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Thbleof C'ontents

I]O}II'fENTARY. 4+-1

THE0DORETHtllAS: Al,lEIiIrl;$i itr-iNiitjl'Tr'iR, AI,IiiRICAI.JI.IUS tC [iIjiji.ATt.rH. f,AttT I by Daniel l{cirnst.eirr. 45

THE R.ELATIoNSIiIPOF'l.HE CUNDLiCT'LIRANil'fHii S'IAGE DIttl.C'IuR IN tipEI{AT1CpRolitrCTION b_v Jil l llenj jnd:r se T' 11 55

MONDAY,OCTOBER 2{.i,, 11B7 Lrv i'lar Ru,lolf 72

RANDO|'I T}lOtiGl{I'Fi ON OPEFiA COtiliLICT'Il,iG}rv Pet.er l:':rr-r i f'u.chs 7B

SCORESAND PARTS by Jona t tran St e rnbe rg . g 3

BOOKSIN REVIEW by F{enry Bloch. Bg

T'HE PUBLISHERS' CIIRNETI. 91 Staff

Editor - Jacques Voois, 424 Price Street, West Chesler, PA 19380

Editorial Board - Maurice Peress, Ilax Rudolf, Jonathan Sternberg, Jacques Voois, Donald Waxman, Robert Winter

Contributing Writers - Jacques Voois, Daniel Hornstein, Peter PauI Fuchs, Henry Bloch, Jonalhan Sternberg, Jill Denise Tindall, Max Rudolf, Kirby Pines

SecreLary - Vicki Althouse

Production - American Symphony Orchestra League Karen KittilsLad. Publications Coordinator Janeas Sleffer, Production

Conductors'Guild Officers

President: Maurice Peress Vice Presidents: Donald Portnoy Thomas Hohstadt Secretary: Alan Pearlmulter Treasurer: Dirk-Holger Bambeck PasL President: Charles Ansbacher

BoardMembers

1980-82 1981-83

Frank Brieff Thomas Osborn Richard Cormier Ruben Gurevich Eve Queler HaroId Farberman Rhonda Kess James Selapen Gordon Munford Philip Lehrman Mark Starr Jonathan Sternberg Amerigo llarino Richard Williams Evan lJhallon

Purposes

A. To share and exchange relevant musical and professional information importanL to conductors.

B. To publish a Journal of articles and reviews as well as a Newsletter with informaLion on currenL and fuLure Guild events, training programs and competitions of interest Lo conductors.

C. To supporl the development and Lraining of conductors and to support the artistic growth of American symphony orchestras.

D. To communicate to the music community the views and opinions of the Guild. COMMENTARY

On March 18, IgB2, the Editorial Board of the Journal met at Lhe philadelphia apartment of Maestro Max Rudolf. Many issues were discussed and some policy decisions were made. Beyond the obvious ideal of improving the professionalism of Lhe publication, it was decided that works by scholars, conductors, and musicians would be given preference over works written by journalists. AlLhough Lhere are many journalists across the country who are sLrongly involved wiLh and erudiLe in the field of music, Lhe field of conducling is so specialized that Lhose conductors active in Lhe profession would more reasonably be expected to profit from professional-level articles than from articles writLen by a music journalist for popular c99-ggqP!94'

The current issue reflects this policy as well as the recent trend that finds conducLor/authors involved in ntasters and doctoral-leveI research submitting Lheir work Lo the Journal for evaluaLion, editi.g, and publication. Two articles in Lhis issue are so derived. The first, a doctoral research paper by Daniel Hornstein, provides interesting insights into the pioneer of American orchestral music, Theodore Thomas. This work will be presented in two parts due to current Iimitations of space. The second work is a masLers Lhesis by Jill Denise Tindall. After review by Lhe Editorial Board three chapters were selected for publication.

Since the aforementioned work deals with an operatic topic, it seemed appropriate to publish two additional articles about opera and opera conducting. The first, by Max Rudolf, is a reprint of a 7915 article that appeared in Opera News. It relives, wittr Maestro Rudolf's usual thoroughness, historical accuracy, and personal perceptivity, the first performance of Ylozart's Don Giovanni. The next article, by Peter Paul Fuchs, conLains a wealth of praclical information that has been gleaned from a long and dist.inguished career of opera conducting. "the Although Peter apologizes for haste with which I dashed off this work," any work conLaining such fundamentally sound professional advice will always be welcome in this publication, regardless of its period of gestation.

The balance of the Journal contains the writings of our regular colum- nists who have, in recent issues, developed a loyal following. We are delighted to receive an updated agency list in the latest installment t'Publishers' of the Cornert' series.

