flexible ongoingbeat, the tactus,represented ets,' ,' DeLttsches'and erzos'that all the heartbeat. That heartbeat is present in the lived and breathedtogether within the same Academy'sperformances, butthese players (along with tempo range. (ltsboundaries seemed to extend everyoneelse these days) really look upon minuetsin somewherebetw""n J. or J.: 56-100.) a mannerutterly different in tempo and feeling from And thereis ampleevidence to indicatethat the Hummel and Czernyrepresentations: the'minuets'inthe latersymphonies of Haydn Mozart:Symphony No. 36,in C,K.425 (Linz): and Mozartwere simply urbanCerman Dances Hoswood HummeVCzerny in minuetcostume, and that thesedances were I. Adagio .h": tO .h :84 - played extremelyfast by our standards any- Allegrospiritoso J. :84 ) :e6 where from waltz tempo to the spinning-top IL PocoAdagio .h : t OO .h:116 Deutschevariety. lt is true that the elementsof III. Menuetto ). : 44 ). :72 :80 :s2 the minuet'stempo needto be collatedto give IV. Finale:Presto ) )

84 JCG vot 15.No. 2 tion of four-handkeyboard arrangements of Haydn'stwelve Sa/omon symphonies, and of works by Mozart:eighteen symphonies (some now knownto be serenades),including the lastsix; ten stringquartets, including the six Haydn Quartets; five stringquintets and the clarinet quintet;and more (published in Lon- don, Parisand Leipzig from the 1830son). Over the years,explora- tionsof the holdingsin the British Library,the Cesellschaftder Musik- freundein Vienna,and the Newberry Libraryin Chicagohave yielded copiesof everythingexcept one quartet andthree quintets (see endnote 12). All of thesekeyboard reductions by Czernyhave metronome marks. The temposindicated are usuallyquite

z quick; but thosefor the minuetses- (, (I peciallyreveal that modernperform- J

2 ers,failing to appreciatethe tremen- I u dous range of tempos covered by

u r F thesedances, are providingus with o z only the bottom half. The pedestal z o k I isthere, but the statueis missing. We I t! have been denied the exhilarating -a 'late U minuet' temposof Haydn and I Mozart, and to that extent are left

cc totallyunfamiliar with the important I F body of musicalgestures apposite to thetime. A plate from Dom Bedos de Celles's L'Art du facteur d'orgues, r 778, Czerny'smarks for Mozart'slast six showing how to pin the barrel to achieve various arpeggio figurations symphoniesare complementedby those left for the same works bv dimensionto theevidence; but once that is done, Hummel,who asa boy betweenthe agesof eight it wouldbegin to appearthat symphonic dances andten livedand studied with Mozart. (Hummel aswe hearthem today - invariablyat the bot- wasalso a precociousprodigy, a brilliantpianist, tomend of theminuet's pace range; cute, naive, andthereafter left with his fatherto tour Europe.) bumptiousand soggy as an old dumpling- are Hummel'smarksl0 are identical to Czerny's,ex- largelya twentieth-centurykitsch concoction. ceptthat in two instancesthey areslightly faster A less-knownand under-appreciatedbody forthe minuets.All the minuetsin Mozart'sfinal of informationleft to usby Czernyis the collec- six symphoniesare markedby Hummel and

JCG Vol. 15,No. 2 85 for all but one of Mozart'sHaydn Quartets). A Hurr.taNFLurn-Clocx Lestone think that metronomemarks by two 1 Severalyears ago I heard what was then a new of Europe/smost celebratedpran istsl did not recording (Teldec 6.42552) of all thirty-two Haydn take into accountthe capacitiesof contemporary clock pieces,played by the sevenmembers of the stringand wind players,it is significantthat The playing was expert Wiener Blockflarcnensemble. Hummelnot only prepareda solopiano version andquite beautiful, though the playerssometimes heed- of fourof theseMozart symphonies, but published lesslycountermanded the phrasingand attacksthat had "with accompanimentof flute,violin, beenso carefullyprogrammed by Haydn-Niemeczon all six the the original instruments(articulations which give an and cello" with the same metronomemarks as excellentpicture of the era'snon-legato playing). The thesolo version.l2 From1819 to theend of his recording,the first integral one couchedin such so- life, Hummel was musicaldirector and conduc- norities, sounds like a first-classhuman-type flute- presumably "Amount tor at the court theaterat Weimar; The recordjacket reads, of work in- clock. he knew what was playableand what was not. volved: immense!",and I believe it' But among the are listedthe threeNiemecz sourcesfor the recording ****** clockwork organs. Did the playersactually listen to them? It seemsto have been a golden opportunify Of course,a naturalquestion remains: How missed. Their temposare the samesafe, comfortable well did Czernyand Hummel remembertheir amblingones that characterizenumerous other wood- earliermusical experiences? These arrangements wind andorgan recordings of thesepieces. Granted, it were publishedlong afterthe heydayof Haydn would be impossiblefor this groupto play someof the Czerny was born the year Mozart piecesquite at the clocks' tempos. Haydn insertedso and Mo zarl. many embellishmentsthat probably only a flight of an- died,but he waseighteen before Haydn died and, gelscould accommodate them at his pace.But the pac- in theseyears with the old masterreturned from ing of many of the piecesis not compromisedby an histriumph in London,the air in Viennawas alive go 'at abundanceof decorationsand could easily with the musicof Haydnas well asMozart. Both tempo,' including the Clock SymphonyMinuet. younger composers,too, representedcom- Fortunately,God, who alongwith David Sarnoff of the old school. Czerny and Companyinvented the 45rpm record,has a habit pfementary aspects of coming to the rescueat times like these:if you in- complainedthat performerswere forgettinghow creasethe record's speedfrom 33 ll3 to 45rpm, you to play in stricttime, and Hummel hadeven stip- will hear all the piecesplayed at a pace remarkably ulatedin hisWeimar contract that he wasto have piecesas closein spirit to the tempo characterof the full controlover temPos. they originally appearedon the clocks. Some of the It is quite possiblethat a strongersense of slower tempos are a little too fast now and then, but 'tempo prevailedamong musicians than such a mischeviousmodification produced a much memory' closerapproximation of the requiredpacings. The in- it does now, developedas part of a musician's sffumentsstill soundlike recorders,and alsomuch like naturalbirthright. In 1826, when Beethoven's the clock organs(and they are in better repair). So in nephew,Karl, and the composerwere setting the that the players' the end, it may have been forfuitous metronomemarks for the Ninth Symphony'sfi- across-the-boardpace was proportionallyslower than nal Prestissimo,Karl wrote in the conversation the clocks' playing speed,because now, oncesped up, "You fasterthan 126. is all the piecesare played at more reasonablepacings, book, are taking it [lt and one getssome feeling of the works' tempo range. now atl 132. Thisis how we had it in the morn- still. . . . ing" (translatedby PeterStadlen). The numbers 126 and 132 appearside-by-side towards the Czernyto be playedone-to-a-bar- again,the bottom of the metronome'sshaft, where tempo tempoof a fastwaltz. Thispractice holds true for differencesbecome smaller and smaller;most of Czerny'sHaydn-symphony tempos as well (and us would nevernotice such a subtledeviation.

86 JCG vol 15,No. 2 ln Mozart'sday, therewas no conductorin Tp'n 1792 Clocr Mvsrnnv the modernsense; musrciarrs developed ways of The disappearanceof the 1792 Niemecz clockwork feelingthings together, as TrevorPinnock's en- organis indeedstrange. George Mendelssohn, of Vox fame, sembledoes now. Ihere was no cleavagebe- 'classical' and Heinz Jansen,then of the StuttgartTonstudio, recorded tween 'popular'and idioms,as there it in mid-1974. According to informationJansen sent me istoday. The art nrusicwas nroreelaborate than previewtape the Candidedisc, it then thataccompanied a of the popular,but the languagew'as the same.Al- belongedto a Dr. HansUrban of Vienna. Urbanhad indeed thoughdifficult to envision,the 'classical'musi- ownedit for sometime, but is supposedto havesold it shortly' afterWorld War II. When I was in Viennain 1979,1tele- cian of Mozart'stime was rnuch closerto the 'popular' phoned a Dr. Hans Urban to inquire about the fate of the musicianof today. Bearingall thisin clock andwas politely told by the youngman who answered mind, there is every reasonto believethat Cz- that I had indeedreached a Dr. HansUrban. but that it was erny'sand Hummel'stempo sensewas highly not the right Hans Urban, and that they had no idea about a cultivated. Haydn clock, nor did they know of anotherHans Urban. Yet, in any case,there is anothercrucial wit- Nor do I, nor doesanyone else, know of anotherDr. Hans - metronome, mechanical- Urban. Ah. the Viennese. ness likethe also thatcan be calledin for testimony:the threeex- tant musicalclockw,ork devices, actually m in ia- (Karlmust have had somesense after all.) In relativelycontemporary times, ArturoToscanini's tempo memory was extraordinary. (He takes Beethoven's w - .:-A:X:-'-..,, Prestissimoat 132.) We know Richard u *"" "'.-"',' Strauss'stempo memory was also extraordinary,when he wanted it to be (for his own works). Herbertvon Karajan saidthat he learnedto pick a tempo out of the air by dint of practice.Certainly today'spopular and jazz musicianshave a far more preciselydeveloped sense of stricttime and tempo memorythan do the membersof an averagesymphony orchestra.Performers within the popu- lararena need to; it'stheir living. They don't havea conductorto helpthem - or throw them off. Besides,they want to feel the beatthemselves. [Severa/ contemporary(and perhapspast) conducting pedagogueshave recommended memo- rization of at leastone well-known theme, aria, passage,incipit, etc.,for eachnumber on the metronome. If this practicewere more widespread, it is possible that the tempo accuity of art music conductors would approach that of their popular The missing 1792 Niemeczclockwork organ musiciancounterparts. Ed.l

JCG Vol. 15, No. 2 87 ture automaticmechan ical organs,that Joseph playedthe sameor otherpieces of the type found (FatherPrimitivus) Niemecz (1750-1 806) built for on the Niemeczclockwork organs. And thetem- Haydnat Eszterhazabetween17Bg and 1793.13 posthey producefor a varietyof musicalgenres They play thirty of the thirty-two short pieces are remarkablyconsistent. Haydn is known to have written for them, and throughthem we may be ableto assayCzerny's ******** and Hummel'stempo morality.la Performances on thesedevices never occur at quite the same Bearingallthis in mind,what does the future digitallyprecise speed, but the mechanismdoes have in store? ChristopherHogwood and the operatewithin a fairly narrow tempo range. I Academyof AncientMusic, to startwith the most recordedthe 1789 and 1793 clockwork organs enlightened,will haveto redothe minuetsof their in Europevia an NEAgrant in 1979. (The1792 later Mozart albums. Hogwood's group plays machineis heldanonymously and not available with fleetnessand the rightkind of charm. More at present.)| recordedboth instrumentsat their than any ensemblerecording this repertoryat slowestplaying speeds (as Candide appears also present,it playsin time,easily and lightly,with to havedone), where they are completelycon- naturalnessand brio. Someof Hogwood'souter- sistentin characterwith the Hummel/Czerny movemenlallegro tempos are even marginally minuetmarks. This is tellingconfirmation, for fasterthan Czerny's. Hogwood tends to keep 'records.' thesedevices were the first the slowmovements moving, and doesn't unduly The NiemeczHaydn clockwork organs con- stretchout symphonicintroductions. (ln the in- tain moderatelypaced minuet-typemovements troductionto Mozart'sSymphony No. 39 [Vol. aswell asfast ones.1 5 The total rangefor those 6, L'OiseauLyre, 3-421085-21, he providesa good seventeenpieces (four are repeats)extends from exampleof the kindof pacingwe find in Hummel/ about ). 46 to J. or ).: 126- a huge Czerny,though the following Allegro is a bit difference,just about the samepolar distance that slow.) separatesthe old minuetfrom the new Deutsche Butthe minuetsare played at'nineteenth-cen- in Don Ciovanni. lf we add to Hummel'sand tury' (i.e.,twentieth-century) paces. Hogwood, Czerny'sminuet marks those of Reicha,the total for example,takes a mostconventional Beecham- rangeis ).: 42 through144 - i.e.,quite close esquepace for the Menuettoof the JupiterSym- to that of the clockwork organs. phony(we are so usedto Beechamisms,we think Nor are thesethree Niemeczclockwork or- it is the music),far slowerthan Albert Coates's gansunique" In Europe,I soughtout and recorded capitaland much misunderstoodearly TBrpm hoursof the playingof othersuch allied instru- recordingwith the LondonSymphony. (Coates ments,all made,many in Vienna,in the late-eigh- recordedit twice; hisacoustical recording is even teenthand early-nineteenthcenturies. (1830 fasterthan the electrical.)The conventional con- becamemy cut-offdate.) J.J.L.Haspels, curator temporarymind deploresthe Coatesminuet as of Utrecht'sNational Museum van Speelkloktot superficial.After all, is not Hogwood'stempo a Pierement(" National Museum of Music Boxes courtly ). : 48, whereasCoates's is an irrever- to BarrelOrgans") estimates that thereare hun- ent and swinging ) . : 66?.(Fritz Reiner's Ch i- dreds;more surface every duy, intrepidsurvivors cagoSymphony recording is ). : 60, alsoquite of war, naturaldisasters and humanindifference. exceptional.)What are we to say,then, of the Theyspeak now asthey spoke then. Czernyand Hummel pacefor the samemovement, ). : BB, Hummel surelyheard them, alongwith every- especiallywhen it is echoed completelyby thing else. Time and againthese instruments Czerny?16Certainly, at Hummel'shopping pace,

88 JCG vol 15.No. 2 FrNurNcrsn Mrssrxc.HousrNG THE OnpHaNs mechanismcapable of playingthem seems yet to havebeen developed. Arthur Ord-Hume,whose publication Music andAu- Van Tiggelenhas sincecompleted an extensivevol- "composing" tomats(24 Shepherd'sLane, Guildford, Surrey, GU2 6SL, ume on D. N. Winkel's famed instrument, England)now actsas a clearinghouse for information titled Componium, The Mechanical Musical Improvisor on early mechanical instruments,has recently estab- (Louvain-La Neuve: Institut Superieurd'Archeologie et lished credibility with Russia,known to hold such de- d'Histoirede I'Art, CollegeErasme, 1987). Since 1988 he vices at the Hermitage and elsewhere. Yes, the Rus- hassought funds or grantsto enablehim cometo the USA siansare coming but so arethe Chinese. There are fifty- and carry out his researchon computer barrel transcrip- odd such instrumentsin Peking,gifts of the Austrianem- tion, includingbuilding a mechanismwith which to play perorsfrom the period in questionto the Chineseem- orphanedbarrels. To date,there has been no responsefrom perors, dutifully maintainedby Chinesetechnicians. any quarter. Anyone interestedin helping him can write Eva Badura-Skodatold me that shehad seenand heard him at l0 rue du Vieux Chateau,5865 Walhain St. Paul, them. I have tried without successto getpermission from Beleium. the Chineseto recordthem. Ord-Humereports that P. J. van Tigge- len,at the Universityof Louvain, Belgium, hasdeveloped a computermethod of read- ing and printing out 'orphaned' barrels, whoseplaying mechanisms no longerexist or work. Presumably,he could alsodevelop ameansofplayingthe material. This would include the banels of the famous Winkel Componium.Van Tiggelenhas discovered true indgalite on French barrels. In 1968, I determinedthat although the Maelzel Panharmonicon,which until World War II had apparentlyremained in goodorder, was destroyed by allied bombs over Stuffgartshortly beforethe war ended, the instrument'stwelve barrelshad been storedelsewhere and survivedintact. I saw one of them, a Pleyel March franEaise, in the Baden-BadenMuseum Jilr Mechanische Musikinstrumentein 1979. The other elevenare stored in the LVilrttenbergerLan- desmuseumin the Alte Schloss,Stuttgart. What is on them? ls lVellington's Victory one of them? Will we at last hear it as pro- grammedby Beethoven-Maelzelvia a computer-synthesized'Panharmonicon'?The curator, Dr. Vaterlein, after sixteen years, hasstill failed,if you please,to go into the storeroomand tell me what the othereleven titles are. Dr. van Tiggelenhas by now beenin touch with Stuttgart'sDr. Vaterlein, but The Maelzel Panharmonicon barrel Pleyel's Marche frangaise, there is still no word on the eleven for displayed by Baden-Baden technician Hans Ullrich Munz Panharmonicanbarrel titles. No readout