As discussed in the last issue, Peter Paul Fuchs is poised to begin a regular column dealing with the subject of programming. In a recent telephone conversation with Peter, it became apparent that the format of the column should be described in greater detail so Lhat those conductors planning to submit a full season of programs would better understand in advance how the material is to be trealed.

tfre number of concerts in a season series that could reasonably be discussed in a single column would be between three and ten. Ideally, the number would fall between five and seven. As occurs in the Pops

43 Page, o€ither the name of the orchestra nor its muslc director will be mentioned. Rather, the orchestra will be described by size (number of players) r American Symphony Orchestra League category (community, urban, etc.), by approximate geographical location, and possibly by a description of the community in which the orchestra performs. When submitting a program series, it would be helpful if the music director included a brief but adequate wriLten explanation of the consider- ations governing the creation of the series. This would establish a correspondence between MaesLro F'uchs and the music director and should result in a more meaningful commentary. We would also ask that the approximate time of each work be included, and that the music publisher from whom a copywrited work was rented be listed. Naturally, Lhe Editorial Board is enthusiastically anticipating the commencement of this new feature and is confident that, with the cooperation of the membership, it will become a meaningful addition not only to the Journal but to our profession as wel1. Program series should be addressed to: Maestro Peter PauI Fuchs, 720 Lipscomb Road, Greensboro, NC 274rO .

44 THEODORETHOMAS:

AMERICANCONDUCTOR, AMERICAN MUSIC EDUCATOR Part 1

by Danbl Homsteh

toil, in The following article is part one of succeeded, after Years of the a doctoral research paper writLen aL introducing music into Public such as North Texas State UniversitY bY schools; American virtuosos youngest son' Daniel Hornstein. Mr - Hornstein is Gottschalk and llason's world music director of the East Texas William, began to attain Symphony and of the UniversitY of reputations I and the orchestral would make American Texas I Arlington SYmPhonY. It is tradition that numer- edited and published with Permis- orchestras the best and most Lhe s ion. ous in the world began wiLh never-tiring work of one manr our The pioneer sPirit has been an first native American conductor, American tradition for nearlY 500 Theodore Thomas. years. Since the American exPeri- our ence itself was a totallY new ex- Although Theodore Thomas was "Americant' perience, it naturallY created a first conductor, like in long series of "firsts" the first many of his fellow musicians to break the sod, the first to 19 thcentury America he \^/a S "dark travel to the and bloodY fo re i gn-bo rn . Born in GermanY, a ground, " the first to cross the October 11 , 1835, his father was Theo- forbidding Rockies. TheY are all town musician and gave Young remembered and rightlY honored. dore his early musical education. Thomas However, lest we forget, not all the Apparently, as a Young child pioneers of our new land conquered showed a great deal of Potential, "he played the physical wilderness with ax and for had been told that he of plow; many soughL to sensiLize the the violin in Public at the age wilderness of the human sPirit to five."(2) give America a soul as well as an Lhe economy. That theY did not achieve King George of Hanover invited musi- all of their goals is obvious; we youth Lo become a household the are still fighting for their ideals cian, hoping PerhaPs to emulate a today. Nonetheless, without their circumstances of the young YlozatL initial efforts, our present culture century before I however, instead, would be substantiallY under- the senior Thomas moved his familY a developed. to New York in 1845. This was time when Iarge numbers of Germans pV America, during the earlY and mid- emigrated to America, sPurred on "a crop 19th century, experienced time in the ravages of widesPread urban historY when, to average failure and revolution, with subse- (3) persons, d[ orchestra signified quent political rePressions. twelve men (or fewer) sawing away furnishing the true melancholY Thomas rapidly became an American incidental to the death of Little (although his notebooks and diaries Eva. From that absYmal ePoch are written in German)- Almost all the road is lined with the immediately he began to help support records of the pioneers and with the family by plaYing his violin in " their tragedies. (1) Lowell Mason theater and dance orchestras. His father hit upon the idea of reliev- a silver platter. Nevertheless, his ing the family financial difficul- basic musical performances were ties by enlisting both father and accurate, in tune, and had great son as horn players in a N.vy band effect upon the audience, in spite that played aboard the old coal- of (or perhaps because of) his "show fired USS Pennsylvania. "His own business ." (7 ) estimate of his ability with Lhis instrument was tDamn Bad!' . Never- Jullien would lead the performance theless, this must have been "in a a kind of dance" and the audi- profitable experience "came for the young ence to watch his gyrations, conductor. " (4) which were many and extraordi- nary." (8) Nonetheless, JUI I ien The 14-year-old Nuvy bandsman ob- influenced Thomas in two major tained his discharge after ilJullien' one year, areas. First, s eccentri- only to embark on one of the most- cities of dress and behavior must romantic episodes of his life. He have turned the stomachs of his undertook a concert tour of the players, Thomas included, as much as American South as a violin solo- they titillated the fancies of his ist on horseback. Returning to large and enthusiastic audiences. New York in 1850 (at the tender age Nevertheless, it is obvious that of 15), he set about becoming a Thomas had a thorough course in the violin virtuoso. Money being very training of an orchestra to become a short, he had to accomplish that disciplined, eXpressive instrument feat without benefit of a teacher. under the baton of a commanding But within the year " his name began conductor. (9 ) to appear on concert programs as ttMaster Thomas rt who would "p.r- r be Second, Jullien? s performances must forming such showpieces as Ernst's have 'Theme impressed Thomas by their and Variations from Otello' , educational potential, for once he the same composer's 'Carnival of got the audience into the hall and Venice' and Lipinski's 'Concerto captured their attention by his Militaire' . " (5) podium antics, Jullien "fed them certain dosages of music they would Gradually he was hired as a member otherwise have shunned like the of various pit orchestras that would. plague." ( 10) accompany the great European vocal- ists that toured this country to A series of monthly chamber music great acclaim and even greater fees. concerts beginning in 1855 was the His- most profound influence, how- 20-year-old violinist's next great ever, was the French conductor success. These were organized by Jullien, who arrived from Europe Witliam Mason, America's first great with a small group of musicians piano pedagogue and the son of music later augmented into a large sym- education pioneer Lowell Mason. phony orchestra by local players. Mason's chamber music series was the first systematic exploration of that In later life, Thomas was to refer repertory in this country, and to Jullien as "the musical charlatan included performances of quartets, of all ages."(6) However, he could works for piano and various combi- not avoid being influenced by the nations of strings and solo instru- almost unheard-of discipline imposed ments r 3s well as the world premiere upon the orchestra by the French of Brahms' Trio in B Major, op. g, conductor. In performance, JuIlien anticipating the German premiere by indulged in aIl sorts of hokum, almost a month! Later in life, including conducting Beethoven only Thomas, commenting on these con- with a special baton brought "Of him on certs, said, course they did not