JCG Vol. 15. I'{o.2 89 "1772" I4tolfgang Teubner of Vienna, who now owns the (c 1789) Niemecz organ, with his prize; the 1793Niemecz instrument at the Munich Stadtmuseum the humor of the trio sectionis more a surprise shouldrelax a bit here- but surelynot asmuch thanusual, the pointof the joke sharpened.Two as the pronounceddip N ikolausHarnoncourt 'waltz' barrelsfrom about 1814-18are on a me- makes in his recordingof Mozarl's Symphony chanicalorgan made in ViennabyJosef Hain (that No. 40 (seeendnote 1B). That recordingis the organnow residesin Leipzig'sKarl Marx Univer- firstto matchCzerny's Menuetto markingof ).: sityMuseum); both barrelsperform their waltzes 72 (Hummel'sis 76). But then Harnoncourt in the vicinityof Hummel'space for the lupiter bunglesby rlowing tremendouslyfor the trio. Minuet. Alas, it turns out that his initial fasttempo was Czerny'stempo for the Minuetto allegretto not History,only eccentricity.(Fast minuets with of Haydn'sC/ock Symphonyis ). : 76, quite slowtrios are by now an establishedHarnoncourt fast,far fastereven than Hamilton Harty'svin- habit.)18 tageT8rpm recording. This minuet's first section The Men uettoallegro molto of Haydn'sSym- appearson the 1793 clockwork organ (on Can- phony No. 94 at Czerny'space comes as no sur- dide, seeendnote 13), where itstempo is about priseif we recallToscanini'sreadings; his J.: the sameas Cze rny's.17 The whimsy of the fol- 92 was exactlywhat Czerny proposed. As far as lowing trio is refinedby implicationhere, too; I can determine,Toscanini's Surprise is the re- the joke of the strings'forgetting to changehar- corded performancethat comes closestto Cz- moniesunder the flutesolo is moreplausible at erny'sM.M.s for anywork; temposclosely match thistempo. all the marks,except for the finale, ). : 76 in- How can any cellistperform that figuration steadof Czerny's72. (Unfortunately,Toscanini's in the trio of the Men uettoof Hayd n's Symphony other Haydn and Mozart minuets are another No. 95 aI ). : B0? We'll neverknow unlessa matter.) brave conductortries it. Perhapsthe tempo Thereseems to be no accountingfor Czerny's 90 JCG vot 15.I{o. 2 ( ) )D J ) tn"t characterizethe BeethovenFourth VaucrnN Wrr,lraust UNaNswnnnoQunsrloN Scherzorise up out of No. 99 just beforethe grand Writing about his childhood, Ralph Vaughan pausein its first section(no one need ever slow Williams onceobserved (in A MusicalAutobiograplry\,, down hereagain). At leastBeethoven must have heard No. 99 this way, as he was shapinghis Sincethose early times I have neverwavered in own ideas. my admirationof Haydn. I rememberone prob- The Mozart Haffner Menuetto presentsno lem that disturbedme in my study of him. My aunt disapprovedof waltzes and thought they problemsof intelligibilityat Hum mel/Czerny's werevulgar. Now the secondsubject of Haydn's ). : 66 (rememberVoices of Spring?),thodgh the E-flat Symphony [No. 103,the Drum Rol/] is violinsmust produce all their multiplestops in undoubtedlyawaltz. Haydn I knew was a great one bow stroke,as was probablydone at the time composer, a waltz I knew was somethingvul- anyway. (Karajannotwithstanding, is it alwaysa gar; surely a great composercould not write good ideato blunt a work's contentfor the sake anything vulgar? The problem remained un- we solved. of producinga beautifulsound?) Of course, are utterlyunused to the Haffner minuet played Now within the context in which this secondsub- thisway. Nor arewe usedin Mozartto hearing ject appears,there is no way to avoid awaltztempo for No. 39's Minuetto allegrettoat an even faster it, no matter how seriously one might attempt to do 'minuets' pace, a rough stampingdance at Czerny't).: Haydn's thinking for him. The in Mozart's "oom-pah-pah" 72. The supposed trio sounds last six and Haydn's last twelve symphonieshave no yodeling this pacethan it suchphalanx of support,and their tempos are allowed far more like a songat to droop accordingly. Czerny's mark for this E-flat doesat the usualcozy tempo (Hogwood's is ).: movementis a mercurialJ : 96, wild indeed- the 44). On numerousoccasions I have heardand sameas for the'DeutscheviaTomaschek' in Mozart's recordedthe latern ineteenth-century descendant Don Giovanni; the same as Czerny's tempo for No. of thistype of music,at a similartempo, in Aus- 99's minuet;thesame, too, asthe paceof Haydn'sme- trian and Cerman beer hallsand festivals.lt is chanical-organpiece No. 7, an unmarkedMinuetto al- Hamburg'sMuseum filr Kunstund legretto-typemovement (on Candide2,see endnote 13). lusty stuff. The 'problem' remainsunsolved only becauseall kinds Cewerbehas a clockorgan made in Viennaabout of associatedold ideasdie hard. 1810 bearingtwo pieceswritten in three,of a Mozarteanorder, the secondvery much the same I Chapter8 of Some Thoughtson Beethoven'sChoral piecetypeas this trio. Bothgo at about ).: BO, with Writings on Other Subjects,(London: Symphony, Hummel'stempo for the No. 39 minuet(a pace OxfordUniv. Press,1953). "oom-pah-pah" where two bars of sound more "oom - -/oom- -"). 2 Haydn's clockwork piece No. 7 and the opening iike movementof SymphonyNo. 103 sharethe rhythm And so it goes. Surelyif in the futurewe are to hear more and more performancesthat treat us to both sectionsof the minuet repeatedagain prag- ).: 96 in the Menuettoallegretto of Haydn's afterthe trio, it would be more sensibleand SymphonyNo. 99. Offhand,it appearsa ludi- matic if temposwere faster;otherwise monotony crouspace - thatis, until one actually hears it, encroaches,and interestin the music*un"r.19 at aboutthe tempo Beethoven requested for the Let us rememberthat Haydndid not like the "l Scherzoallegro of hisSecond Symphony and the carpingof learnedminds: would farrather pass Allegrovivace of hisFourth ().:100). Thenone oversome slight grammatical error than sacrifice beginsto hear implicitlythose Beethoven what seemedto me beautifulto any nearpedan- scherzosin it. Theshort-long/long-short rhythms tic trifling. Suchtrifling is absurd;I wish

JCG Vol. 15. No. 2 91 insteadthat someonewould try to composea thesetempos a try. And for the first precendent- reallynew minuet."2o shatteringproject, the Hummel and CzernyMozart And who was it thatproduced this really new and Haydn arrangementscould be recordedon minuet?Beethoven, who, in the firstmovement appropriateinstruments at the indicatedtempos. of the EroicaSymphony, conjured up the great- Forus, not only Beethoven'sgreat'minuets,'but estsymphonic tribute to the new Cermanwaltz- thoseof Haydn and Mozart as well will gener- type minuet- with all itsdemocratic and anti- allyallbe'new' minuets.Suzuki-like, we canbe aristocraticassociations - that he ever pro- born to the soundsof a freshmusical world. duced.21 His EighthSymphony is alsoa tribute Surely,the time of performancesof periodmu- to the minuet,both old and new; but unlessthe sic on period instrumentsat anachronistic(and first movementis playedat his fastone-to-a-bar, musicallyinappropriate) tempos should soon be- waltz-liketempo ( J.: 69), the whole point of come an interestinghistorical experiment that is contrastbetween it and the laterthree-to-a-bar, quietlyset aside. In all probabilitythe musical old-fashionedTempo di menuettothird move- resultswill makeclear that it was not Czernyand mentwill (J : 126)be lost.22 Hummel who did the forgetting. We havefor- Onewould hardlyintuit the origins of thefirst gotten;our 'culture'has forgotten. But not to movementsof Beethoven'sThird and Eighth Sym- worry. lt is,after all, only a matterof time. phoniesfrom the shapeof performancestoday. Zubin Mehta,for example,has been quotedas sayingthat he doesnot enjoy much Frenchmu- William Mallloch was a music teacher at sicbecause it has"no backbone."Yet it isMehta UCLA, artistic director of the Ojai G,a) Music who (amongothers), at laboredtempos, has Festival,music director of radio stationKPFK, and turned the Eroica'sfirst movement into an old for more than fifteen yearsmusic director of the "French"minuet.23 Mahler Societyof California. A notedcomposer Despitewhat l've tried to point out, it is cer- and author, he won numerousawards for his ra- tainly possiblethat by the 1830sdistortions of dio documentariesand was a regular contribu- perceptionand performancehad alreadycrept tor to OPUS Magazine and other publications. into interpretationsof Haydn and Mozart. Still, William Malloch died of cancerat the age of 68 we alwayshave the Niemeczclockwork devices in LosAngeles on January9, 1996. and countlessother mechanical organs as points 'minuets' of reference.The clockwork do seem EHoNorrs to come togetherin a consistentway with the metronomemarks that I have gathered. 1 Cr"rry: A Systematiclntroduction to lmprovisationon It is truethat tempo is a matterof taste.And the Pianoforte,Op. 200 (Schoolof ExtemporaneousPer- though it is saidthat there is no accountingfor formance,Part l, trans.Alice L" Mitchell, New York: tastes,there may at leastbe a way of accounting Longman,1983). for the tastesof the turn-of-the-centuryViennese. 'clocks'can 2 "On It ishardly likely that hundreds of all Cr"rny, the ProperPerformance of all of Beethoven's Works for the Piano,"Chapters 2 & 3 from fhe Art of Play- be wrong,that hundreds of metronomeswere all ing the Ancientand Modern Piano Forte Works (London: broken,all malfunctioningin somekind of de- R.Cocks & Co). PaulBadura-Skoda was imaginativeenough moniacalsynchrony. to republishthis (Universal Edition, Vienna, 1963). Of course,there are human realitiesto con- 3 sider. Nobody shouldbe expectedto play the Th" MelosEnsemble , at J.: 60,is the closeston records unplayable.But at thevery least,we shouldgive to Hummel'sJ .: 69 (Oiseau-Lyre,OP); Hummel's tempo for the waltz-like Menuetto Allegro of his Military Septet, 92 JCG vot I 5. No.2 Op. 114(1830), ,, J .: 66. part of a travellingvirtuoso's equipment." (Czerny, Mem- oirs,Beethoven-Jahrbuch 1939, pp. 47-7a.) "On 4 C."rny, the ProperPerformance. . .," p.55. 12 London, 1823-24. Czerny publishedat leastone of 5 EarlyMusic, April 1983. them, No. 40, for the samegroup; Hummel similarlyar- rangedHaydn's Symphonies Nos. 44,100, 102,103, pub- 6 "A A Path6Cylinder catalog courtesy of early recordings lishedin the 1830's. SeeJoel Sachs's Checklistof the authorityChristopher Dyment, lists Voices of Springled by Works of JohannNepomuk Hummel,"Music LibraryAs- "Johann Strausslll" (actuallythe son of EduardStrauss). sociation'sNotes, June 1974, p.751 . I havesince located Strausslll (1866-1939),who recordedin Berlinfrom 1905, the Haydn-Hummelsettings plus the missingMozart/Czer.ny also laterrecorded this waltz and many otherswritten by quartetand two of the threemissing MozartlCzerny quin- hisuncle again, this time electrically. Evidentally intended tetsat EastBerlin's Deutsche Staatsbibliothek. Now only for dancing,the musicwas played in even time. The lat- one stringquintet remains to be located(it iseither rn g ". ter'sviolin playing(Crove: . .like hisfather, he was not minor, K 516, or B-flatMajor, K 174). Sadly,there are a particularlyaccomplished violinist. . ."),full of now-un- no Hummel metronomemarks for the Haydn symphony popularscoops and slides,with littlevibrato, is still a transcriptions. thoughrprovokingexample of earlierstring-playing style. 13 "Haydn's I haveheard a partialrecording of thiscylinder courtesy of SonjaCerlach, in Works for MusicalClock the ViennaState Opera's Marcel Prawy. (Flotenuhr):Problems of Authenticity,Crouping and Chro- nology," Haydn Studles(London and New York: Norton, 7 Luk.r Fosshas brought this combinationto the fore rn a 1982), and Arthur Ord-Hume, in JosephHaydn and the modern concert-piece,Overture and Music for ThreeOr- MechanicalOrgan (London:Cardiff Press, 1982), have both chestrasfrom Don Ciovanni. updatedthe machinepreviously ascribed to 1772to at least a 1789origin. B RudolfKolisch, in histrail-blazing 1943 Musical euar- "Tempo 14 terly article, and Characterin Beethoven'sMusic" The 1792and 1793machines can be heardon Candide "Musical (XXIX),draws attention to this genrein Beethoven,calling CE31093, ClockMusic." " it Waltz-type Minuet, in which the tempo indication re- 15 fersto completemeasures." [emphasis in original](p.302) Metronomemarks for the slowerminuets also appear He findsthe rangein Beethovento be ).: 69-84. Beyond in the twelve earlierMozart symphoniesthat Czernyed- that,he identifiesthe BeethovenScherzo Allegro type (J.: ited. Thetempo of Haydn'sQuailMinuet, Schmid No. 6, 96-1 00),wh ich leadsto, and endswith, the Prestoof the isabout ).: +O( J : 138)on the1792clock (on Candide) SeventhSymphony ( J. : 132). Seethe remarksbelow on andabout ).:50 (J : 150)on the 17Bgmachine. tts the tempo rangeof the N iemeczclockwork organs, wh ich long-short-longquail-like figure ( J: .h ) is cousinto the covera similartempo span. dotted-notefigure in the Menuettofrom Mozart'sSympnony No. 29, one of theworks Czerny arranged. Czerny's tempo 9 " S"" Walter Cerstenberg, AuthentischeTempi f(ir Mozarts isthe equivalentof ).: 42 ( .l : 126),about the moderate 'Don Ciovanni'?",Mozart Jahrbuch,1960-61, p. 58. A paceat which performerstake it today,comparable to the '1891, Parisedition by Choudonfrom incorporatingwhat speedson the clocksfor the bird piece. are apparentlyTomaschek's marks, calls Mozart's "la 16 Teitsch"a valse(UCLA Music Library). Cr"rny's respectfor Beethoven'sown senseof paceran so deepthat he allowedBeethoven's seemingly impossible 10 " SeeR. Mi.rnster, AuthentlscheTempi zu densechs /et- (arethey?) tempos for the HammerklavierSonata to stand zten SinfonienW.A. Mozarts,"Mozart Jahrbuch,j962-63, without alterationin his edition(as did Moscheles).Cz- p. 185. The referenceappears (along with one to Cersten- ernyprobably also held a similarrespect for Hummel'scon- berg'sDon Giovannlarticle) in David Fallow'sbibliogra- clusionsabout Mozart tempos,for he let them stand,too, phy for his excellentand sensitiveNew Crove Dictionary almostwithout alteration. "Tempo articleon and ExpressionMarks." 17 Sin.uthe writing of thisarticle, Roy Coodman and the 11 "playing Czernyrefused to tour, sayingthat his lacked HanoverBand have recordedthe "Clock" symphony's thattype of brilliant,calculated charlatanry that is usually minuetat ).: 72, almostthe tempoof the Niemeczme-

JCG Vol. 15, No.2 93 "the areof- chanicalorgan and Czerny's).: 76 (HyperionCDA he hasgathered, minuetsand andantes... 66s28). ten playedtoo slowly in modern performances'" Dorati'stempo for this piece in London'scomplete sym- 20 Musicians,Vol. ll, phonyseries is ). : 44. H istempo for the other N iemecz Crove'sDictionarv of Music and 'l minuetthat relatesdirectly to a symphony,the trio of the 191 , p.366. minuetfrom Haydn'sSymphony No.85, LaReine, is ).: 21 quick minuet, 39, not significantlydifferent from other recordedper- Perhapsthe ghostof the old ltalian formances.The Nlemecztempo is about ).: 63' too; Napoleanwas a Corsican,after all. The movement's coda was reflectedby Rossiniin his overtureto La Cazza (Was 18 Th" Harnoncourt-ConcertgebouwOrchestra record- Ladra;but of coursethat was after the fact. it re- 'Rossini ing referredto here (his first) is no longer available. ally Beethovenwho inventedthe crescendo?') Harnoncourthas most recentlyre-recorded Symphony 22 'minuet,' No. 40 with the ChamberOrchestra of Europe(Teldec rhe finaleof the Pastoraleis a too, and the 93667-2). third movement,the peasantdance, is a countrified fast dance in three,related to the fastDeutsche. 19 lt iscurious to notethat Neal Zaslaw,whose informa- 23 tive notesgrace Hogwood's completeMozart symphony lt was the inspiredKapellmeister Michael Cielen serieson Oiseau Lyre,seems to have had little input who gaveus the f irstreally successful assay of that move- relativeto the performances,at leastof the minuets. His ment on discs(superceding earlier tries by Scherchen "Mozart's article, Tempo Conventions"(Report of the and Leibowitz)at Beethoven'spractical prescribed J.: Eleventh Congressof the lnternational Musicological 60 (Vox Cum Laude VCL 90007; I have not heard Society,Copenhagen, 1972, pp.720-33), states clearly Cielen'searlier Vienna StateOpera Orchestrarecord- enoughthat, based on metronomicand other evidence ing, ClassicalCassette Co. 36). Grieg and the Chamber Orchestra

by John |ay Hilfiger

lnrnooucnoN about thirty and forty-fiveuntil well into the 1840s,numbered seventy with fiftytwo strings 'l The nineteenthcentury saw dramaticgrowth in 865.3 The samelove of the grandscale that thesize of Europeanorchestras. In 1800,while had createdthese orchestras also drove the com- largegroups were not unheardof, orchestrasof poserswho wrote for them. Consequently,there two to fourdozen musicians were the norm. By is a greatdeal of repertoirefor symphony or- the third quarterof the century,many of the ma- chestrabut very littlefor chamberorchestra ema- "cham- jor musicalcenters had supplanted these natingfrom the latterhalf of the century. "symphony ber orchestras"with orchestras"of sixtyto ninety musicians. The LondonPh ilhar- MusrcDrnrcron Gnlrc monic,for instance,had consisted of only twenty- two playersin 1813,but by 1860the number Orchestralriches were not to be found ev- hadgrown to sixty-six,includ ing a stringsection erywhere,however. ln 1867, when EdvardCrieg of forty-eight.1In Paris,the 1859 Societ6des becamemusic director of the PhilharmonicSoci- Concertsboasted no lessthan eighty-fivemusi- ety in Kristiania(now Oslo),he faceda mereeigh- cians,including sixty strings.2 Leipzig's Cewand- teen stringplayers from his podium.4 Thiscore haus Orchestra,which had fluctuatedbetween was augmentedwith wind playersfrom the the-

94 JCG vol 15,I,{o. 2 aterorchestras, but thesetoo were in relatively with the dialog."B He advisedhis friend,the shortsupply. Although Crieg soon increased the Englishcomposer Frederick Delius, about how sizeof the orchestra,he frequentlystruggled to to dealwith thisvery problem: cover all the parts;he often had only one oboe, and alto horns substitutedfor two of four horn ln a melodramalhe probablyrefers to parts.s In 1876,shortly before giving up his Bergliot,but the issueis the samelI took dutiesin Kristiania,Crieg complained, in a letter everypossible consideration myself, and to hisfriend August Winding, that he could not y€t,- afterthe firstrehearsal I had to make "use musicfor full orchestra"because the only alterations.For the very first thing is:, two bassoonistsin the city would not play!6This peoplemust be able to follow the poem unpleasantexperience with unreliableand inade- in an entirelynatural and effortlessway; quateorchestral resources had its impacton the otherwisethe listenerhas no satisfaction. young composerwho tendedto be cautiousin The conflictbetween voice and music is his own orchestralwriting for quite sometime. frightfullyunpleasant. And how f antasti- Forexample, as late as the 1890s,he complained cally little it takesto maskthe voice.e that the orchestralaccompaniment of his song, "Henrik " "for Wergeland, lack of a harpcannot In additionto theaccompanied monologues , Peer be performedat home."7 Perhapsthis sad real- Cynt includesseveral other numberswith very izationhad impelledthe composerto write safe, lightorchestration, notably those which accom- "optional," harpparts in the orchestralaccompa- pany the soft singingof the characterSolveig. "A nimentsof two of hisother songs, Swan"and Crieg composedother theatermusic in this pe- "Solveig's CradleSong." Necessityforced him riod, and some of it, for examplethe musicfor to develop an austerestyle of instrumentation Bjornson'sSigurd lorsalfar. was probablyfor small duringhis earlycareer, but this only partlyex- orchestraas well. Unfortunately,the orginal plainswhy Crieg,unlike most of hiscontempo- manuscriptshave been lost;the largeorchestra rariesto the south,composed many works for versionswe know todavare laterrevisions. smallorchestra. BeforeCrieg became music director in Arrrn KRrsnnnrn Kristiania,he had composedonly two worksfor orchestra,both for symphonic-sized ensembles: Crieg'sfirst post-Kristianiaorchestral work the ill-fatedSymphony in C minor,which he with- was composedin Lofthusduring the winter of drew in the sameyear he acceptedthe Kristiania 1877-78.This was TheMountain Thrall, op. 32, post,and the firstversion of the overtureln Au- for baritonevoice and an orchestraof stringsand tumn. Duringthe Kristianiayears, he beganto two horns. His recentexperience as orchestral experimentwith smallorchestra in hismusic for conductormay havepartly influenced his choice Henriklbsen's Peer Gynt, where Crieg found that of modestinstrumental forces, but therewas an- "Ases accompanyingthe speakingvoice in otherfactor as well. lt seemedto Criegthat such "Anitra's Death"and Dance" requiredreducing a shortcomposition, of only sixminutes in length, the orchestra.Crieg was very sensitiveto the requiredsimple materials. Many yearslater, he dangerof obliteratingthe spokenword with mu- wrote to his biographer,Henry T. Finck,that he "Ases sic. He explainedthat the musicin Death" had"sought to emulatein the musicthe compact "heard mustbe behindthe scenes,pianissimo" brevityof stylethat is expressedin the old Norse "so and faint that one perceivesthe musiconly poetry."10In a letterto CerhardSchjelderup, he as an indefin ite sound,wh ich doesnot interfere furtherexplained that he had been lookingfor:

JCG Vol. t 5. No. 2 95 more text of the samequality and flavor maysound quite well l'm hopingto asthat which I usedin the 'TheMountain collect34 stringsaltogether.l6 Thrall.' I would have includedparts for chorus and large orchestra[emphasis Once again,relatively modest numbers of musl- addedl. But I didn't find the text I was cianswere available, at leastby centralEuropean lookingfor, so all thatcame of it wasthis standards,and further, he decidedto avoidusing 1 fragment.l Bergen'swind players. Many of Crieg'schamber orchestra works are AlthoughCrieg had hoped to createa large-scale transcriptionsof his compositionsfor other me- work,he did notconsider the resultingcomposi- dia. Someof them were songswhich had un- "brevity" tion inferiorbecause of its or itssome- dergonethe indignityof inepttranslations. Crieg "large" what lessthan orchestra. Indeed,he re- wrote Finckthat latedto Finckhis feelingthat this work was of "greatest "contains importance"and that it drops when the Norwegianpoet's words, which "in of my blood."12 He evensaid that thiswork foreignerscan neither understand nor sing, I have done one of the few good deeds of my areruined in translation,it is not only the life."13 poetwho suffersfrom this devastation, but The next orchestralwork was Two Elegiac the composeralso.l 7 Melodies,op. 34, an arrangementfor stringor- chestraof two songshe had recentlycomposed. He also pointsout that his songshad received Thiswas to be thef irstof severalimportant works littleattention abroad, undoubtedly due to lack for stringorchestra. lts premierewas in the fall of understanding of the texts. David Mon- of 1880,in Berg€n,where Crieg had just been rad-Johansensuggests that Crieg transcribed some " namedthe new directorof Harmonien,"the of his songsfor instrumentsin an effortto elimi- city'ssymphony orchestra.l4 He knewthat this natethe barrierscaused by an unfamiliarlanguage situationwou ld be no betterthan that in or a poortranslation and to allow audiencesout- Kristiania, but he felt obligated to further the sideScandinavia to focuson the music.lB This causeof musicin hisnative city. Hisdecision to appliesto the fwo ElegiacMelodies and the later write Two ElegiacMelodies for stringsonly was Two Melodies(op. 53),each of which is a pair of probably influencedby the quality of the per- songstranscribed for stringorchestra. Crieg's formersavailable to him at the time. He sug- pronouncements,cited earlier- that simple gestsas much in a letterto Schjelderupwhere he meanswere appropriateto shortworks and that "the says [Bergen]musicians - especiallythe Bergenhad no adequatewind playerswere winds- wereterrible."l5 probably factorsthat prompted him to arrange ln 1885,Crieg arrangedhis piano compo- theseworks for stringorchestra. sition,Holberg Suite, for stringorchestra. He was, apparently,simply capital izingon an opportunity Gnrrc'sPTRToRMANCE PRncrrcrs to conducta concertfor which he neededsome new music. As he explainedit: Crieg'sown accountsof his performancesof the musicdiscussed here give us some guidance Instead[of acceptingan invitationto con- on how to performit. Someof hisstring orches- duct in BerlinlI shallgive a concerthere, tra musicwas composed for the smallorchestras [Bergen]which iswhy I havearranged the in Bergenand Kristiania.Later, however, he had poor HolbergSuite for stringorchestra. lt opportunitiesto conductthis music in perfor- 96 JCG vot 15.No. 2 manceswith leadingEuropean orchestras. On ing programsfor chamberorchestras. severaloccasions, he expresseddelight with the Crieg oftenexpressed very definiteopinions resultsproduced by their largestring sections. of the performerswith whom he worked. Some Forinstance, although he hadhoped to assemble of his utterancescan provideinsights into his in- a merethirty-four players for the premiereof the tentionsas a composer. His brief reactionsto "Evening HolbergSuite in Bergenin 1885,Crieg reported two performancesof in the Mountains" "l of itsperformance in Kristianialater that year: tell a greatdeal about his preferences.After a stepped up and conducted the Holberg Suite, Kristianiaperformance in 1900, he wrote to his which reallyin many placessounded spendid. friend, FrantsBeyer: But we had about fifty strings,including seven " 19 cel los and f ive basses. A few yearslater, he Now I have had two concerts. The artis- conductedthe fwo ElegiacMelodies in London tic executionleft much to be desired,or "about and was deeply moved by the soundof elseI madegreat demands, especially of 60 stringsof the first ranp."2o Conductorsof the string orchestra. My Iittle darling "Kulokken" either small or largestring orchestras can pro- [thefirst title he had givento "Evening gramthis musicknowing that Crieg would have in the Mountains"]was ruined approved. Theseworks call for extensivedivisi for me by a cloddishmoron of an oboist. and thereforebenefit from largestring sections; Theaudience's attitude was - | believeit nonetheless,the composerhimself originally in- mustbe biased- intenselventhusia sItc.22 tendedthem for smallerensembles and theycer- tainly can be performedby chamberorchestras. Aftera 1906 performancein Amsterdam,he wrote Some of Crieg's multiple-movementworks a very differentresponse in his diary: were actuallywritten asseparate pieces and later "Evening publishedas a collection.The composer did not And the stringpieces. in the alwaysthink of theseas integralsets that needed Mountains,"where the oboe was entirely to be performedas such. On the contrary,Crieg hidden at the back of the stage,took me oftenput singlemovements of chamberorches- completely. What playing!lt could not tra works on his programs.This was especially be better. lt soundedfree, improvised!23 true of his orchestralsongs that would often be programmedin setsof three,and not alwaysthe The informedconductor can gleantwo interest- "Evening samethree. The instrumentalpieces, ing instructionsfrom the composer'scomments. in the Mountains,"from Two Lyric Pieces,op. First,that the oboesoloist, ideally, should be hid- "The 68, and Last Spring," from Two Elegiac den from view. Second,that the solo shouldbe Melodies,were sometimesplayed without the played in an improvisatorystyle. The mysteri- othermember of their opus,and sometimesput ous effectof a hiddensoloist and the freerhythm togetheras a new set.21 Conductorsshould are importantelements in this work where the heedthe composer'sexample in designingpro- oboe evokes imagesof the cow herder'shorn grams that includethese works. Evenlarge works which Crieg had heard in Norway'sJutenheim such as the PeerCynt Suitesand the LyricSuite mountains.A word of cautionis necessary: Crieg are looselyconnected and could be presentedas did not alwaysappreciate performers who took individualmovements. Many of today'smusi- libertieswith his music! In general,he seemed cianswill hesitateto presentparts of a largerwork, to disfikeexcessive rubato or other needless but the composerhimself was willing to do it, libertieswith tempo or rhyth^.24 That his and sucha practicecould resultin someinterest- commentsabout this particular solo contradict

JCG Vol. 15.No. 2 97 )- his generalapproach makes them all the more Hampus Huldt-Nystrom, Fra Munkekor til valuable. Symfonieorkester:Musikkliv in det gamle Christianiaog i Oslo,(Oslo: Filharmonisk Selskap, 1969), p. 66.

CoNcr-usror.r 6 FinnBenestad and Dag Schjelderup-Ebbe,Edvard Crieg: The Man and the Artist(trans. William H. Halversonand Severalfactors inf luenced C rieg'sdecision to LelandB. Sateren)(Lincoln and London:University of Ne- composefor chamberorchestra, but mostof them braskaPress, 1988), pp. 208-9. related,in one way or another,to the particular circumstancesof a Norwegianmusician in the . vi af MangelpA Harpe ikke kan opfore den hjemme." EdvardCrieg, Brev til FrantsBeyer, Finn Benestadand late-nineteenthcentury. Had conditionsin Nor- BjarneKortsen, ed. (Oslo: Universitetsforlaget,1993), way been more reflectiveof those in other parts p.194. of Europe,Crieg's orchestraloutput may well "symphonic." B o. have been more That Norway's .. hortman hinterder Biihnepp'Ases Tod' und zwar musicaldevelopment trailed behind the restof so leise,dass man die Musik nur als unbestimmtemLaut Europeduring Crieg'slifetime has produceda vernimmt,welche den Dialog nicht stort." Eduard Platzhoff-Lejeune,"Aus BriefenEdvard Criegs an einen windfall for today's chamber orchestras,for Schweizer,"Die Musik,7:1 , 1907,67-75. While Crieg's theirrepertory has been greatly en riched by an mothertongue was, of course,Norwegian, he was fluent importantcomposer whose contemporaries in Cerman,having studied for four yearsat the Leipzig showedrelatively little interestin the Conservatory.This letter,as mostof Crieg'svoluminous smallorchestra. correspondencewith non-Scandinavians,was written in C erman.

q- Lionel Carley, Crieg and Delius: A Chronicle of their Friendshipin Letters(London: Marion Boyars, 1993), p. Dr. lohn lay Hilfiger is AssociateDean for 66. AcademicAffairs and AssociateProfessor of Mu- 10 " , sic at lndiana WeslevanUniversitv. Benestad,p.233.

11 Benestad,p.233"

ENoNores 1) HenryT. Finck,Crieg and His Music (New York:John 1' Lane,1909), pp. xxvii-xxviii. DanielJ.Koury, Orchestral Performance Practices in the 13 Nlneteenth Century: Size, Proportionsand Seating(Ann ". . . jeg i dette Stykkehar gjort en af de fa gode Arbor:UMI Researchpress, 1986), p. 155. Cjerningeri mit Liv." Crieg,Brev til FrantsBeyer, p.79.

2 14 Adam Carse,The Orchestrafrom Beethovento Berlioz The term "symphony"is usedcautiously here, as the (New York: BroudeBrothers, 1949), p. 57. membership,in the seasonconcluded just beforeCrieg's "1 appointment,consisted of only fofi musicians.See Adolph Koury,p.149; EleanorSelfridge-Field and NealZaslaw, Berg and Olav Mosby, MusikselskabetHarmonien accompanying Westrop,"Orchestrai' The table Jack New 1765-1945(Bergen: A.S. John Criegs Boktrykkeri,1949), CroveDictionary of Musicand Musicians,ed. StanleySadie p.232. (London:Macmillan, 1980), Xlll, p.690. 15 Benestad,p.245. The evidenceprovided by recent 4 "Crieg's Harald Herresthal, ConductingActivities in recordingsindicates that this is far from the truth today. Christiania,"Studia Musicologica Norwegica, Vol . 19, 1993,pp.45-53. 16 Letterto JuliusRontgeo, Quoted in John Horton,Crieg (London:J.M. Dent, 1974), p. 147.

98 JCG vol 15. No. 2 17 David Monrad-Johansen,Edvard Criegtrans. Madge offeredin new editions by many publishers. Robertson(New York: Tudor, 1938),p. 228. While Englishtitles have been usedin the pre- 1R'- cedingtext, Norwegianand Cermantitles have Monrad-Johansen,p. 228. been providedto help conductorsto locateedi- 1g'' ". .. trAdtejeg da fremog dirigeredeHolbergsuiten, der tionsof the music. The Norwegiantitles below virkeligpA mange Steder klang fortreffeligt. Men vi havde usemodern orthography, Which, in somecases, ogsAhenimod 50 Strygere,deriblant Z Violoncellerog 5 differsfrom that of Crieg'stime. Hence,there Basser."Crieg, Brev til FrantsBeyer, p.78. aresome discrepancies between the spellingsin 20 "l thisappendix and thosein the Criegquotations conductedthe stringorchestra myself. And what an above. orchestra. About 60 strings,and all of theseof the first rank! | havenever heard such a sound in Cermany." ". . . da jeg selv dirigeredeStrygeorchestret. Og hvilket Stringorchestra Orchester.Henimod 60 Strygere,og dissei Kvalitetaf aller, allerfsrste Rang! Jeg har aldri i Tydsklandhort slig Klang.,, Two ElegiacMelodies, op. 34 Grieg,Brev til FrantsBeyer, p. 134. (Toelegiske melodier; Zwei elegischeMelodien) -')1 f. HeartWounds (HjertesAr; EdvardCrieg, Dagbaker.Finn Benestad,ed. (Bergen: Herzwunden) BergenOffentlige Bibliotek, 1993), pp. 127,193. ll. The LastSpring (Varen; Letzter Frrih Iing)

)) "Nu har jeg da de to Koncerterfra HAnden. Den Holberg Suite,op. 40 kunstneriskeUdforelse lod megettilbage at onske,eller ogsA (Fra Holbergs tid; Aus Holbergs Zeit) er det mig som fordrer for meget, iser Strygeorchestret. 'Kulokken' l. Praeludium Min lille Yndling, ['AftenpA Hajfjeldet'],blev Il. Sarabande rentsdelagt for mig af en klodsetUndermAler af en Oboist. PublikumsHoldning var - jegtror det ma v€re tendentsiost lll. Cavotte - intenstbegejstret." Crieg, Brev til FrantsBeyer, p.252. lV. Air V. Rigaudon )7 "Og 'Aften sA Strygestykkerne. pA Hajfjeldet,' hvor Oboen varskjult helt bagPodiet, tog mig selvhelt. Hvilket Two Melodies, op. 53 Spil! Det kunde ikkevere bedre. Frit,improviseret klang (To melodier; Zwei Melodien) det!" Crieg, Dagboker,p. 127. l. Norwegian[The Coal] (Norsk[FyremAl]; -)4 ' Crieg, Dagboker,pp. 176, 178-9. Norwegisch) ll. The Firstmeeting (Det farstemale; Erstes Begegnen)

Appendix:Crieg's Works Two Nordic Melodies, op. 63 for Chamber Orchestra (Nordiskemelodier; Zwei norwegischeWeisen) l. PopularSong (l folketonestil;lm Volkston) The followingworks areCrieg compositions ll. Cow keeper'sTune and CountryDance or his own arrangements;arrangements by other (Kulokkog StabbelAtten;Kuhreigen und musiciansare not included here. Most of the Bauertanz) followingwere originallypublished by C.F.pe- "Ase's ters, Leipzig,and thereforeappeared with Cer- Death" from PeerCynt, op. 23, no. 12; man or polyglottitles. Theseworks are now in PeerCynt Suitel, op. 46, no. 2 "Ases the public domain and have been reprintedor ("Asesdad"; Tod")