46 pay. I suppose that Mason must have bring opera to Americans in English borne the losses for many and to develop American singers. years."(11) Thomas soon came to feel that the The natural effect of these perform- hero-worship paid the singer more ances of Beethoven, Brahms, Schu- rightly belonged to the composer. "The mann, and other German masters was master works of instrumental to expand Thomas' musical horizons music are the language of the should f rom the limited violin vi-rtuoso and express more than those of any " repertory to the masterworks of other art. (15) He would always other musical art forms. The series date the beginning of his conducting of concerts continued on a regular career from the first orchestral basis until 1869, when Thomas' concert he organized and conducted, increased tour schedule made it on May 12, 1862, at Irving Hall in impossible to continue. Mason and New York. Thomas, however, remained good friends and continued to perform Thomas was taking a large risk by chamber music together. Later, they founding his own orchestra at the often collaborated in the perform- youthful age of 28. Yet, his col- ance of piano concerti. leagues in the opera and dance orchestras of New York must have had Thomas made his first appearances great faith in both his musical and "In with the baton in 1859, following business sense. He, typical the traditional pattern of last- American fashion, called a meeting minute substitution for an ailing of players, told Lhem of his plans, older colleague. The Z4-year-old and asked for their coopera- violinist substituted several times tion." (16) This regard for the on short notice for the German feelings and security of his men conductor Anschutz, a member of the would last throughout his career. "old Ullmann opera company that appeared The man" had a reputation for in New York during the 1859-60 severity, but no one ever accused season. "I was gradually drawn into him of unfairness. This was a time the conductor's chair by his ill- when artists were regularly stranded ness, though I avoided it as long as in such locations as Minot, North I could for I wished all mv time for Dakota due to the financial collapse study." ( 12) of the impressario. Thomas, however, always brought his orchestra Curiously, Thomas was not proud of back to New York. (17) his activities in the theater pit, particularly since the cult of the Remembering the orchestral disci- prima donna reigned supreme. "In pline learned from Jullien, Thomas the days when Italian opera was refused to allow his musicians Lo supreme, the highest accomplishment perpetuate Lhe New York Philharmonic of an orchestra was to follow the musicians' sloppy practice of send- singer. " ( 13) This, in effect, ing substitutes, or simply absenting subjugated the conductor to little themselves for better paying jobs. more than a time-beater. In fact, If a man signed on with the Thomas Thomast own autobiography is "silent orchestra, he was held to his on this matter (the date of his responsibilities. opera debut) because he no doubt "As placed little musical importance on a result of this concert, Thomas his role in opera at this time."(14) undertook in the following autumn a When, later in his career, he again series of concerts in New York that became involved in opera, it was for laid the foundation of his career as " sound educational reasons, i. e. to a conductor. (18) An expression