JCG Vol.15, No.2 99 Stringswith otherinstruments (voice,2 flutes,2 clarinets,strings) (voice,2 flutes,2 clarinets,2 horns,strings, Two LyricPieces, op. 68, nos.4 and 5 harp,[op. 55]) (To lyriskestykker; Zwei lyrischeStiickel f. Eveningin the Mountains(Aften pA Solveig'sCradle Song, op.23, no.26 hoyfjeldet;Abend im Hochgebirge) (solveigsvuggevise;So/veigs Wiegenlied) (oboe,horn, strings) (voice,strings, optional harp) ll. CradleSong (Bddnldt;An der Wiege) (alsoversion for largeorchestra) (strings) FromMonte Pincio,op.39, no. I "Shepherd Boy"from Lyric Suite,op.54 (FraMonte Pincio;Vom Monte Pincio) "Hirtenknabe") ("Cjetergut"; (voice,2flutes,2 clarinets,2 bassoons, (harp,strings) 2 horns,harp, strings, triangle) "Anitra's Dance"from Peer Cynt, op.23, no. 16; A Swan,op.25, no.2 PeerCynt Suite/, op. 46, no.3 (EnSvane; Ein Schwan) "Anitras ("Anitrasdans"; Tanz") (voice,oboe, 2 bassoons,2 horns,strings, (strings,triangle) optionalharp) (earlierversion has no bassoon,4 horns) Resignation,EC I 82 (Resignation;Resignation - arrangement of piano The LastSpring, op. 33, no. 2 pieceby EdmundNeupert) (Veren;Letzte Frijhling) (2 flutes,2 oboes,2 clarinets,2 bassoons, (soprano,strings) 2 horns,strings) TheFirst Meeting, op.21 , no. 1 (Detfarste mate; Voiceand chamber orchestra ErstesBegegnen\ (voice,strings) TheMountain Thrall, op.32 ("Alone"in someEnglish d.; Den Bergtekne;Der SyngMig Hjem,EC 182 Einsame) (arrangementol Resignation,a piano piece by (baritone,2horns, strings) Edmund Neupert, with words added by Solveig'sSong, op. 23, no.'19 BjornstjerneBjarnson; unpublished) (So/veigssang; Solveigs Liedl (voice,horn, strings)

100 JCG vol 15.tto. 2 That Fl.gelian Swing

by Daniel Vebster

The following article is a transcriptonof a us. I met extraordinarymusicians and craftsmen luncheon addressprese nted on January5, l 996 who could createensemble from scantrehearsal atthe AnnualConference for Conductors phila- in time and emotionallymoving music through no delph ia, Pennsyl van i a. apparenteffort, could teach with a gestureand explaina stylein detailby ******** solfegginga phrase.I playedfor conductorswhose love of music was palpableand who made rehearsalssomething Not longago I saw an engagementannounced neara deepobeisance to Cod. in the SundayTimes. A Mr. Katzman was marry- I played in Army bands where conductors ing a Miss Vogel. I wondered if that marriage made theaterout of taking off white glovesbe- could be saved. fore lifting the baton, then made more theater Similarly,when a critic is invited to speakto fromthe shamof theiractual ly wierding it. I later conductors,I wonder if that wedding can even playedfor a coupleof famousconductors whose start,since we stereotypicallyare as compatible techniquewas humiliation,but whose results, ascat and bird announced in the Times.still, it mysteriously,were often imposing. is an enormoushonor for me to be here, sinceI And when I becamea listener,I beganto see believethat conductorscan hord the key to the conductorsin the wider contextof community, life or near-deathof the symphonyorchestra, an with implicitresponsibility in the broaderfields institutionllove, in the next millennium. l,ve of education,support for composers,develop_ been watching conductors,first as horn player mentof the playersand extra-musicalleadership. and then as professionallistener for nearlyfifty Major conductorsdefine themselves, of course, years. That'sa little scary.They have been, to but more importantlytheir ensemblesand the me, guide, tyrant, friend,imposter, gen ius, klutz citiesin which they work. and inspiration.They have taught me how com_ In BostonI understoodthat Koussevitzkyand plicatedis the craft,how indefinablethe art,how Munch, havingdeep Frenchroots, created clear, enviablethe gift of conducting. Frenchorchestras. The hall helped,too. From I was lucky to have started,in western Col_ the polyglotNew Englandsoil came an orches_ orado,with a trumpet playerwho had takenthe tra of great personality;its sound was transpar- troubleto learnto conductclearly. lf a conduc- ent,bright, its approach was quick and itssound tor is someonewho can help an ensembleplay tangy. I was fascinatedby Munch, a man too better than it knows how, then Marion Jacobs much in love with spontaneityto rehearsevery was a conductorwith whom to startmusic. My much,a mantoo muchinspired by musicto coun_ next conductor,head of the civic orchestra, tenanceroutine. My firstpublic tearscame dur- showed me it was possibleto conduct left- ing Munch's Berlioz Requiem.lt followedby u handed,a kind of revelationwithout specialap- few weeks my disappointmentat a tattered,stri- plication to life. dent BrahmsFourth. When I finallybegan to play for money,I met ButMunch showedme how muchdepended conductorswho blustered,who cajoled, who on the conductor'svery being. He was not a knew too much to even imagine impartingit to Bostonian;he did not makea showout of living

JCG VoL15, No. 2 101 there. He was French. He conducted. He did smileand started.The shabbyroom filledwith a both so well thatthe Symphonydid not haveto dark,romantic sound, the playinghad flow, nu- worry about marketinganything except what ance,vitality. lt wasa transformation;the players hungin theair at SymphonyHall. were galvanizedas Ormandy went ahead. He When Erich Leinsdorfsucceeded him, the stoppedonce to mime an attackfor the violins, Symphonyhad steppedoutside its tradition, and then returnedto Beethoven.lt was probablyjust stumbled. I left Bostonabout then to come to as well that the languagewas such a problem. Phi ladelph ia. I rememberLeinsdorf's arrival for What could anyone have said to registerthat a coupleof things. l'd neverseen shoes so ex- moment? pensive,and I learnedsomething from his insis- Ormandytaught me someother things. I was tenceon restoringHaydn to the repertoire. criticalof his programmingand the disdainfor I arrivedin Philadelphiafor the lasthalf of contemporarymusic that increasedas he grew EugeneOrmandy's tenure. (l'm sorry I hadn't older. I was impressedwith the pragmatismthat known the first half.) lt was a shock. Firstthe marked his professionallife. He rehearsedeffi- stuffysound of the Academy of Music, then the ciently and producedwell-played concerts that differentkind of approachto all musicsurprised, bore his mark. He convincedhis city that he intriguedand eventuallydisappointed me. This caredfor it and the orchestramore than anything was the place to hear a kind of Tchaikowsky, elseon earth. He livedhere. When a guestcon- Dvorak,Brahms and Sibeliusto remember.The ductorcancelled, the musicdirector substituted soundwas what you all remember,know by leg- for him. He generateda kind of psychiccomfort end or actuality. lt was a sound built on thick, that floatedover the Academy like some pink rich strings,a soundwhich camewithout effort. cloud. I watched at rehearsals,pen poised, hoping to He was almost perfectfor the time. The or- seethe gesturewhich commandedthat sound, chestramanagement scarcely had to marketany- summonedthe pointof view to makeit. I never thing. lt was the smallestmanagement staff in did. lt was,as he said,"Moi." the industry. Ormandy conductedfamiliar mu- Forall my quibbleswith Ormandy'sapproach, sic in his familiarway, and the audiencesub- hiswillingness to findthe samequality in almost scribedand appearedat concerttime. all music,I could not fail to recognizea kind of When he left, nostalgiaswept Philadelphia. genius.The proofcame in Chinain 1973. The The orchestralworld had changed,but how we Chinesehadn't seenWesterners for twenty-five wishedit weren'ttrue. We had hopedthe earth yearswhen Ormandy took the orchestrathere. would standstill. Mao's wife had begun the restorationof music. He was succeededby RiccardoMuti, young, The membersof Beijing'sCentral Philharmonic mesmerizing,sure of himselfand his art. Muti were calledout of the fieldsand mines,brought was caughtoff guardby Americannonchalance back to Beijingand told to play. Their instru- at the arts. He hatedaudiences who applauded mentswere almost unplayable, but theirwonder wildly for a minute then left, for listenerswho at beingmusicians again was stunning. weren't readyto argueover the sound,the mes- Ormandywas invitedto theirrehearsal, where sage,the stuffof music. In ltaly,people assailed theyplayed Beethoven's Fifth from musicfurtively him in the streetfor a tempo in an opera perfor- hand-copiedyears before. lt was a pitiful show, mance,or calledhim a defenderof the civiliza- but the conductorinvited Ormandy to take the tion becauseof the way he conductedSchubert. podium. Without a word - did any of us know Here,the harderhe tried,the lesshis listeners a word?- he turnedto the violins,gave a thin understood.He finallyconcluded that while he

102 JCG vol 15.ttto. 2 had led a reformation,his audience wanted a res- qualitymusic-making their prioritythat will be toration. the savingof an institutionin peril. A long lifeof watchingconductors has taught In a sense,I have lived through a long me that no right way existsin performance.In- Hegelianswing in which conductorswere first, telligentunderstanding of traditioncan be the purelyconductors. That hasgiven way to a pro- basis for interpretation. When Dimitri fessionwhich demandsthat conductorsalso be Mitropoulostook the coda of the ScotchSym- therapists,social workers, society figures, com- phony twice as fastas anyoneelse, I wasn't out- icsand Rotarians.That pendulum swing must reach raged. What he had done in the musicpreced- its end. After being governedby marketers,or- ing the coda madehis tempo possible,certainly chestrasmust return to their firstmission: playing arguable.A glacialFurtwdngler tempo turns out, the widest rangeof music.with convictionand on analysis,to be livelierthan thoseof someof the highestskill. Conductorswho losesight of our fierycontemporaries. lt's the cogencyof the that missionare in dangerof beingforgotten. argumentthat counts. When nextwe talk,I hopethe pendu lu m wi || Thatargument, the passionand convictionthe have begun the long swing back. You are the conductor shows, wi || be the savingof orchestral onesto makeit happen. That'syour huge music. lt will not bethe marketing,the dumbing assignmentfor the nextmillennium. down of programs,the charadeof concert life that will be the savingof the orchestras.The ******** parallelbetween great conductors and greator- chestrasis unmistakable,and it is the way the Daniel Websteris music critic for the Phila- greatorchestras free their conductorsto makehigh delphia lnquirer.

Score:Imagination and Reality

by Pierre Boulez

The winner of the Conductors'Cuild's l 996 Eachyear, as part of hiswinter residencywith TheodoreThomas Award is renowned composerl the ChicagoSymphony, composer and educator conductorPierre Boulez. Through hisown com- PierreBoulez, who isalso our principalguest con- positionsand professional activitiesas author, ductor,gives a lectureat the Art Instituteof Chi- teacher,and advocate of contemporary music, cago. Lastyear, he discussedthe ideaof the score he has had a decisive impact on the develop- asa subjectof interpretationand questionedhow ment of music in the twentieth century. objectivea performercan reallybe. A portionof Thefollowing is an articleby MaestroBoulez that lecturehas been adapted and reprintedhere. which appearedin the December7-l 2, 1995pro- ******** gram book for the Chicago Symphony Orches- tra. lt is reprinted here with permissionof the Everyyear, I pick a subjectwhich is very im- author and the publisher of the program books, portantto me and sharemy thoughtswith you, The OrchestralAssociation of The ChicagoSym- and the topic I have chosenfor today is "Score: phony Orchestra. imaginationand reality."That is a problemI am

JCG Vol. 15.No. 2 103 confrontedwith everyday of my life, eitheras a funniestis that peoplewho are most attachedto "being composeror as a performer,and I know both thisobjectivity of interpretationcall it faith- sides,lthink, quite well. ful to the score" .. but I don't thinkthat being Thereare generallytwo approachesfor com- faithfulto the scoreis just reproducingit me- posersand performers- the first is that every- chanically. thing is withi n the notes and, of course, the Now the oppositepoint of view isthat a score oppositeis that everything is behindor beyond isthe mostconvenient and mostappropriate way the notes. of notatingwhat cannot possibly be freely no- The first approachconsiders the scoreas an tated. lt meansthat the composeris awarefrom object with precisedata - pitches,rhythm, dy- the very beginningthat he cannotput down all namics,tempos - all kindsof preciseindications the informationhe wantsto givethe performer- - supposedlyprecise indications. We will see he knows that there are limitationsand is per- laterthat they are not that precise.To do justice fectly aware of them. Many things can be no- to the music,the composerand performerhave tatedvery precisely,but a numberof thingsare to respectthis data - to be faithful to the letter beyondnotation, or notationwould becomeso andthe spirit will comeby itself.Some compos- complexthat it is useless.AR notations- as pre- ers,such as Stravinsky and Ravel,have been very cise as they can be, are just indications- the criticalabout the so-calledfreedom of the per- beginningof a processwhich leadsto a higher former. But with an objectiveapproach to the levelof understanding.And withoutthis personal score,the individualis a transmitter- you re- graspof a score,you will play notes,but will producealmost mechanically what you seeand neverdo justiceto the work. Thisattitude is gen- " nothingmore. And I did not usethe word "me- erally called"subjective interpretation. chanically"for nothing.There was a timewhen The dangerhere is that of falling into excess Stravinskywas angrywith performers- he tried and distortion.Instead of servingthe composer, to get rid of them and wrote a ragtimepiece for you run the riskof usingthe musicas a vehicle mechanicalpiano. He also begana versionof for ideasor feelingswhich aretotally out of con- les noces for a very strangecombination: two text I don't speakonly aboutthe exaggeratedego cimbalom,harmonium, percussion, and a me- of the performerwho wantsto showthat the com- chanicalpiano. I did that once in Parisout of poserwas good but that he is even better. l'm curiosity. . . a concertperformance - side by not talkingabout that kind of showmanship,but sideof the two tableauxand the finalversion for I think that people who are honestwith them- four pianosand voice (which was exactlythe selvesoften feel that,when they get into a work, samein all theversions). lt isextraordinarily dif- they have to go fartherthan the notes because ficult to have a mechanicalpiano with other they know that the composerunderstands the instruments,because even if you want to be very limitationsof his notation- but,they still think strict, you know that you are never objective, theyare faithful to the composer.The worst thing becausea mechanicalpiano is objectiveand, in in both casesis that everybody thinks he is more spiteof your desireto be as preciseas possible, faithfulthan the nextone! Thereis a traditionof there is alwaysa small differencebetween you performancewhich reliesheavily on thishighly and this mechanical device. individualtreatment. I have comparedthe so- So that was for me proof that even if you are calledobjective performer to a kind of transmit- confrontedwith thiskind of objectivity,you know terwho doesto changeanything. Here you have how nonobjectiveyou are. What strikesme the a very differentapproach - you really have a

104 JCG vot 15,No. 2 periodin which he lives,the countrieswhere he was educated,the traditionshe has absorbed duringhis years of apprenticeship,the historical viewshe hasbeen taught - all makehim extremely dependent.Everyone thinks he is an individual and hascreated his own world, but that'sabso- lutelynot true- itsimpossible. I thinkMalraux "You oncesaid, don't learnpainting by looking at the landscape;you learnpainting by looking at otherpaintings." And that isabsolutely true for music.You don't learnmusic just by listeningto thewinds or to any kind of naturalinspiration - you learnmusic becauseyou have beentaught some music,and your educationis absolutely essentialin this process. The composeror performercan follow the culturalpatterns he hasbeen given as modelsor he can rebelagainst what he hasbeen taught. A personis shapedby a strongand coherentenvi- ronmentand he will haveto dealwith thatall he life even if he is challengedby othercultures or approaches.You don't remainwhere you were Pierre Boulez at the beginning. Speakingfor myself,during the war we were completelycut off and I had a "transl translator.And when I usethe word ator,,, typicalFrench education. But after the war,when ,,traditore,,, I think of the ltalian,which is and,as the borderswere open again more or less a matterof fact, there is a lot of treasonin this gradually- we had the opportunityto explore kindof translation. Cermanculture. And that was a giganticopen- But is the differencebetween objectiveand ing for musicas well asfor painting.The music subjectiveas clearas t havevery schematically of the SecondViennese School - Berg,Weber, describedit now? ls pure objectivityeven pos- Schonberg- was not performedat all in France, siblewithout any interferenceof the personality? and it was the same for art - we had picasso, Canthe transmissionof musicaldata exist with- Braque,Matisse, etc., and did not look to other out anydistortion? On the contrary,can musical things. And Kleeor Kandinski- who died in - notation with all the consequencesimplied by Parisafter his years in exile- and Mondrianwere - phrasing,pace, and so on be ignoredso thatthe absolutelyignored at the beginning.They came intentionsof the composerare distortedto the later,and Schieleand Klimt were completely pointof absurdity?The answer,of course,is very unknown until very recently. So you can see complexand doesnot dependonly on the char- that openingto other culturesin some circum- acterof the performer,as h igh ly individual as that stancesis ratherdifficult I am struckby the fact can be. that, now, in Europe,every country looks for a Any performeror composerexists in relation !'esurgenceof individualityand identityand we to manyfactors not determinedby himself.The haveagain countries which are closedon them-