47 found currency during later years No. 5 and Berlioz's Harold in Italv. that, because of his touring ef- forLs, all of America \.easbuL a stop From this point forward, he threw "Thomas " on the Highway. That himself into a frenzy of conducting highway started at the foot of the and performing that would have stage of New Yorkrs Irving Ha11. strained five men; he initialed Caskey (19) has reproduced that several concert series, one of which first concert program, dated May 12, was an afternoon series specifically 1862. designed to bring good music to the " common man. t' Thomas intended that "The Overture to Flying Dutchman" these concerts have a specific by Wagner (American premiere) educational purpose. Still, he found time to practice and was able "Lord Hymn: be thou with us" by to perform with the New York Phil- Apel (Teutonia Choral Society) harmonic on November 5, 1863, in a widely praised performance of the "The Fantasia, op. 15 Wanderer" by Mendelssohn violin concerto. Schubert-Liszt (William Mason, piano solo ist ) In order to find enough work for his men Thomas, in 1865, founded a "Bel raggio lusinghiert'from Semi- series of summer concerts in New ramide by Rossini (Eugenia de Lus- York's Belvedere Lion Park that was sin, soprano soloist) moved soon thereafter to Central Park. These programs were similar Concerto for violin in a minor by to those found on modern-day t'Pops" Molique (Bruno l{oIlenhaupt, violin concerts. No long, heawy works were soloist ) programmed, and a large selection of "current hits" was always in evi- t'Les "modern" Quartette Contrastes't for piano dence (including such works 'rBeautiful by Moschales as Foster's Dreamert' and "Just Root' s Before the Battle, "Ernani- involami" f rom Ernani by Mother" ) . Thomas himself best Verdi (Mme. de Lussan, soprano) expressed his purely practical reasons for putting Brahms and Music from Struenesse by Meyerbeer Beethoven aside during the hot sufilmer months: Without beer and Encouraged by the success of this cigars a long series of light or concert, Thomas began a seri-es of popular programmes is impossible. concerts in and near New York City People will not keep on coming. But the following fall; he also began without a long series of concerts a to add complete major symphonic great orchestra is impossible. (20) works to the "pot boilers" featured at his debut. The reputation of the Only in the last decade, with the Thomas orchestra spread rapidly and arrival of the SO-week contract, "plum" soon it became the financial have contemporary symphony orches- for New York ltayers. Thomas' tras realized the soundness of personal reputation also grerd and, Thomas' ideas and his concern for in December of the same year (1862), the players. he was hired to conduct a concert of the Brooklyn Philharmonic. Later he Every musician has his favorite was invited to become its permanent story about an outdoor concert, and conductor. That season of endless Thomas was no exception. successes culminated in a grand "I manner on May 9 , 1863, with a con- remember another funny incident cert featuring Beethoven' s Symphony which happened about this time. In

4B the "Carnival of Venice" the tuba Thomas' concert activities in New player had been sent, not up the York put the Philharmonic in the trees, but back of the audience into worst possible light. Not only were the shrubbery. When he began to the concerts of the Thomas orchestra play, the police mistook him for a artistically superior, but Thomas' practical joker who was disturbing genius for programming aLtracted the music and tried to arrest him! larger audiences at higher prices. I shall never forget the comical scene, 3s the poor man fled toward The rivalry between Thomas and the the stage, pursued by the irate Philharmonic was a recognized fact policeman, and trying to get in a of New York musical life. Already note here and there as he ran. (21) in 7866 the Neue New Yorker Llusik Zei-tung had " Thomas made his first out-of-town Thomas' success that had prompted tour in 1868, when he took his Bergmann (their present conductor) ttprogress orchestra to New Haven and surround- to include such ivett coming towns during the cold of Janu- posers as Liszt, Wagner, and Berlioz ary. The great successes, both in the Philharmonic progranmes "Thomas artistic and financial, of these is the bolder of the two and limited t'run-outs " convinced him has undertaken to do in five con- that he had finally found a way to certs work that might well tax the maintain his orchestra as a perma- energy of an orchestra for a couple nent entity. of years ." (24)

He made his first lengthy tour (of Recognizj-ng Thomas' superior gifts, the East CoasL) in the fall of 1869, the board of directors of the beginning a 20-year traveling sched- player-run New York Philharmonic "only ule that is staggering to contem- decided that the way to handle plate, even in our day of vastly him was to hire him. " (25) After improved transportation. "In the several years of tenuous negotia- years that followed, these concerts, tions (and financially disastrous frequently one-night stands, were seasons for Philharmonic members) played in virtually every city or Thomas was hired for the t877-18 town east of the Mississippi that season, with no stipulation that he contained a suitable hall or possi- forego his other musical activities. ble audienc e ." (22) The fortunes of the Philharmonic immediately improved. After just Present-day orchestras only copy his one season as music director, Thomas early efforts when they schedule raised the individual player's regular series in other cities. It dividend from the previous year's is probable that the phenomenal low of $18 to $82! He took the next growth of American symphony orches- year off for an unpleasant experi- tras is due to the early exposure ence as director of the Cincinnati given the American heartland by Conservatory, and the orchestras Thomas and his efforts. Those tours finances prompLly fell, almost to on the "Thomas Highway" should pre-Thomas levels. With his re- ultimatelv recer_ve appropriate engagement for the 1879-80 season, commemoration by the American sym- however, finances improved and the phony establishment as a tribute to orchestra was on its way to ful1 Thomast energy and vision. "Anyone financial stabilitv. but a man of iron and steel would have quit after a few vears of As Thomas grew older, the demands of ir."(23) traveling, p€rforming, playing

49 ::e;;;, l^L, ;::;;^'.