JCG Vol.15, No.2 105 selves- there is not the kind of exchangethat rhythm- and veryvague values, like dynamics we had during the fiftiesand sixties. There is and tempo. A scaleof dynamicscannot be com- againa kind of uneasewith othercultures, and it pared to a pitch scale - an accelerandoor reallyis a big mistakeif you'renot opento other ritardando is subjectiveeven between two met- cultures. ronomemarkings. . . . As Schonbergput it, rightly, For me, one of the greatmoments of discov- I think, metronomemarkings are valid only for ery, when I was about twenty yearsold, was to one bar and no more. hearfor the firsttime, on records,of course,the The more you go into the real meaningof musicof Asia. . . the soundwas completelydif- musicalnotation, the more you see that what I ferent.The cu lture of soundis terribly important call objectiveor numericalvalues are constantly for a musician. " . and completelydifferent from submittedto subjectiveones. Take rhythm, for thatof our Westernculture that suddenly you ex- example. Rhythm is an accumulationof nu- periencesomething very important. mericalvalues, such as2 + 1, 1 + 2 + 2,3 + 2, So the composeror performerfacing a score etc.,which is a very preciserelationship. But if hastwo categoriesof problems. The firstone is you add a tempo to that - even a fixed one - the of a verypractical nature: what thewriting of this proportionchanges completely, and the numeri- musicliterally means, and for thathe hasto learn cal valuesare valid but relatedto a definiteunit the languageof signsfor the classicalcomponents, which deterniinesthe final value. And if the vocabulary,syntax, etc. The secondproblem is speedchanges, then the numericalrelationship more general:the relationshipof a work to the is distorted,because in a hierarchythe speedis historyof musicand what the signsof musicmean strongerthan the numericalrelationship. stylistically. The languageof signsis relativelysimple to learn. lt depends,of course,to what extentyou want to explorethe specificsof the language. To learnfurther the languageof music,it is How pitchand rhythmare notatedis easy to learn, essentialto be ableto read,not only the lineof a even easierthan dynamic or tempo markiflBS, singleinstrument, like the violin or the flute, which are much lessprecise and more apt to be whereyou haveto learnthe altoclef and the tenor subjective. Becausehere, even at the roots of clef and to synthesizethree, four, or five lines. musicallanguage, you find the contrastbetween With an orchestralscore, you have much more objective,precise, numerical values and values than that- sometimesthirty or forty systems- which canonly be approximate.A quarternote, you areconfronted with this largeamount of in- for instance,is very easyto grasp- a quarternote formationand haveto readit. . . andthat implies is exactlytwo eighthnotes and that 1:2 is a nu- knowledge.. . . mericalvalue. lt cannotbe three,because if you I think spontaneitycan be propelledvery havethree it will be a tripletand that is different stronglyby studyingthe score. . . the flow of the andyou know that. But in dynamics,forte is not musicbecomes natural to you and that is an ex- twice a mezzo forte - two mezzo fortesdo not perienceyou absorb. Now looking at a score add up to a forte. And the samething for a pitch both beforethe performanceand duringthe per- - an octaveis not twice a pitch. Of course,it is formanceis for me like a bicyclerace. A cyclist numerically,but not when you hearit - it'sper- first studiesthe ffidp, and says,"There are ten ceivedas anothercategory. Therefore,musical kilometershere that arevery hardand furtheron languagehas very precisevalues - like pitchor thereare fifteen kilometers where I can relax,then

106 JCG vol 15.No. 2 I have five very hard kilometersand then it is qualityof the phrase,the tendencyto distortthe downhill."But if theyare careful, they try out the numericalvalue of rhythm is strong,to give it coursethe day beforeand learn it with their thisemotional quality which it requires.In mu- musclesand their body, and that is exactlywhat sicwhich is essentiallyrhythmic - Stravinskyor you do with the score.You know it in your mind Bartok,for instance- the basicpulse must respect f irst. You studythe scoreand then you haveto the numericalvalues in a very strictsense, other- educateyour musclesalong the score- it is a wisethe essenceof thismusic is gone. differentset of muscles,of course,but exactly Classicaland Romanticmusic are basedon the sametrain ing. a regularmeter, which rarelychanges you have Throughstudy and rehearsals,you absorba 4/4 or 3/4for entiremovements. Of course,there lot and becomeso familiarwith the scorethat arevariations within this meter,but it is regular. you don't think very much - you havea sponta- So a musicalgesture involves modifying the neousreaction. Your reactionsare still planned, valueswithin thismeter - otherwisewe would becauseyou havethought them out, but as you have no musicalgesture. But in music by become more familiarwith the work, your in- Stravinsky,for instance,W€ have an irregular stinct absorbsyour culture,and I attacha great pulsewhich is basedon 2, suchas 3-1-2,1-2-3, valueto this acquiredspontaneity. At a certain 1-2, 1-2, 1-2-3,etc., and if you don't respect point, imaginationand realityare one and the thatyou losenot only the pulse,but the samething, and lthink thatit isthe ultimategoal essenceitself of the music. of the composeras well asof the performerto be totallyunified in the uniquecommunion of the ******** work. lt remainsan impossibleidea, but every daywe try to comenearer to this ideaof unifying PierreBoulez (b. 1925),one of the mostdis- realityand vision. tinguished composers and conductors in the So even the most precisenotation is subject world today, was namedprincipal guestconduc- to distortion.The basicnumerical relationship tor of the ChicagoSymphony, only the third per- in rhythm is subjectnot only to the tempo, but son to hold that title in the Orchestra'shistory, alsoto phrasing,articulation, and dynamics. lt is in March 1995. curiousto see how the mind works when per- ln 1974 Boulez founded the lnstitut de Re- forming. You observethe numericalproportions, chercheet de Coordination Acoustique/ M usique but at the sametime you modifythem with your (IRCAM), from which sprang a major and per- own understandingof the music.. . . you may manent instrumentalgroup, the Ensemble havevery well-defined rhythmic values, but add lnterContemporain,one of the world's finestcon- phrasingwhich movesto a fortewith an accent temporary music ensembles,for which he con- This is a musicalgesture and adds distortion, tinuesto serveas president. becauseyou cannotperform the musicwithout ln addition to his many oft-performedcom- - the gesture that s absolutelyimpossible. So positions,Pierre Boulez haspublished five books with the gestureautomatically comes distortion about music. His many awardsand honors in- - it can be very smallor ratherlarge depending clude honorary doctorates from Leeds,Cam- on the impulseyou want to give,but it is there. bridge, Basel,and Oxford universities,among Now when we come to the ideaof style,it is others;Commander of the British Empire, and obviousthat in what we call romanticmusic, Knight of the Order of Merit of the Federal Re- wherethe pulserelies heavily on the emotional public of Cermany.

JCG VoL15, No.2 107 Concept to Concert: Evolution of a Chamber Orchestra

by Alan Pearlmutter

An ideaexplored for severalyears finally took Cotton,a localarchitect on the boardof the New form in 1988. A chamberorchestra would be MusicCircle. organizedthat encompassedan active musical Wantingto maintaina group of manageable community.The challenge was to createa model size,I beganplanning another string concert to thatwould be uniqueand imaginative.Musical be performedat the samechurch. The program, "Serenading DiversionsSociety was establishedin 1990as a Striflgs,"took placein February1 990 generalnon-profit corporation in St. Louis,Mis- and featuredMozart's Eine KleineNachtm usik, souri. lts missionwould be to performboth fa- Barber'sAdagio for Strings,Serenade in E Major mi liar and obscure chamber orchestra works and, by Dvorak, and four short organ sonatasby in so doing,provide meaningful musical experi- Mozart,performed by the church'smusic direc- encesfor youngand adult playersfrom the area. tor, David Porkola. The concertwas performed Priorto formingthe organization,I was able with sixfirst violins, five seconds, four violas, four to performin severalarea choral and orchestral cellosand two basses.Cradually, it becameap- groups,a splendidway to familiarizemyself with parentthat repertoirecould extend beyond the the musicalcommunity of St.Louis. The city is eighteenthcentury and that it was of particular rich in resources,yet not so largeas to obliterate advantageto includeas a soloisteither the church a new artisticeffort. One of the early contactsI musicdirector or other individualsin the com- made,a choraldirector and harpsichordbuilder munitywhose activityhad been limitedto their namedPeter Tkach, recommendedthat for per- own professionalspheres. In this manner,the formancesites, I contactseveral local churches orchestraalso served to providegreater visibility that might be interestedin sponsoringchamber to localmusicians. musicconcerts. His ideabore immediatefruit. Encompassingthe diversityand multi-cul- Any harboredconcerns regarding available turalismwithin given communitiesis indeeda volunteerplayers was diminishedby a decision dauntingchallenge, but if an ensembleprototype to beginthe ensemblewith a small group of is designedthat serves a largespectrum of musi- strings.Soon after learning the namesof several ciansand audience, it couldwell developa strong local stringteachers and symphonyplayers, I momentum. lf the outreachis wide enoughto madephone calls to locatemusicians who might includestudents, teachers and individualsof var- be interestedin the project. In the fall of 1989, ied agesand backgrounds,it hasthe potentialof eighteenstring playersworked with me to pre- creatinga strongerlearning bond which nourishes "Baroque pare a programentitled Fest;"it fea- existingtalent, encourages individual growth, and turedmusic by Corelli,Vivaldi, Sammartini, Tele- min im izes competitive factors. mannand Bach.A localchurch keyboardist was The processof applyingfor IRS501(c)(3) sta- hiredto performBach's Clavier Concerto No. 2. tus was initiated;it encompassedthe hope that Soon after this concert,corporate papers were if sufficientconcerts were presented,a case signedwith theassistance of Mr. Tkachand Philip could be madefor publicfunding. In the early 108 JCG vot 15.No.2 stagesof the project, minimal funds had to be tential, brought greaterlevels of interestto the investedto presentthe programs;churches al- participants,and addedconsiderable aural color waysresponded graciously by not chargingspace for the audience.Elegy by Tchaikovskycaptu red usagefees. the nineteenth-centurystyle without winds and The next programincorporated a slightlyex- Morton Could's Elegy for String Orchestra pandedorchestration and presenteda Haydnsym- reachedinto the twentiethcentury. Butthe deci- phony as the featuredwork. SymphonyN o. 44 sion to includeMahler's Kindertotenliederas a was showcasedto demonstrateeighteenth-cen- conclusionto the program,laid to restany per- tury symphonicdevelopment. Hence it wasnec- sonalconcern that musicianswho performedless essaryto presentearl ier works wh ich il lustrated commoninstruments would be difficultto locate the symphonyin itsmore embryonic stages. The and interest.Their presence made further use of "Maturation concert,titled of the EighteenthCen- the winds alreadyperforming in Ravel's Pavane. tury Symphofry,"included sinfonia by Stamitz, Subsequentprograms continued to explore C.P.E.Bach and Sammartini.The Haydn sym- unusualthemes. A programon "The Pastorale" phony requiredthe additionof only two horns featureda symphonyby Stamitzand a smalloboe andtwo oboes;the church'smusic director played concertoentitled Pastoraleand Dancesfor Oboe harpsichord. and Orchestra by Cuy Ropartz. A concert fea- Performingan early Haydn symphonymade turingSpanish atmospherics, "Yiva Espana," pre- clearthe value of highlightinga lesser-known sentedClinka's Spa nish Overture No. 2, Celdbre work written by a celebratedcomposer. Forthe Sdr1nadeEspagnole by Albeniz, and the Cuitar averageaudience, an obscurework by a known Concerto No. 1 by Tedesco. A program on "Musical composeris virtuallya new work; yet, there is impressionism, lmagery,"was high- comfort in the composer'sstyle coupled with lightedby the FaurePavane, Debussy's Afternoon curiosityabout the music. On a programentitled of a Faun and Stravinsky'sRagtime, which "Where re- EastEuropean Folk Meets Art,"the Czech quireda cembalomplayer. 's pavane Suite by Dvorak was featured. Ravel Locatingappropriate and available players for pour une infantedefunte provided a wondrous theseconcerts is a challenge.Time iseveryone's Frenchsheen to our programon the elegy. lt mosttreasured commodity. Localteachers some- was becomingevident that our successresulted times recommendtheir students,but valuable from a formulathat blendedfamiliar and unfa- leadsoften come from the studentsthemselves "string miliarworks. A programon Suites,,fea- when they suggestqualified friends. When a turedthe familiar5t. PaulSuite by Holst,yet in- player is recommended,he/she is phoned and cludedthe little-knownSuite for StringOrches- interviewedabout the nine-weektime commit- tra by Janacek. On the aforementionedelegy ment. Such topics as impingementon the program,the known ValseTriste by Sibeliuswas student'slifestyle, homework load, family performedalong with the obscureE/egy, Op. 30 responsibilities,parttime work and othermusi- by CarlBusch. cal commitmentsare addressed.lalso discuss "The Theprogram entitled ElegantElegy,,was theseissues with the parentsto engendertheir the firstto utilizean entirewind section.prior to support. that concert,a small string orchestra,to which A projectof high utility, i.e.,useful to many was added horns and oboes, was sufficientto peoplein a varietyof ways,should improve the " "lnvita- present Mozart'sContemporaries" and playinglevels of all participants.lt is not always tion to the Dance." Useof the full wind section possibleto selectrepertoire which meetsthe "Elegy" in the concert expandedrepertoire po- needsof all playersall the time, but often this

JCG Vol. 15,No. 2 109 "Musical happensinadvertently. The lmagery" partof their privatelesson content. On another programfeatured impressionist works that were occasion,a local oboe teacherrecommended a reasonablyeasy for the intermediateplayer. The talentedyoung oboe studentwho performedin more advancedstring playerswere challenged the orchestrafor Beethoven'sPiano Concerto No. howeverby the rhythmicand metricdifficulties 1 and sincethen hasmade considerable progress, of Afternoonof a Faun,and Stravinsky'sRagtime havingbeen recentlychosen to performas a so- addedspecial rhythmic difficulties for the string loistwith anotherlocal orchestra. soloists.On anotheroccasion, a teenagepianist A communitygroup can be of particularvalue performedSchumann's Concerto in A Minor, hav- to a schoolas a visitingensemble. A bassplayer ing neverpreviously played it with an orchestra. in MusicalDiversions Society recommended her The sopranowho sang Kindertotenliederfound communitycollege as a concertsite. Sincethat the new literatureexperience to be a positive schoolhad a chorusbut no orchestra,the con- additionto her repertoire.On one program,a cert was an opportunityto combine forcesand giftedviolinist/violist performed as both concert- presenta differentkind of program. The chorus masterand viola soloistin a Telemannconcerto. and orchestraperformed separatelyas well as A college-agedbassoonist, who had previously jointly. Severalsolo stringplayers were of valu- performedin bands,had herfirst experience with ableassistance. an orchestraand learnedto readin the tenorclef Almost all of Musical DiversionsSociety's for Stravinsky'sEight I nstrumentalMiniatures. concertshave taken place in churches.The am- A communityensemble that mixes the talents bianceof a churchsanctuary lends a closenessto of studentsand adultscreates a viableavenue for the performingexperience and trainsplayers to the refinementof ensembleproblems. The more adjustto changingacoustics, special ensemble experiencedplayers provide encouragement to needs,and varyingphysical setups. Most of the the youngerplayers. But the greatestvalue of a sanctuariesare reasonablyresonant, hence a student'sparticipation in thisensemble is the tacet stringensemble of fifteenplayers can oftensound supportthat such a performancebrings to the more like twenty-five. But a greateradvantage schoolmusic program. Studentparticipation in of a churchsetting has been the useof freeor in- this type of music-makingincreases self-confi- kind spacein exchangefor stringservices. Many dence,improves overall musical instinct, reduces churcheshave a need for string playersfor spe- a competitivesense, and enhancesthe student- cial performances.Our ensemblehas assisted teacherrelationship. A respectedbassoon churchperformances and, in return,has rehearsed teacherand wind instructorat a local college and performedin thosechurches without paying helpedrecruit a collegefreshman to play with spaceusage fees. On four occasionsthe church MusicalDiversions Society. In anotherinstance, directorsactually paid the string players. Last a public schoolorchestra director from an adja- yearthe directorat a Congregationalchurch who centstate recommended several string players and had originallyplanned on charginga smallus- a clarinettist. age fee, discoveredthat he had need of several Appliedmusic teachers can play an important stringplayers to performa Haydn Masson only supportiverole for the ensembleby incorporating one rehearsal.Ultimately, he agreedto usesev- currentconcert music into the privatelessons of eralof MDS'sstring players and paythem halfof our young players.A local harpteacher recom- his normal stringfee. MDS also receivedfree mendedtwo of herfourteen-year-old female harp- rehearsaland concertspace. iststo play in our impressionismprogram. After- Sometimesa church congregationwill sup- noonof a Faunand Satie'sCymnopedies became port a benefitconcert with a particularlyaggres-

110 JCG vot 15.No. 2 sive outreach. In advanceof our program,the Once 501(c)(3)status was granted,Musical Union Avenue ChristianChurch agreedto sell DiversionsSociety sought funding assistance. The ticketsto benefitJoint Community Ministries, a RegionalArts Commission (RAC) has been grant- combinedchurch effortto raisemoney for city ing moneyto artsgroups in St.Louis since 1985, summer day-careneeds. Severalchurches ad- andthey maintaina reputationof generosityand veftisedthe concertand soldtickets slightly above assistance,providing funds to more than ninety the usualprice. Six hundreddollars was raised percentof the groupswho apply. A large perfor day-careand much of the pre-concertpublic- centageof their grantingmoney derivesfrom a ity work was performedwithout assistancefrom percentageof the hotel-moteltax structure.Mu- the Society. sicalDiversions Society received RAC assistahce A communitywith strongschool string pro- afterthree years of concerts. At the sametime a gramsencourages the advancingtalents of their local foundation,the EdwardChase Carvey Me- studentsfrom about the fourth gradethrough morialFoundation, took an interestin MDS and high school. Someof the more advancedplay- provideda grant. The Carveygrant doubled the ersare alreadystudying advanced solo Iitera- followingyear. More recently,the Artsand Edu- ture. MusicalDiversions Society has featured cationCouncil of CreaterSt. Louis and the Ronald severalsuch young artists.On one occasiona McDonald Children'sCharities have begunto teenagecellist and pianist,who respectivelyhad provideassistance. Our budgetshave been bal- studieda Haydn and Beethovenconcerto, p€r- ancedby advancedticket salesand the generos- formed with our orchestra.Several area groups ity of friendsin the communitywho havejoined alsouse young soloists but limittheir performance as sponsoringmembers. Understandably,with to only one movementof a concerto. By per- this genreof community project,keeping costs formingan entirework with our ensemble,solo- to a minimumis essential. istsreceive a morecomplete and authenticcon- The managementof personnelin a volunteer cert experience. organizationcreates many challenges. Some mu- Musical DiversionsSociety, with a diverse sicianscan only attendspecific rehearsals. Diffi- repertoire,has met specialneeds of adult solo- cult as it is to find a balancebetween required istsand teachersas well. A collegemusic chair- attendanceand excusedabsence, an open and man who is a flutistand pianistperformed the flexibledesign has been establishedin orderto Concertofor Fluteand Stringsby Sammartini.lt make all playersfeel welcome while allowing was a unique opportunityfor her to performa thosewho haveother professional commitments rarelyprogrammed work. Theyoung adult obo- to honorthem. Workingcooperatively with other ist who performedthe Ropartz Pastoralerelin- membersof the communityis sometimesneces- quisheda paying job in order to performthis sary. For example,one of our bassplayers had unknown work. When we performed Ragtime, rehearsaland concertconflicts with the St.Louis the cembalomplayer was willing to drive six Youth Orchestra. We and the managerof that hoursfrom anothercity to shareh is expertise groupwere ableto work out a compromise.On with us. He hadfortunately played it two weeks anotheroccasion, several youth orchestraplay- prior at the Universityof CincinnatiConserva- erswere willing to performtwo concertson the tory and came to us with a memorizedpart. A sameweekend so as not to relinquisheither op- freelancetrumpeter and an Englishhorn ist each portunity. sharedprofessional-level artistry in Copland's Locatingquality wind playerswho are not Quiet City. overcommittedis especial ly difficult.Our winds ******** and brassesattend four rehearsals.This enables

JCG Vol. 15,No. 2 111 the stringsto learntheir partsin greaterdepth. CzechSuite. The Polkawas describedas express- "a By the time the winds enterthe rehearsals,the ing gentlemelancholy despite a happiermiddle stringshave solidifiedmuch of the musicand section." Upon Hearing the FirstCuckoo in rehearsaltime is mademore efficient. The wind Springby Deliuswas presentedas "a composi- playerscan then meetmore of theirother obliga- tion of nostalgia"and the onset of the season "by tionswhile maintainingsufficient rehearsal time evoked an interwovenstring fabric, shifting with us. harmonies,and the soundof a loneclarinet rep- Musical DiversionsSociety prepares a con- resentingthe cuckoo." cert in a nine-weekperiod. Playersare asked to A moredirect educational vehicle is the pre- commit for nine weeksand are not obligatedto concerttalk. A f ifteen-min ute presentationis of- continuebeyond that time frame. The advan- ten sufficientto developa relationshipwith the tageto the playerof such an arrangementis a audience,explore relevant musical ideas, and re- freedomof professionalmovement. The disad- inforcethe programat hand. Subjectsfor these vantageto the ensembleis the continuityprob- talksoften have come without laborious planning. "Viva lem. The logisticaladvantages become an artis- The Espana"program shared several selec- tic compromise,but each new round maintains tions usingthe Phrygianmode and the "same its own unique progressin areasof blend, bal- pitch" motif. With the orchestra,I playedthe anceand ensemble. operativepitches for the audienceand proceeded to demonstratehow they were treated in each composition.Although I was unableto account for the coincidencethat saw the samefour-note An educationalapproach which embraces motifappear in threecompositions, the audience boththe performingmusicians as well asthe con- was includedin ways that avoidedan overly cert-goingaudience is of inestimablevalue. Thor- pedagogicapproach. "America ough programnotes assist the process,thereby ln the the Beautiful"program, sev- makingthe essenceof the musicalart accessible eral works were selectedto accommodatethe to everyone.Notes are both compiledand com- needsof less-advancedstring players. Virgil posed. They includefactual information about Thomson's Fugue and Choraleon YankeeDoodle the worksand theircomposers; all musicalcom- utilizedtwo-octave scales and elementarychord mentaryis carefullyworded to avoid technical progressions.After d iscoveringthat Thomson was "Music verbiage.On the program andthe Myth," associatedwith the midtwentieth-centuryDada the notesf irst explainedhow art, religionand movementin art, I incorporatedDada as the sub- mythologywere interconnected.The noteson ject of the pre-concerttalk. Two otherworks on "The ElegantElegy" began with a discussionof the programillustrated a similar simplistic musi- earlyvocal elegiesas commemorativesongs or cal scope,and reinforcedthe relevanceof Da- laments,and their eventualconversion into in- daismfor the presentation. strumentalelegies. The concert on EastEuropean A broadermechanism for audiencein- folk musicdiscussed the importanceof folk song volvementwas recentlydiscovered when a short anddance in Czechhistory and itsevolution into children'ssegment was incorporatedinto the a nationalstyle of composition. largerprogram. The concerttopic, "Birdsand Morechallenging is musicaldiscussion with- Legends,"was originallyslated to be "Birdsin out technicalterminology. Mention was made Music." Fortunately,research uncovered legends of the Bohemianpeasants' bagpipes to help de- servingas the basisof threeof the programmed scribean elementwithin the firstmovement of works. Ravel'sMa Mere L'Oye, basedon the

ll2 JCG vot t5, No.2 stories of S/eeping Beauty, Tom Thumb and Despitethe seemingly undesirable and incon_ Beautyand the Beast,highlighted the concert. venient conditionsof spotty attendance,recon_ Justprior to its performancewe included ,,The stitutedensembles and conflicting musician com- Magical World of Make-Believe ,s in Ravel Ma mitments,Musical Diversions society has performed MereL'Oye." A numberof musicalexcerpts were admirablywith verue and energy, often with a performedand narratedwith the brief stories.A refinedstring blend and an overallsemi-profes- few of the childrenin the audiencewere asked sionalquality. The challenges of workingwith vol- to come forward and listen to the excerpts from unteermusicians can be metby nondogmaticopen_ the first row. Then they, along with severalpar- ness/no-nonsense repertoire selection, a tightly ents,were invitedto sit on the performanceplat- organizedstructure, and a discovery-orientededu- form adjacentto the orchestrawhile the Ravel cationalprocess. Although there is no single, work was playedin itsentirety. The concept was bestway to found an orchestra,a model of utility designedto bring a more human touch to con_ that holdsthe potentialof considerablegrowth cert music,make it relevantto today's entertain- can be devisedfor the bettermentof the mentworld, and help dethrone a child,sview of multiplestrata of our musicalcommunities. concert music as an old-fashioned,,,powdered wig" experience.Along with the Ravel,the or_ ******** chestraperformed Criffes, rarely heard White Peacock,S ibel ius's Swan of Tuonela,Symphony AIan Pearlmutterhas directed a varietyof cho_ No. 83 ("La Poule")by Haydn,and the Berceuse ral and instrumentalensemblesin New york, Bal- and Finalefrom Firebird. timore and St. Louis. He holds music degrees from Brooklyn College and a D.M.A. from the ******** Peabody Conservatory.

Towards A composer-Friendly Environment

by Victo ria Bond

The following is the fourth in a seriesof in_ canorchestras and by majorensembles abroad. terviews the author held with noted conductors Shestudied at Floridastate University and The and composerson the broad subjectof the im_ Juilliardschool, where her major teachers were portanceof the creative artsto Americanculture. RogerSessions and ElliottCarter. An accom_ The textsare edited transcripts of the interviews. plishedviolinist, she was a memberof theAmeri- can SymphonyOrchestra under ******** Leopold stokowski.Among numerous prizes and honors she hasreceived the Pulitzerprize in Music EllenTaaffe Zwilich (b. 1939),one of (1983),the ElizabethSprague Coolidge Cham- America'sleading composers, hashad her works berMusicPrize, the Arturo Toscanini Music crit- performedby virtually all of the leadingAmeri- icsAward, an AcademyAward from the Ameri-

JCG Vol. 15,No. 2 113 can Academyof Arts and Letters,a Cuggenheim derstanding;immersing oneself in the perform- Fellowship,4 Crammy nominations,and has ing experienceis a most practicalway to gain beenelected to the FloridaArtists Hall of fame thisunderstanding. and the AmericanAcademy of Arts and Letters. In 1995 shewas namedto the firstComposer's VB: Could you expanda bit on how a deeper Chairin the historyof CarnegieHall. understandingof the ensembleexperience can benefita composer?

EZ: Simplystated, there are so manydetails that VB: Creatingan artisticallyconducive envi- a composermust know! Growing in the knowl- ronmentis a greatconcern of mine. I feel we edge of what happenswhen music is made - might begin this processof socialand cultural learningabout the differentkinds of instruments changeby firstestablishing what I call a "com- and how they blend together,how they balance poser-friendlyenvironment." You havehad ex- - is a life-longprocess. There's a world of so- traordinary career opportun ities that haveperm it- noritythat can't be discoveredby usinga synthe- ted you to developa senseof what is possible sizer. I alsobelieve that a keenawareness of the within majorinstitutions, but l'm sureyou've also musician'srole - whattheir life is like, what their seen how specificaspects could be improved. attitudesand psychologyof music-makingare - What are some of the ways you might go about isvery helpful. And it isnot a questionof whether creatingor improvinga composer-friendlyenvi- you want to be in the mainstreamor whetheryour ronment? goal is to be the antithesisof tradition;it's just importantto be in a positionof puttingall the EZ: This conceptis one that l've been consid- compositionalelements together yourself. I have eringfor a very longtime. In the absenceof the found performersto be extremelygenerous to an title "profession:composer" we, in effect,have inquisitivecomposer. They'll tell you everything to createit and, in so doing, I believethere are a they can articulateabout their instrument,their numberof elementsthat are essential.One of problems,their repertoire,and so on. That'sa the mostimportant is the notionof beingan inte- very importantfactor - to have the kind of mi- graland integratedmember of the musicalcom- lieu that includesperformers who can deepen munity,of knowingmusicians, of understanding your understandingof what it is they do. An- how musicis madeand what goesinto rehears- othervital component of the equationis that com- alsand performances.Every composer needs to posersget paid for their work, and not just pro- haveat leastsome serious hands-on experience vided with a "performanceopportunity." We with the creationand production of a perfor- must emphasizethat composersare an integral mance. I was a performingmusician and I con- partof the performanceprocess. Composing is a siderthat experience a crucialpart of my appren- full-timeendeavor, not somethingone doesafter ticeshipin the art and craftof composition.The finishingone's normal life-supporting duties. experienceis particularlyimportant for thosewho planto write for ensembles.Composing for the VB: When one is paidfor an artisticeffort, the symphonyorchestra can't be learnedby goingto effortis givenprofessional legitimacy. a library,by listeningto recordings,or even by studyingscores while auditioningthe recordings. EZ: Definitely.I applaudwholeheartedly all the You must have a deeper,more immediateun- peoplewho haveworked tirelessly during the last

ll4 JCG vol 15.No. 2 twentyyears to improve the understandingof and gettable,eight will be memorablebut one will appreciationfor seriouscomposers. havesuch impactthat yearsfrom now you could tell your grandchildrensomething akin to, ,,1was VB: What about the audience? Do they un- in the audience for the f irst performanceof derstandthe importance of composers?How can Bartok'sConcerto for Orchestra.,,There,s a mar- they be broughtinto your creativeworld? veloussense of adventureabout premieresand new musicthat unfortunatelyhas not beencom_ EZ: lf musiciansperform new musicbecause they pletelygrasped by our audiences. believein it and becauseit meanssomething to them,then it's the mostnatural thing in theworld VB: So often l've heard people say, ,,We just to want to sharethat music and their beriefin it don't want to bother with new works. We end with an audience. Too often, peopleare only up havingto listento so much musicthat,s not concernedabout how the new piece can be important.Someone else should do the screen- worked intothe program, or how they mightkeep ing, not us." This comesfrom audiences,from itsperformance from offending the audience.In players,and evenfrom somecritics. This kind of a sense/a positiverather than negativeapproach attitudeis not conduciveto a creative,adventur- is urgentlyneeded. There are a numberof pieces ous approach. that performerswant to sharewith an audience, but that they readilyadmit will need somespe- EZ: Yes,but what hashelped to changethis at_ cial preparation; the criticalpoint isthat they want titude is the meet-the-composerformat. per- to sharethose works with the audience.l,m cer- sonally,I find it fascinatingto interactwith au- tain that on many occasionsone would prefer diences. Some artistslive in a very insulated programminga Haydn or early Mozart sym_ world,a world in which theyonly know and in- phony insteadof a late Mozart or Beethovensym- teractwith peoplewho are part of the musical phony, or a late Beethoven stringquartet rather scene. For me, at least,it's necessaryto be part than a middleone. lt makessense to plana con- of the realworld aswell. cert in sucha way that beyondthe contemporary or atypicalwork, the "the restof the programis easier VB: What do you mean by realworld,,? on the audience.

EZ: The real world is diverse,not just an arti- vB: This conceptis ever-present with virtually ficially limited group of peoplewho are versed all contemporarymusic. In orderto give people in the same subjectsthat you are. Composers somethingnew and different, it,s necessaryto mustget out of thatkind of insularenvironment appeasethem with something familiar,to give and meetthe audiences,the peoplewho buy the them much more terrafirmathan terraincognita. ticketsand supportthe music.

EZ: lt's a little hard for us musiciansto under_ VB: Haveyou ever beenconfronted by neophyte standhow peoplecan be so intimidatedby new audiencemembers who had neverheard any new musicalsounds or forms, but I don,t object to music?Do you rememberany specificmeetings any solutionthat represents the convictionof the or remarks? personwho's planningthe program.Of course, there'sanother way of lookingat this. lf you hear EZ: Yes,many. Thisis a perfectexample of how 200 premieres,maybe 192 of them will be for- much composerscan gain by dealingwith audi-

JCG Vol. 15,No. 2 f 15 themusic profession was one I thoughtabout for a longtime.

VB: What views of the future have you developed duringyour career?

EZ: In the twenty-firstcentury, we mustbecome everricher in our musicalpalette and in theabil- ity to expressthe human condition. Unfortu- nately,there are certain problemsthat confront uS,such as those formulaic aspectsof music which havecome to be associatedwith specific emotions. For example,major scalesare often associatedwith happiness.These are Pavlovian reactions.There are people who cannothear trag- edy in Mozartbecause his musicsounds so tonal andclear that it createsa senseof rightnessabout Ellen Taaffe Zwilich it; tragedyis not communicatedbecause the lan- ences. When only composersget together,W€ guageis soagreeable. Conversely, many people tendto talk aboutcompositional techn iques and cannothear the rangeof expressionin contem- mattersprofessional. A lay audience,however, porarymusic because the languageis considered frequentlyaddresses important esthetic consid- by someto be lessagreeable" l'm not sayingl've erations.lt may seemsurprising but they are in- founda simpleanswer to thisdilemma, but I do terestedin fundamentalesthetic and artisticis- thinkthe audiences are often good at raisingques- sues. lt's mostimportant for us to keepthat line tionsthat have no simpleanswer. of communicationopen; to know that at leasta Audienceshave also asked some very inter- smallaudience is out there - probablynot a mass estingquestions about musical form and evolu- audience- that is concernedand aware. The tion. I rememberone of the firsttimes I spoke challengeis to makea meaningfulconnection. with an audienceas part of the meet-the-com- poserprogram. lt was a very well-attendedcon- VB: What estheticquestions would an informed cert and the meet-the-composerdiscussion be- audiencemember ask? forehandwas held at the NationalAcademy of Sciencein Washington. A lot of peoplewho EZ: lt varies. I remembersomebody once ask- came to the discussionwere membersof the "Why ing me, isn't it possiblefor a twentieth- Academy. One particulargentleman - | will centurycomposer to write somethinghappyl" never forget him - asked a very long two- or This soundslike an elementaryquestion and three-partquestion about form and continuityin one that musicianswould chuckleover, but I music.When he finishedhe said,"l'm sorryl've found myselfgiving it a lot of thought. There's askedso much, but l've never met a composer " somethingvery wrong if we cannot- or will not before. lf I had even the slightestdoubt about - write musicthat reflectsor expressesthe en- the importanceof the meet-the-composerpro- tire rangeof human experience.That simple gram,it vanishedat that moment. questionby someonewho was not a memberof Sometimespeople considera composeras

116 JCG vot 15.No. 2 someonewho is totally forbidding and bizarre. gard. They'reopen to a varietyof stylesand dif- Theirmental picture of a composermight be, at ferentmethods of makingmusic. Nevertheress, best, Mozart in Amadeus, and at worst, some- we haveto help them to hearbetter. Then, given bodywild and crazy,pacing the floor,and throw- theirown heartsand minds,the musicwiil either ing pagesaround. Not thatwe don,tdo that,but affectthem and touch them or it won,t. the notionthat it'sa humanactivity to write music is broughthome when people meetand un_ VB: As a society,are we doing as much as we derstand that a composeris a real person. can in supportof musiceducation?

vB: I haveoften beenfaced with audiencesthat EZ: No, not nearlyenough. lt concernsme very arereluctant to be drawn into new music. could much. Most of the composersof my generation you suggestsome ways of helpingan audience were the productsof active and healthyschool that is not usedto listening to musiccreatively. music programs.We were involvedas perform_ ers and conductorsand developeda greatsense EZ: lt can be very helpful to organizeanevent in of participation.I think it'svery clear that school advance of a performance. lt could be a pre_ musicprograms are declining. concertdiscussion or an actualmusicar demon- stration,during which time piece a istaken apart VB: Am I safein sayingthat you mightnot have for the audienceand put then back together. I become a composerif it were not for the good think if you'rea member of the musicprofession, musicprogram in which you werefirst involved? it's hard to realizehow fasta performancegoes by a personwho arrives at the hall immediately EZ: I think that'svery possible.Although I have aftera hardday at the office. In a way, time slows mademy own musicsince lwas verylittle, lwas down if you'rea musician and you savorthe de_ connectedto the wider scopeof thingsthrough tails. For many people, I think it passesvery my schoolteachers and high schoolmusic pro- quickly,perhaps too quickly; beforethey get their gram. In Miami, I was immediatelyintroduced bearing,the piece is over. Therefore,any kind to a very fine privateteacher. I had many writ- of advancepreparation is very helpful. ing,playing, and conducting opportunities within We shouldn'tforget that the musicthat is most my highschool band and orchestra.I hada good popularamong symphony audiencesis music groupof colleaguesand friends,some of whom that'svery familiar. lt, by the way, is often music actuallywent on to becomeprofessional musi- that deservesrepetition and is rewardingto hear cians. Thatentire experience had a profoundaf- over and over, but you certainlyhave to say it,s fecton my futurepossibilities. veryfamiliar. Even if you'redoing a lessfamiliar piece by Mozart,something will be broughtto VB: There'sa generationgrowing up now for the performancesimply becausethe audienceis whom suchprograms do not evenexist. familiarwith manyother Mozart pieces. lt's not a brandnew experience,it,s a variantof count- EZ: We all like to believethat we createour- lessearlier experiences. such musicis unfamil- selves.lt's a wise attitude,since we arethe ones iar in a contextof familiarity. The audiencefor who can do the most about it. But, to be per- pop music,for instance, doesn,ttolerates changes fectlyhonest, there are a lot of peoplein my gen- fromcertain norms. I thinkthe audiencefor sym- erationwho, if it had not been for their school phonicmusic is much more flexiblein that re- music programs,would have probablygone in