*\. ww x \i'-k

ThoodofeThooas (taton h l8&l) Ros€ Faye Thomas"l,Elrons oF llEoooRE Tltoir s, (Mottat, yard & co. rgt t), frontb9bca

lighter music in New York suflmer non-conducting, that did not involve beer gardens, and maintaining mul- the strains built into his existing tiple New York series (at one time situation. During this period, he he was responsible for three orches- had three major setbacks that in- tra series) began to extract its creased his longing for permanence. tolI. "Thomas began to view his The first was caused by his admired tours as an onerous task which he Richard Wagner. Unfortunately, undertook only to improve American Thomas, like many others, could not musical taste and to keep his or- separate Wagner the superb musical chestra together." (26) He began to creator f rom l{agner the irrespons i- long for a permanent position, even ble cad. On Thomas' recommendation,

50 to Chicago the Philadetphia Centennial Commis- His decision to move York artistic sion hired Wagner to compose a march caused many in the New he had done to open the festivities for Ameri- community to claim Nevertheless, ca's 100Lh birthdaY. Wagner took precisely that. "to " men made the the Commission the cleaners, Thomas and 6A of his the Chicago turning over a terrible little march trip west, and in 1891, by the in return for a fee of $5 '000! Symphony Orchestra ' augmented local musicians available was Since Thomas was a PrinciPal in the best ' tttarred verY imPor- negotiations, h" was wiLh born. This, again, was for the the same brusht' and his reputation tant musical pioneering, he and suffered a serious blow from which corporate structure that was unique it never fully recovered. Although Charles Fay established time and soon became the he continued to Program Wagner's aL the works the rest of his life, Thomas model for all other Professional The two Iost much respect for Wagner, the orchestras in the countrY. of wealthY man. men put together a group individuals who pledged to finan- and In 1878, Thomas accePted the direc- cially underwrite the season for a torship of the newly-created Cincin- make up all deficits in return nati Conservatory of Music - This position on the Chicago Symphony's tenure resulted in a disillusionment Board of Directors. FaY made it Thomas that will be dealt with subsequent- financialty possible, and "high soci- ly. Later, in 1885, he suffered the created the glamour and most disastrous financial reversal ety" that made it desirable for the of his life with the demise of the nouveag-riche Chicago,businessmen to American Opera ComPanY. He would become members of the Board. Some- have lost even his librarY of musi- what later, the New York Philhar- cal scores and parts had it not been monic also organized along these purchased at a sheriff's auction by lines; this corPorate structure friends and returned to him. continues to be uniquely American.

The death of his beloved first wife, Freed from the financial responsi- t'own" and Minna, in 1889 convinced him that he bilities of his orchestra that must make a change in his life. the unfortunate lack of control Fortunately, he met Miss Rose FaY (a exi-sted in the New York Philharmonic young pianist from Chicago who had (a player-run cooperative orches- just returned from studY in Ger- tra), Thomas now turned his energies j-nce many), fell in love againr remar- to full-time music making - S ried, and therebY gained the servi- the members of the new Chicago ces of one of the most energetic Symphony were PrimarilY Thomas promoters in American artistic orchestra alumni, Thomas possessed a history, Rose' s brother, Charles core of experienced, dePendable Norman Fay. Charles had made a musicians that produced high-quality comfortable (but not overly large) music virtuallY from the first fortune by installing the Chicago downbeat. The standards of the new street-car network. VerY quickIY, group were high, Perhaps the highest he and his new brother-in-law became in the country. close friends. Following a chance remark by Thomas, Charles FaY asked Richard Strauss came to these shores him,ttWould you come to Chicago if for the first time in 1904 to guest existing major we could give you a Permanent or- conduct all of the chestra?" Thomas replied desperate- American orchestras (Boston, Phila- ly, "I would go to hell if theY gave delphia, the New York Philharmonic, me a permanent orchestra l" (27) and Chicago) He selected for

51 Thomas' group his very demanding Orchestra Hall r or Michigan Avenue Also Sprach Zarathustra. He was facing the lakefront. Still regard- deli-ghted by both the orchestra's ed as one of the finest concert ability and Thomas' preparation. He hal ls in exi stence , it \.ras des igned "Gentlemen, told the orchestra, f by Daniel Burnham to the specifica- came here in the pleasant expectations of Thomas, who had become an tion of finding a superior orches- acoustical expert by virtue of his tra, but you have far surpassed my performances in most of the extant expectations I know that this is halls of the United States. due to your most highly revered 's Pleister, Herr Docktor Theodore Sad1y, Orchestra Hall dedication " Thomas. (28) concert on December 12, 1904 included a work that was perhaps pre- The only out-of-tune note in the scient, Strausst Lcrre poem Death and Chicago experience was the lack of a Trans!:€11!4!:gn. Thomas di..d .f proper ha11. The Chicago Auditorium pneumonia within the month His (still in use today on the east bank mantle in Chicago \ras inherited by of the Chicago River, with a totally Frederick Stock, who lead the or- refurbished interior) was too large chestra until his own death in 1942. and acoustically cold. Chicago's UnquesLionably, Thomas was one of other halls were either too small, America's greatest musical pioneers, "the too distant, or unobtainable. The and city of Chicago, the na- indefatigable Charles Fay was large- tion, and the international musical ly responsible for convincing the world joined in mourning his passing Board of Directors to build the with lavish tribute to his talent present home of the orchestra, and achievement ." (29)

Theodore Thomas and his orchestra at Steinway Hall, New York. Rose Faye Thomas. MEMOTRSOF T|-EODORE THOMAS.

(Moffat, Yard & Co., 1911), p. 36. (1) Charles Edward RusselI. The American Orchestra and Theodore Thomas. (N"- Y 927)r P. ix.

(2) Theodore Thomas. A Musical Autobiography. Edited by George P. Upland, vo1. 1. (Cf, urra Company, 1905), p- 20.

(3) It is interesting to note that the failure of the revolutionary efforts in the same year sent Wagner as a refugee to Paris.

(4) Russell Theodo're Casky. Theodore Thomas: His RoIe in the Development of Musical Culture in the United States, 1835-1905. Unpublished Ph.D. dissertation, The University of Minnesotar 7969. (Ann Arbor: University Microfilms 70-5642), p. B.

(5) Caskey, op. cit. , p. 10.

(6) Thomas, op. cit. , p . 26.

(7) A very interesting account of Jullien's American visits (and the only source available in English) can be found in Philip Hart' s excellent book Orpheus in the New World. (New York: W. W. Norton and Company, 1973), pp. 7-11.

(B) Russell, op. cit. , p. 19.

(9 ) Caskey, op. cit. , pp . 14- 15.

(10) Russell, op. cit. , p . 20.

(11) Thomas, op. cit. r p. 39.

(12) Thomas, op. cit. , P . 49

(13) Ibid. , p. 32.

(14) Hart, op. cit., p. 4.

(15) Thomas, op. cit. , P. 3.

(16) Caskey, op. cit., p. 30.

(17) The only time he did have Lo leave his company was at the demise of the American Opera Company, when the company was stranded in Buffalo. The collapse of this venture was not his fault, but he gallantly assumed personal responsibility for all debts. They were eventually paid.

(18) Hart, op. cit. , p. 14.

(19) Caskey, op. cit., p. 32.

(20) Charles Norman Fay "The Theodore Thomas Orchestra", Outlook Magazine, January 22,1910, paSe 164, as quoted in Caskey, op. cit., p. 56.

I t'r'rp (27) Thomas, op. cit. , p. 54. The ref erence to the trees" ref ers "Linnet to an earlier work, the Polkar" when Thomas instructed the piccolo players to climb up the trees over the audience's heads and play.

(22) Hart, op. cit. , p. 79.

(23) John Tasker Howard. Our American Music. 4tn edition. (New York: Thomas Y. Cro*"l1 Co*puny, t964).

(24) Howard Shanet. Philharmonic: A Historv of New York's Orchestra. (New York: Doub

(25) Ibidr p. 160.

(26) Hart, op. cit., p. 20.

(27) Philo Otis. The Cni.ugo SV*pto"V Or . (Chicago: privately printed, 19ffi

(ZA1 Hart, op. cit., p. 36.

(29) Hartr op. cit., p. 37.

)4 THE RELATIONSHIPOF THE CONDUCTORAND THE STAGEDIRECTOR

IN OPERATICPRODUCTION

by Jiil Denise Tkrdal

The following article contains three Wagner and the Synthesis of the chapters excerpted from a masters Arts. This book is an important thesis researched and written by addition to the Wagner bibliography. Jill Denise Tindall at Florida State Although it says little abouL University's School of Music. It is Wagner's production methods, it does edited and published with permis- chronicle the personalities and sion. events that shaped his thinking and evolution. Stein traces this evolution through an analysis of Wagner's Chapter2 enti-re literary and musical output. Stein reports that when Wagner wrote Oper und Drama in 1851, he was Wagner: A PhilosophicalConflict convinced that music must be subor- dinate to the total drama, which perforce made drama opera t s primary And lts lmpact On Production point of departure. Ail of Wagner's early writings are based on this philosophy and it is the main theme Change in the physical world is an of his prose work Gesamtkunstwerk. accepted constant. Artistic change However, Wagner "oon 4d is also unending and is ofLen re- to Schopenhauer's concept of the ferred to by various terms such as arts, a view that held that music is ttstyle, tt tttrend, tt ttschool, tt ttpat- the greatest of all the arts. " ttera tt iod , and . Generally, artis- Schopenhauer felt that music must tic change involves logical evolu- take precedence over every other tion and development. It is rare element of opera production and that that in ttre course of a s ingle a synthesis of the arts, that is, a artist's career a philosophic true Gesamtkunstwerk, was impos- ttabout-f acett occurs . However, f rom sible not to mention undesirable. time to time it does occur; the As a Schopenhauer convert, Wagner perfect example is found in the assumed a philosophic position that works, both literary and musical, of was antithetical to his earlier idea Richard Wagner. Although Wagner of Gesamtkunstwerk. Subconsciously, himself probably never fully real- he spent the rest of his life trying i.zed the drastic shift that occurred to reconcile the two philoso- in his perception of the operatic phies. (1) Wagner probably never form (both as composer and pro- fully real:_zed this struggle within ducer), it should be clear Lo the himself, even when it dramatically informed observer that radical surfaced in his productions aL changes took place in both areas Bayreuth. probably for the better. A fascinating book that deals exclusively At the Festspielhaus he acutely with Wagner's metamorphosis of ideas experienced this split in his artis- as they relate to his compositional tic personality and as a result he technique is Jack Stein's Richard was never totally pleased with his