JCG VoL 15,No. 2 ll7 someother direction. As I travelaround the coun- EZ: There'sjust no doubt about it. Someout- try for variousperformances, I havethe delight- come-basededucation is goingto produceau- ful experienceof meetingpeople with whom I tomatonsperforming specific tasks. What we went to high school. Althoughthat schoolpro- wantto do isopen their young hearts and minds duceda few professionalmusicians, most people, to thoseaspects of the world that areaccessible of course,went into other fields. Yet, of those I to them,to familiarizethem with all the pos- havemet, many have maintainedan interestin sibilities. music. Unquestionably,the peoplewho came The artshave a specialway of puttingus in throughthese piogramslearned a greatdeal of touchwith our humannature. I rememberwhen self-disciplineand other traits and awareness that I first decided to write Concerto Crosso. I had certainlyhave helped them lateron in life. beenasked to write a piecebased on a theme by Handel. lmmediately,a violin sonatathat I played VB: That'sa good point. Studyingor learning as a very young person popped into my head. aboutmusic is not only a self-containedactivity; lt's amazingto me that someoneelse's intimate it helpsin otheraspects of lifeas well. thoughts,put to papermore than 250 yearsago, touched me so deeply and stayedwith me for EZ: lt certainly has enrichedthe lives of the mostof my lifetime. lt seemsto me thatour world peoplethat I meet. hasa greatneed for humancompassion and human understanding,all the thingsthat the arts VB: Let'sdiscuss the inherentimportance of touch. Music is a specialhuman languagethat music. Peoplewill contributeto a hospitalor to doesn'trespect geographic borders, language or a universitybecause they see that these insti- even time. There'ssomething vital about this, tutionsare obviously important. Yet, when asked especiallyin an increasinglycomplex, techno- to contributeto a musicalorganization, we have craticand cold world, we musttouch the soulof to explainto themwhy musicis importantto our mank i nd. society.lt seemsincredibly obvious to us,but it is not to many people. VB: What about government? ls our government doing what it can to facilitatesuch an EZ: lf you could take all the money that is con- endeavor? tributedin a charitableway and actuallyelimi- nate poverty,homelessness, AIDS, diseaseand EZ: Whateveris beingdone is barelyminimal. famine,then we would all agreeto suchan ap- Thereare so many insightsand activitiesthat proach. However,we live in a terriblyflawed spin off of the arts. lt's hard to believethat world with definitelimitations on what is pos- intelligent,educated leaders don't understand sible. What we can attemptis to be whole as that art is such an importantpart of our culture humanbeings and to passwholeness on. When and that it deservesmuch more supportthan it you'revery young you think the world is goingto presentlyreceives. change.The olderyou get,the more you realize that if it'sgoing to change,it will do so in small VB: ls there anythingthat we in the artscom- ratherthan largeways and that to neglectthe soul munity can do to encouragegreater governmental of mankindis a blighton our own humanity. supportand participation?

VB: The big gap in the educationsystem is ne- EZ: Someof the bestthings that the National glectingthe soul. Endowmentfor the Arts hasdone is the lever- 118 JCG vot 15.No. 2 agingthat happenswith two-for-onecampaigns. thequickest. Let's be gladfor that,because any- Thatis a greatidea. lwould like to seetax legis- thing lessthan globalcommitment to the lationthat allows passivegovernment support of artsis simplyshort-changing our humanity. the arts.The musiceducation issue is incredibly importantand we mustdo a much betterjob on educationin general. The bottom line might be that a composer- VictoriaBond is a nationallyrenowned com- friendlyenvironment might engendera listener- poser/conductorbased i n New York City and a friendlyenvironment as well. lf our societyal- member of the Conductors' Cuild Board of Di- lows composersto function freely and be ac- rectors. ceptedas a naturalpart of the community,then The interview was transcribedand initially our societywill be richerfor it. l've neverfound edited under the supervision of StephenM. anyonewho didn't think we could usea richer Heyde, M. F. ThompsonProfessor of Orchestral society. Hopefully,the socialpendulum may Studies at Baylor University and Music Di- swingback towards values and what'sreally im- rector/Conductorof the Waco (TX1Symphony portant insteadof how we can make the most Orchestra.

Scores& Parts

Outdoor Oaerture by Aaron Copland

compiled by Douglas Adams

ScoreCorrections Bar#lBeat#Inst: Correction

Bar#lBeat#In st: Correction 141/3 Fls:(+) accent 163/4 Cls:( +) f marc. '1, 2/2+ ..Hn l, lll:(+)sf 169 .. .Vc: rit. s/r on beat not 3 14/2,4 Fls:(+)slur over3-note combination 172/3 Vc: (+ ) halfrest 15/3. ..Hn lll:(+) accent 204/1 . Vc, DB: (+) arco 46/1 .. Vla: (+) arco 212,3 + .....Cls: cresc stopshere (+) 47/4...... Vc: arco 222/1 . Xy: (+ ) accentalso ? 61/1.. Tpt l: (+) accentalso ? 22811 Vc: (+) Dyns ? (backto f to match DB?) 62/3...... Fl: (-) dot 233-34...... Cl: continue slur : (+) 94-98 Pno accentsas in low str.? 239,241/2+ .....Hns: (+ ) accentalso? 97/2 ...... Picc, Fl, Cl: (+) accentsas in upperstr.? 250/1 Perc:(+) cresc.also? 98.... Hn lV:(+)accenton beats 2,3,3+? 254/3 . Pno : (-) sf ? lHn ll also?l 254,256/3.. Picc:(+) accent 9Bl1. Picc,Fl, Ob, Cl: (+) accentsas in upperstr.? 257/1,3...... Picc: (+) accent 135/1 . DB:(+)p 260/4 . SD: correctroll symbol

JCG Vol. 15.No. 2 119 Abbreviations Key

IrrisrnucrtoNs Viola: Va Dvnl.rrrtcs: dyn Shouldread : s/r Cello: Vc crescendo: cresc. Add: (+; Double Bass: DB decrescendo: decresc Delete: f) diminuendo: dim. Bar number: Bar Bnass: Br espressivo : espress. measure(s):m. (mm.) FrenchHorn: Hn stqccato : stacc. Trumpet: Tpt subito: sub. Norrs Trombone: Tbn eighth note/rest: e.n.lr. Tuba: Tu Prncusslox: Perc : quarternote/rest q.n./r. BassDrum: BD half note/rest: h.n./r. WoonwrNus: Ww Cymbal : Cy whole note/rest: wh.n./r Flute: Fl SnareDrum: SD natural : nat. Piccolo: Picc Tambourine: Tamb Clarinet: Cl Timpani: Tmp Sconr - Sc PiccoloClarinet: PCI Triangle: Tri CES : critical edition score BassClarinet: BCI Xylophone= Xy CEP : critical edition parts Oboe: Ob EnglishHom: EH Pnxo: Pno Srnrxcs: Str Bassoon: Bsn Violin: Vln ContraBassoon : CBsn Henp: Hp

PartsCorrections Bar#/Beat#.....Correction

Bar#/Beat#.....Correction 5111...... (+) slurto four'16th notes 55-56 (+)sul C-l for2 fullbars VrouNI 95/4 ...... (+ ) cresc. 9611... (+) accent 14/2.. .(+)cresc. 101. ..(+)dimmolto---- 39/3 . poco a poco accel.starts here, not m. 32 142/1,2 ..,...(+ ) accents (+ 4O/3.. . ) semprep 169 . ..correct location of m. 120 marking 42/1+ ,2 .....(+ ) slurto 3-notecombination 170/3 rit.---- endshere 42/3+ (+ ) stacc.dot to e.n. 174/2 .(+) (q.n" : 76) (+ 59/1 . .. ) accent 186/2+,3... (+)tie betweene.n. and h.n. 95/4 . .. (+ ) cresc. 189/3 .(-) up-bow mark (+)accent 9B/3+ 199-203.....move poco a poco accel. (+) - - - - '16-1 over line; 1 1B .....slr tacet 204...... ( +) pp 1BO/2 (+ ) tenuto 245/3 (-) dot 180/3 .(+)renuto 181 ... no tenutohere Vrom 1BB. .. Buuad lib. is correct,but a plain extensron of - - - - would be easierto read 212+ (+)sf 192/4 . clarify end of B"'- 8,9 ...... looksbad, write entirelyin altoclef, time 199-203..... move poco a poco accel.over line; (+ ) - - - permitting "press 22811 .(+)accent 11 .... . (+ ) forward" 24712 (+ ) stacc. 39-42 (+)poco a poco accel. 250 . .placecresc.---- aftertheff 46/1. .(+)arco 261.. .(+)rjt.---- 46/4 ...... (+ ) cresc.hairpin sB/3...... (+) f VroLrr.rll 69...... treble clef at end of bar is redundant 95/4...... (+ ) cresc. 42/1+,2 .....(+) slurto 3-notecombination 101 ...... (+ ) dim molto 42/3.. (+) slurto 3-notecombination 116-117.....(-) ties 120 JCG vot 15,No. 2 Bar#/Beat#.....Correction Bar#'Reat#.....Correction

134 ...... (+) L'istessoTempo "IJn 105 .. move poco meno mosso(q.n. : 132),, 142/2 (+ ) accent backto m.104 144/1 (+) ff 138/4 (+) mf 171/2 (+)accent 174. (+) (q.n.: 76) 174/2 (+) (q.n.: 76) 199-203.....(+)poco a poco accel. 176/1 (+ pp ) 228/l (+)accent 177/1,2...... (+) tie overnotes with tenutoson each 235,240.....clarify placement of mm. 235 and 245 180/3 (+ ) tenuro 234 .. (+) arco 185 . marklocation of m. 185 244 .... (-) arco (redundant) 1s4/1 (+) fff 246 .. .(-) ff (redundant) 257/3 . (+) accent 256/1 (+)accent 260/1 (+) ff Flurrs Cruo

"press 33/4. s/r soli 11 ...... (+ ) forward" 39-42 movepoco a poco accel.over line; (+)_ __ _ 47/4 ...... (+)accent and arco 5211...... ( +) a2 51/1... (+) accent 59/1...... (+ ) accent 96/1 . move cresc.back one beat 76/1...... (+ ) sub.f 97/1 . .. (-) tenuto 95/2...... (+ ) accent 9B/3+ (+)accents 99 ..... s/r piit,not poco 104 .. clarifyplacement of tempo marking 142/2 .(+)accent 115 ...... move "Tempo"back to m. 11O 165/2 (+)dot 131/3+ ...... (-) bortomslur 167.2 (+ ) dot 146/2 (+) pizz. and sub.p on beat2 171/3 (+) (q.n.: 69_72) 165/2*,3 ...(+)tie betweene.n. and q.n. 175 ...... move (q.n.: 76)backtwo beats 170/3 . rit. stopshere 199-203.....move poco a poco accel.over line; (+) __ _ _ 171/1 (+)Tempo (Maestoso) 1 (q.n.: 69_72) 212 ...... move cresc. back one beat;(+ ) __ _ _ 174/2 (+) (q.n.: 76) - - 240/3 clarify end of Bur- 175/1 (+)p | 2s4/1 (+) fff 198. ..(+)(q.n.:120) 255/3 (+ ) accent 199-203.....(+ ) poco a poco accel. - - 257/4 clarify end of Buu- | 2O4.. . (+)Tempo 1 (Allegro)(q.n. : 132) 228... (+)dyn? Prccor_o 239/2+ ...... (+ ) accent 228,229..... (+ ) accent1st time only (not repeated) 15/4...... (+) (q.n. : 76) 43/1... (+)(q.n. : Bnss 144) 70/1 ...... slrsub. p dolce,not cresc. "press 174/2 (+) (q.n.: 76) 11 ...... (+) forward" 227 . ..s/r5/4 not3/4 32 ...... pii mosso(q.n. : 96) 227/1 .(+)accent 35 ...... mark location of m. 35 252-253..... extend 95 ...... mark locationof m. 95 254/3 (+)accent 95/4. clarifycresc. 256/3 (+ ) accent 99 ..... clarifyplacement of tempomarking 257/1,3...... (+) accent

JCG Vol. 15,No. 2 l2l Bar#/Beat#.....Correcti on Bar#/Beat#.....Correcti on

Osors Bnssoor.rll

39-42 move poco a poco accel.over line; (+ ) - - - - 1513... sub.mp 43 ...... (+)q.n. : 144 1513. (q.n.:76) - - - - 5B/3... (+) accent 39-42 move poco a poco accel.over line; (+ ) 59/1 . .. (+ ) accent 5013. .(+)accent B3/1 ... (-) accent 7711.. f, not ff 17211 move sff back one e.n. 94-95 .(-) pcresc. 17511 move (q.n.: 76) back 2 beats 9614. . cresc.thru 98 21113+ ...... (-)dot 9911.. clarifytempo mark 26111 move sff back 1 q.n. 10411 . clarifytempo mark 16811 (+) ff CnnrNerI 16911 .putrit.----above line 174/2 (+)(q.n._76) 118/1 s/rd.q.n. 1991203.....movepoco apoco accel.over line; (+)---- 222/1 (+ ) accent 212 ...... (-) cresc. 2s411 (+) fff 252 .. . (-) cresc. 256/3 .(+)accent 26114 (+) fff "C" 26014 (-) written "C" 26111 (-) written HonN I

211...... (+) ff Cnnrruerll 15 ... . moveTempo I to 3rd beat 15/3.. (+) accent (39-42)...... move poco a poco accel.over line; (+) - - - - 40 ... ..(+ ) accel.-- - - 7Ol1. ..(+)sub.p (dolce) 91 ..... C)dots 11011 (+ ) /'istesso tempo 9611. (+)accent 169. .(+)rir. 97-98 (+ ) cresc. 17511 move(q.n.: 76)back 2 beats 145 ... move senzasord. to next bar 211... (+) mf cresc. 146 .. (+ ) trebleclef 212., ..continue cresc. to 21213 146...... (+) mf 25411 (+) fff 168/2 .(-) dot 25814 .(+)sff 174... (+) (q.n.: 76) 198 .. . q.n. : 120,not 2OO 199 .... move poco a poco accel.over line; (+ ) - - - - BnssooNI 2O4...... (+)Tempo | (Allegro)(q.n. : 132) 24914 .(+) ff 9513...... (+) accent 2s411 (+) fff 104... clarifytempo marking 261.. .(+)rit.---- 110 ...... clarify tempo marking 204. ..(+ ) Allegro HonNll 21311 .ff marc. 250...... (+) reh. 250 32 .... .(+)Piu mosso(q.n.: 96) 252 . (-) cresc. 105-106..... move tempo markingback to bar 104 261... (+ ) rit.-- - -, alsofff . 165,175..... correct final digits of bar numbers, slr 165, 175 122 JCG vol 15,No. 2 Bar#/Beat#..... Correction Bar#/Beat#.....Correction

185. ...(+ ) bar185 TnoMsoNJr I 199 .... (+ ) poco a poco accel.-- - - 205 ...... slr 205 11/2+ clarifyend of Bu"---l 204 ...... (+ ) con sord. 39-42 move poco a poco accelover line; (+ ) __ _ _ 239,241/2+.....(+) accent? 43-45 all e.n.'ss/r stacc. 47 ...... '.(+) f HonNslll-lv 5O/1...... (+ ) accent 59/2,4 (+)accent 15/3...... Hn lV: (+) accent 77 ...... (+) f 43 ...... (+) (q.n.: 144) 92/3 .. (+ ) accent 32 ...... indicate where in restpii mossofalls 93/1 (+ "c" ,3 ) accent 69/4 . stem down 98/2,3,3+ ..(+) accents 90 ... ..(-) accents 99jO4...... clarify placement of tempomarkings e7 """"...... (-) ff 141/2 (+) f 98 ...... extend cresc. hairpin to end of bar 143/1 (+ ) accent 98.... Hn lV:(+)accenton beats2,3,3+? 173/2 clarifyend of Bu"---l ll [Hn also?] 199-203 .....move poco a poco accelover line; (+ ) __ _ _ 110 .. (+) l'istessoTempo 201 ...... all e.n.'sslr stacc. 169... (+)rit.---- 216 ...... (+ ) marc. 239,24'l/2 (+ + ) accent? 224/3 (+)accent 250-254..... (+ ) cresc.-- - - 225/1 (+ ) accent 260/1,2 ...... (+ ) - 239 ...... Bua starts on beat2, not beat 1 262/1 (+ ) - 243/4 clarifyend of 8u"-'-l TnumprrI TnoA,tgor.rrll

1s/3.. .(+)ff 1s/3. (+)---ff 61/1...... (+) accent ? 39-42 move poco a poco accelover line; (+ ) __ _ _ 97-98 (+ ) cresc 86,87/1...... (-) accent 141...... (+) f 91 ...... (-) stacc. 199-203..... (+ ) poco a poco accel.-- __ 96/1 ...... (-) cues,(+) q.n. rest 251-254 .....(+ ) ff cresc.-- - -fff 9B/2 .. (+) accent 104 . clarifyplacement of tempo marking Tnur"rprrll 174.. (+) (q.n.: 76) 198 ... ( + ) pld mosso(q.n. : 120) 13/3.. (+ ) f cresc. 199-203..... move poco a poco acceloverline; (+ __ _ _ 1s/3...... (+) ff ) 204 ...... ( + ) (Allegro) 85,87/3...... (-) accent 237,238.....(+) dot to d.e.n./16th 99/4...... (-) stacc.-stacc.-ten. articulationmarks 239/2+ ...... (+ ) accenr 204... (+) (q.n.: 132) 210/3 C)stacc. articulation markss TnoMsor.rrlll 210...... (+) p 220/1 (+ ) accent 1O/4...... (-) dim. 250-51...... (-) cresc.-- - -ff 99,104...... clarify placement of tempomarking 251/1 (+) ff cresc.-- - - 199-203.....movepoco a poco acceloverline; (+)____