55 productions there (though admittedly Although Wagner was intensely in- he had never been able to aPProach volved in every aspect of staging his artisLic ideals anywhere eIse, and musical direction, the same either). Even though the BaYreuth could not be said for scenic design. episode occurred late in Wagner's Understandably, this became the 1ife, it is reasonable to assume weakest area of the productions. "Now that the genius of his Production Wagner frankly confessed, that artistry never had adequate time to f have made the orchestra invisible, reach maturity and fulfillment. (At I should like Lo invent an invisible Bayreuth l{agner was able to produce stage." (3) only Der Ring and Parsifal Prior to his death in 1883. ) Had he lived to During Wagner's lifetime it was revise and rework these productions technologically impossible to trans- and to produce more of his operas ' Iate to the stage the visions that there might have been a substantial flourished in his imagination. evolution of his production methods, Actually, considering the textual especially in the area of scene requirements, the problems of real- design, the element with which he ism continue, to some extent, even was most displeased. (Stein's book today. In any case, Wagner the leads one to believe that such an director rarely satisfied Wagner the evolution might have been detrimen- creator. In 1951, his grandson, tal to the scene design and perhaPs Wieland, summed up the production even to the stage direction. ) problems of Wagnerian operas in an essay entitled "Tradition and Inno- " Prior to producing his own works at vation. He wrote: the Bayreuth Festspielhaus, Wagner "Wagnert was known primarily as a conductor- s stage directions reflect composer. At Bayreuth, however, he the taste of his age He himself achieved lasting fame as a sLage was t,ragically disappointed with the director. He was most conscientious realization of his own instructions. about this position and never com- His lines to King Ludwig II, written bined stage directing with conduc- from Wahnfried in May 1881, are "Everyone ting. In Lhe modern sense of term, revealing: thinks he can Wagner thereby became the first do better and make more beautiful operatic stage director. While he things than I can, when all I want directed, his disciPles, Hans is a definite something, a clear Richter and Hermann Levi, conducted. poetic effect, but no theatrical Although Wagner had substantial pomp. Scenery, for instance, is asSistance in all areas of Produc- invariably designed as though it tion, it was he who ultimatelY made were to be looked at for its own all of the final decisions. In saker ds in a panorama, whereas I addition to being administrator and see it as a silent facilitating fundraiser for the Festival, he was background and setting for a certain also producer, stage managerr music dramatic situation. director, coach, and chorus master. "Strict However, the performance of these devotees of tradition cling last five roles occurred only in the to every cofiuna in Wagner's stage final stages of production. Richter directions as though therein l"y the and Levi, along with other Younger clue to perfection. But how far did assistant conductors, did most of the productions of IB76 (The Ring) the earlier coaching. Voice teach- and 1BB2 (Parsifal), though under ers were brought in for sPecial l{agner' s personal direction, deviate vocal problems, and a ballet master from his own sacrosanct instruc- was hired to help with stage move- tions ! The Valkyries' rock cor- ment and choreography. (2) responded to them as little as the