JCG Vol. 15, No. 2 123 Bar#/Beat#.....Correcti on Bar#/Beat#.....Correction

22411 . s/rq.n. rest, not e.n. rest 24411 (+ ) f 2so.. ..(+)ff 25411 .(+)sff 25412 SD:(+) f TrtrlpnNl 2s4/2 (+) ff 257h (+) accent 32 ...... (+) piu mosso(q.n.: 96) 25713 SD: (+) accent 104 ...... (+) Un poco meno mosso(q.n. : 132) 261 ... (+ ) rir.__ _ _ 169 ... (+ ) rit.-- - - 26111-4...... SD: (+) rollsymbol 171 .... (+)Tempo | (Maestoso)(q.n.: 69-72) 261/3 (-) rest 174.. (+ ) (q.n.-76) 26114 SD: (-) noteson middle line 199 ...... (+ ) poco a poco accel.- - - - 261/4 (+)triplesymbol 213...... (+) dyn? f? PrnNo/crLEsrE Xvr-opHoNr 313...... clarify end of Buu---| 43..... (+)(q.n.:144) 1s/3 ...... (-) picc. 57/3. (+) accent 60/2 ...... clarify end of Bu"---l 59/1...... (+ ) accent 7Ol1...... (+) mp 104... . (+ ) (q.n.: 132) 92/2...... (+ ) f and accent 171 . ...(+ ) (q.n.: 69-72) 94-98 (+) accentssimilar to bassline? 174.... (+)(q.n.: 76) 96 ...... end 8u'after 1st beat 222/1 (+ ) accent? 96/2...... slr e.n., not q.n. - - 14311 clarifyend of Bu"- | PrncussroN 16512 (+ ) stacc. 165 ... terminateBu" after beat 3 "press 11 ...... (+ ) forward" 170/3 (+ ) accent 15/3. (+)Tempo 1 (q.n.: 76) 171/4+ ...... (+ ) accent 32 ... ..(+ ) Pii mosso(q.n.: 96) 213...... (+ ) Bu' 39 ... .. (+ ) poco a poco accel.-- - - 214/1 (+ ) accent 43 ...... (+) Allegro(q.n. : 144) 219 ...... (-) marc. 94/2. (+)accent 225 ... (+) Bu" 9B/3. ..(+ ) accent 227 .... clarifyend of Bu'---l "Piano" 99 ... (+ ) plu allarg. 244 ...... (+ ) 104... (+)un poco menomosso (q.n.: 132) 244/1 (+ ) f 110 ...... (+ ) l'istessotempo 255-257..... (-) sfs (mm. 254 also?) 171...... (+)Tempo 1 (Maestoso)(q.n.: 69-72) 261 .. . clarifyend of Buu---l 170 .... (+) fermataover rest 198 . ..(+ ) pid mosso(q.n. : 120) 204 ... Tempo1 (Allegro)(q.n.:132) 24314 (+ ) f DouglasAdams is music librarian of the D ayton Phi Ih armonic Orchestra (O H).

L24 JCG vol 15.No. 2 "Estdncia" Danzas del ballet by Alberto Ginastera IV. Danza final (Malambo)

compiled by Douglas Adams

ScoreCorrections Reh#/Bar#Correction

Reh#/Bar#Inst: Correction 24/1...... (+) f on beatj 27/1...... (+) ff on beat1 3/"1...... Tpt: beat 1 s/rTpt. 1 solo 5/1...... Tpt: beat 1 s/rTpt. 1 solo Bnss 12/1...... Tpt: beat 1 s/rTpt. 1 solo 23/5...... Hn 3&4,Tpts:beat 6 s/re.n. 1/5 ...... (+)cresc. on beat1 25/4...... Ob: (+) accentson beatsI & 3? 21/8 ...... (+)downwardg/iss. on beat5 27/1...... Fls: (+) ff on beat1 also? 22/8 ...... (+ ) upward gliss.on beat5 2B/2...... Fls: (+) f on bear1 also? 25/B...... (+) downward g/iss. on beat5 26/8 ...... (+)upward gliss.on beat5 29/8 ...... (+)upward PartsCorrections gliss.on beat5 Flurr I Reh#/Bar#Correction

10/9-12...... missing - (+) ,,play VrouNI from score(or 1a) 3x - 3rd time cresc.) 25/4,6 (+) trem. to beat4 14/3...... beat 5 s/re.n., not q.n. 25/8 ...... open front of bar on beat4 26/8 ...... (+) Vrou cresc.hairpin to beats5_6 27/1...... (+ ) ff also? 28/2...... (+) f also on beat1? Beg./S beat1 s/rE and C# 6/1...... (+) cresc. on beat1 Ptccor-o 7/1...... (+) f on beat 1 9/1...... (+) mf cresc.on beat1 14/4...... notes s/r E q.n.- E q.n - D q.n. 1O/9...... (+) cresc. on beat1 11/1...... (+) sfon beat 1 'tf Osors 11/2...... (+) f on beat 11/2...... s/r D, notC on beats2,4,6 4/7-B missing(repeat mm 5-6) 15/1...... (+) cresc. on beat1 10/10-12.... missing (repeat mm 9 and write ,,play 3O/1...... (+ ff on 4x ) beat1 with cresc.") 14/1-3 (+) ten. over q.n. Crllo on beats5 & 6 14/5-7 (+) ten. over q.n. on beats5 & 6 21/1 ...... continueslur from previousbar 1/5...... (+) cresc. on beat1 26/8 ...... (+)cresc. hairpin on beats5-6 8/5-S Beats1-6 slr D-A-E-A-F-A 27/1 ...... (+ ) ff on beat1 11/2...... (-) repeatsign at beat1 2B/2...... (+) f on beat1 19/4...... slr treble clef not bass clef 29/8 ...... (+)cresc. hairpin on beats5-6

JCG VoL 15,No. 2 125 Reh#/Bar# Correction Reh#/Bar#Correction

3Ol1. .. (+) ff on beat 1 Tnumprrs 3Ol9...... beat 1 s/rq.n., not e.n. 30/11 . beat 1 s/r accent, not stacc. dot 10/5-8 1: noteslr C# 10/5-8 Tpt 2: notes/r E CmnrNrrs 15h ...... Tpt2: (+) tieto beats2-5 1515...... (+) ffon beat 1 413.... . (+) ten.on beat5 1614...... slr stacc. dot on beat5, notaccent 13h ...... s|re.n., not q.n. on beat4 17/4...... slr stacc. dot on beat5, notaccent 13/6...... (+) ten. on beat5 1814,8 slr stacc.dot on beat5, not accent 14/1-3 (+) ten.on beat5 2Ol4... slr stacc.dot on beat5, not accent 1415-7 (+) ten. on beat5 27lB...... Tpt 1: Note slr D, notC 15/5...... (+) ff on beat1 2117. (+) trem.on all notesin beats1-3 Trmpnrur

BnssooNs 1513.. (+) cresc.to ff 3Ol1. .(+) ff on beat1 4lB .. ...clarify div. 14/1. Bsn2: (+) tie on beats3-4 Bnrrrnv 25lB...... (+ ) slurto nextbar startingon beat5 3-4...... s|r 6 mm rest 15-16 s/r5 mm rest HonNs1 & 2 TnlaeouRrr.Jr 1213...... last note s/r e.n. 12/5.. . (+) beamto 3 e.n.'s in beats1-3 30/1 trem. to beat 3 1611...... (+ ) Tempodi malambo 2312...... (+) A-flatgrace notes to beats3 & 5 SrorDnum 23,4...... (+) B{lat gracenotes to beats3 & 5 2711... (+) ff on beat1 6-7...... slr B mm rest 2712...... (+) ff on beat1 1611...... (+) f onbeat 1 2717...... Hn 2: (+) beamsto beats1-6 29lB...... Hn 1:(+)accents to beat1,3,5 XvlopHoNr 29/B.. Hn 1:(+) stacc.dot on beat5 3Ol1. . (+ ) ff on beat 1 617...... (+ ) upperoctave to beats2,5 2418...... (+) Buuover C# in beat6 30/11 (+) Buuover B & C in beat6 HonNs3 & 4 Prnruo 1611... (+)Tempodi malambo 1915. (+) eliss.to nextbar beg. on beat6 9/1-4 (+) loweroctave to r.h. 2315...... (+) gliss. to nextbar beg. on beat6 11/2...... (+) low C & C inbeat 1 2411...... (+) f on beat1 14/2-4 (+) stacc.dots in beats1-2 2716...... stem on beat4 s/rdown also 1514...... (+) low C in beat3 2717...... stem on beats 1-6 s/r down also 2O/4. . wrongnotes & rhythms;s/r same as in 20lB 2BlB... stemon beats1,3,5 s/r down also 2111...... (+) 4 flatsto L.H.in beat2 2Bl8...... (+) accentson beats1 & 3 2613...... (+ ) 4 flatsto L.H.in beat2 2BlB...... (+) stacc. dot on beat5 2Sl1...... (+) accentson beats1,3 2916...... stem on beat1 s/rdown also 30111 (+) C in L.H.inbeats 2-6

126 JCG vol i5. t{o. 2 Books in Review

by Henry Bloch

Arthur Jacobs,Henry J. Wood, Maker of the However, after World War l, the BostonSym- Proms, London:Methuen, 1995; distributed in phony offeredhim a lucrativecontract which he the U.S.A. pomfret, by TrafalgarSquare, North declined,preferring to remain in England. In Vermont;ISBN:O 413 683907;504 pp.;$39.95. 1925, 1926and 1934 he guestconducted at the Hollywood Bowl, and during the lattertrip, fi- Thefame of Britishconductor Henry J. Wood nally appearedas a guestconductor in Boston. restsfirmly prom- on his achievementswith the Wood was trainedas a schoolteacher before enadeConcerts at Queens Hall in London. In embarkingon his missionto introducethe finest 1895, at age twenty-six,he becamechief con_ orchestralmusic to Englishmiddle-class audi- ductor of the annual Promenadeseries and re- ences. In this endeavorhe seemsto havehad an mainedits music directoruntil his death in 1g44. instinctfor balancingthe heaviersymphon ic fare When the BritishBroadcasting Company Sym- with morefamiliar, lighter and shorterselections. phony Orchestra becamethe eueens Hall resi- He did not hesitateto re-orchestratethe works of dent orchestra in 1927, the BBC beganbroad- seventeenth-and eighteenth-centurycomposers castingand televising promenade many of the aswell asshorter pieces for pianooriginally writ- concertsin order to capturethe ever-growingelec- ten by Romanticand contemporaryEnglish com- tronicaudience. posers.These reorchestrations seem to haveap- Wood's Promenadeprograms were designed pearedmostly on performancesat the promsand to attract large audiencesand make crassical provideus with insightsinto the orchestralpro- musicmore popularin England. To someex_ gram-buildingin Englandin the firstdecades of tent, Wood's Austrian colleague,Hans Richter, thiscentury. Apparently reorchestrations, to some engagedin similar endeavorsduring Richter,s extent,found theirway into the moreformal con- tenureat Manchester and appearancesin other certsbeing given elsewhere at that time. citiesin England.Although Wood concentrated Author Arthur Jacobsdiscusses in con- his programming on the broad romanticreper- siderabledetail Wood's programsat the proms. toire of central Europe, he mustalso be credited Nevertheless, despite provid ing interestingin- with introducing a considerableamount of the sightsinto the musicallife in England,the nar- new musicthat was beingcomposed in England. rativetends to becometedious. Fortunately, there Beyondhis half promenade centurywith the con- are some redeeminganecdotes. On September certs,Wood conductedBritish orchestrasin Birm- 3,1912,Wood presentedthe world premiereof ingham,Leeds, Sheffieldand elsewhere,and vis- Arnold Schoenberg'sFive Piecesfor Orchestra, ited mostof the musiccenters on the continent. Opus 16, at the PromenadeConcerts. Accord- Duringhis first visit to the Unitedstates in 19o4, ing to EugeneCoossens, who playedviolin in he successfullyappeared as guestconductor of the orchestra,the receptionby audienceand or- the New York Philharmonic,which hadjust lost chestrawas mixed, to saythe least.Twenty years its chief conductor, Walter Damrosch,to the earlier,Wood presentedthe Britishpremiere of newly organized New York Symphony. For rea- Tchaikovsky'sopera YevgenyOnegin. His per- sons ,|903 that remainunclear, Wood was not invited formancesof Mahler'sFirst Symphony in to return to ew york duringthe followingseason. and FourthSymphony in 1905were alsoBritish

JCG Vol. 15,No. 2 127 premieres,probably among the firstperformances conductor'sleft; and harpswere movedforward, thiscomposer had everreceived in England.As toward the centerof the stage. As for the audi- pianists,Busoni and Ravelmade their first ap- ence, Wood did not permit applausebetween pearancesin Englandunder Wood, although movementsof a largerwork. Of specialnote is some of their music had appearedon his pro- the factthat, according to the diary of his daugh- gramslong before that. And in 1942,during the ter, Avril, Wood was the first conductor to en- SecondWorld War, when mostconcerts and the- gage women in a professionalorchestra in En- atre productionswere moved out of London to gland. cities lessvulnerable to Nazi bombers,Wood Throughoutmost of his life, Henry Wood's offeredthe firstperformance outside of Russiaof domesticlife was anythingbut blissful. His first "Len Shostakovitch's ingrad"Symphony. marriage,to Olga Mikhailov,was a happyone, During his long career,Wood devotedmuch but wascut shortby Olga'sdeath after on ly eleven time and energyto workswritten by Englishcom- years. Although Wood's second marri?ge,to posersof his generation. On the occasionof Muriel Creatrex,lasted nearly twenty-five years Wood's seventiethbirthday, Ralph Vaughan Wil- and producedtwo daughters,it neverdeveloped liamsrecognized Wood's supportwith the dedi- any mutualcompatibility and eventuallybecame cationof the lovely Serenadeto Music. The work unbearable.After Wood's decisionto end the wasperformed by sixteenrenowned English sing- marriage,he took ,p residencewith singerand ers whose careershad also been advancedby former student,Jessie Linton, who had only re- Wood's guidanceand encouragement. centlybecome widowed. Althoughthe detailed Until the early 192Os,Proms programs had accountsof Wood's privatelife are probably well- " includeda march,a ballade,or a similar light" researchedand designedto be informative,they piece, Butduring that decade, due in partto the requireconsiderable patience of the reader. popularityof Americandance music,program- At age 67, Wood wrote an autobiographyof ming beganto change. Suchwas the impactof his brilliantmusical career that was rich in fasci- "syncopated the music,"as it was referredto, that natingdetails. lt revivedmemories of his con- some Englishcomposers, Eric Coates,for ex- tactswith the foremostperformers and compos- ample, wrote some works in that style. Henry ersof the time. Understandably,in thisopus he "these Wood had no room on his programsfor discreetlyignores his apparentlydisastrous mar- Americanatrocities." Instead,programs which riageto Muriel but,thanks to Mr. Jacobs,Wood's had once resembledan early BostonPops con- frequentlyunreliable recollection of the factsre- cert now became somewhat more seriousand ported in his autobiographyand other writings formal,a trend that found greatfavor with many are meticulously corrected. in hisvast audiences. Arthur Jacobshas earnedour gratitudefor a It is interestingto learn that many con- thoroughand generallyaccurate biography of one temporaryconcert traditions were establishedby of England'soutstanding conductors and educa- Wood at the Promswith the pre-World War I tors. lt is unfortunate,however, that his writing Queens Hall Orchestra:Wood introducedthe is not as colorful and animatedas the customof havingthe orchestrastand at the be- personalityand careerof his subject. ginningof the concert;there was no handshake betweenconductor and principal;the principal ******** "Leader") firstviolinist (who was not called ar- Henry Bloch is artistic director of the Over- rived on stagewith all the other orchestramem- look Lyric Theatre,a chamberopera company in bers;first and secondviolins were placedon the Woodstock, New York.

128 JCG vot 15.No. 2 Call for Proposalsor Articles for the Journalof the ConductorsGuild

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We may invite you We may send it to We sendit to a We set up the text to write an article reviewers researcheditor in columns

We may suggesta We may suggesta We send it to a We add photos different emphasis different emphasis copy editor graphs, rn.rri"ul or direction or direction for revisions examples,etc.

We may suggesta We may suggest We send it to We sendyou page different proposal changesin you for approval proofs for or article phrasing,language and revisions checking or organization

The Editorial & ResearchBoard of theJournal of the ConductorsGuildhas on ongoingneed for articlesand propsals germane to the art, scienceand history of conducting. You may submit an article or proposalat any time. Write for readerswho haveexpertise in diverseareas of music and conducting,and are interestedin broadeningtheir knowledgeof currentresearch and writing in the field. Write in a readable,lucid style; avoidjargon and try wheneverpossible to avoid technicalterrns not understandableto informed musicians. If you must usetechnical terms, carefully define eachat the point in the text wherethe term is fust used. In general,articles should be betweenfifteen and twenty double-sapced,typed pagesin length. For style questionsand citation formats,consult the Modem LanguageAssociation (MLA) style manual. All questionsregarding the appropriatenessof a proposalor article shouldbe sentto the ad- dressbelow. A proposalfor an article shouldinclude a one-pagesummary of the article and a statementof its significance. Two copiesof either a proposalor an article shouldbe submitted. Articles can also be submittedas an ASCII text documentor in anIBM-compatible word-processed version on 5.25"or 3.5" diskette,but a hard copy ofthe article shouldaccompany the diskette. Sendarticles and proposalsto: Journal of the ConductorsGuild Editorial and ResearchBoard 103 SouthHigh Street,Room 6 West Chester,PA 19382-3262

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