s6 grotesque costumes of the Flower tra pit is triumphantly conveying to Maidens; the Rhine Maidens were so our ears. No amount of theotizing, ornately dressed that even the most no pseudo-philosophical treatises on modern machinery would have made the problems of staging, oo argu- swimming impossible. How could ments between fanatical followers of Wagner have felt when he saw the tradition and innovations will ever airy rainbow of his imagination alter this fact. Scenes like the reduced to a rickety bridge? And cosmic catastrophe of G6tterd5m- what had become of those creations merung, the spring night of Die- of his inner vision? The demon t{aIkiire, or the Rheingold thunder- Klingsor depicted as a small-town storm to cite just a few exam- conjuror; the arch-temptress Kundry ples can never convey a visual wearing a tight-laced flowery even- impact to match their musical " ing gownl Fafner, the wild serPent, expression. (4) degraded to an almost ridiculous pantomime dragon! Unfortunately, it is all Loo easy to allow Wagner's disappointments with "Should one keep on blaming these the scenic elements of his Produc- defects exclusively on the insuf- tion to overshadow his great ficient technical facilities of the achievements in the area of stage period? Certainly the argument movement. Perhaps Wagner's greatest would not hold true in regard to Lhe contribution to the field of stage costumes. The shortcomings suggest direction was in the selection of that Wagner's stage directions actors who vtere also singers (in represent inner visions rather than that order). He held that singers practical demands and that these, had to express their'feelings physi- through the dictates of current cally and in a natural rday. How he taste and the practical limitations would have detested Lhis facetious of realization, changed of their own (but semi-serious) description of an accord from imagined perfection to opera singer's dramatic acting the best that was possible in the written by Ernest Newmanr one of his circumstances the price any loftY biographers ! : When an opera charac- vision must pay when it insists on ter raises one arm we are to under- assuming visible form stand that something or other has moved him deeply; when he raises "But the essential problem of pro- both arms, that means that his soul ducing Wagnerian music drama is not has been shaken to its founda- solved by this admission alone. It tions. (5) lies far deeper than that: in the music itself. It is music that Although Wagner expected singers to transmits l^/agnerts visions in so express through their acting the expressive a language that it is meaning of the words, if he were well nigh impossible to duplicate faced with choosing between a singer those visions for the eye. The of high intelligence and poor voice watcher will invariably fall behind and one of less intelligence and a the listener, however haPPilY the better voice, he would always select scenic problems may have been the latter. Wagner himself was a solved. Today, after 75 years of fine actor and for each singer-actor rapidly improving technical who needed dramatic coaching, he methods the development of light- would demonstrate the Particular ing undoubtedly represents the peak character's personality to whatever of scenic design we must still extent he felt necessary. Howevert admit Lhat the stage can, at its he did not toleraLe mindless imita- best, provide only a sparse reflec- tion. He constantlY strove for a tion for the eye of what the orches- characLerization that spontaneously

57 sprung from a facet of the perform- that he was setting an example that er's own personality. (6) would lead to the improvement of operatic production in genera1_? Or The fact that Richard Wagner chose did he actually wish to become a noL to conduct the works he directed deity in his own theatrical kingdom, can be given many interpretations. set apart from and distinctly above Nevertheless, it will ultimately be the rest of his co-workers? A11 of interpreted from the interpreter's these questions are valid. Anyone individual perspective or bias. Was venturing into the arena of operatic VJagner, who was a creator as well as production would be well advised to recreator, overwhelmed by Lhe gar- give them serious thought. Whether gantuan task of recreating his own these questions are answered affirm- works by himself? Was the level of atively or negatively, one must acting in his day so inferior to his readily admit that by precipitating high standards that he felt the need such inquiry and controversy, Wagner to channel the bulk of his energies revolutionized operatic production into establishing new levels of and re-defined the role of the stage dramatic excellence? By increasing director and his relationship to the the importance of the operatic drama conductor. and the stage direction did he feel

(1) Jack M. Stein, Richard Wagner and the Synthesis gf the Arts (Westport, Connecticut: Greenwood Press, Publishers, 1973), p. 6.

(2) Chappell White, An Introduction to the L.ife an9 Works of Richard Wagner (Englewood Cliffs, N. J.: Prentice-Hall, Inc. , 1967), p. 142.

(3) Wa1ter Panofsky, Wagner: A Pictorial Biography (New York: The Viking Press, 1964), p. 99.

(4) Geoffrey Skelton, Wieland Wagner: The Positive Sceptic (London: Victor Gollancz Limited, 1971), pp. 94-96.

(s) Donal Henahan, ttWhen the Stage Director Takes On the Operar" New York Times Magazine, t2 November 1972, Sec. 6, p. 44.

(6) Geoffrey Skelton, l.lagner At Bayreuth: Experiment and Tradition (London: Barrie and Rockliff, 1965), pp. 36-40.

Ghapter3

The WagnerianTradition Of Operatic Production

As PropagatedBy GosimaAnd SiegrfriedWagrrer

Discus s ions regarding Richard took over the directorship of the Wagner's ideas and methods of opera- Festspielhaus (at first, incognito) tic production normally slight or in 1885 , and Si..egfried, their son. altogether omit the heirs to his (Winifred, Siegfriedrs wife, who "kingdom": Cosima, his wife, who controlled the Festival from the

5B death of her husband until the end appears that Cosima also lost the of World War II, is not included quality of improvisation that her because she was exclusively the head husband felt was the most i-mportant administrator of the Festival. She aspect of his direction. Where he delegated nearly aIl of the artistic had struggled to make the singers respons ibilities to outsiders. innately understand, interpret, and Wieland, Siegfried's son, is also express their characters fully, she excluded because he represents a was inclined to control every move- much later generation of l{agner- ment and gesture that took place on ians. ) stage. These movements were always correct, as Cosima was an excellent Cosima's link in the chain of actress herself, but because theY Wagnerianism should not be slighted' were superimposed on the actors, mainly because Wagner himself had they tended toward artificiality, been able to produce only two of his often destroying the spontaneity of works at Bayreuth before he died. (1) the characterizaLion. (6) Carl After two years of operation bY Dahlhaus describes and justifies ttThe non-family artists and assistants Bayreuth Tradition" of Cosima's who had worked under Wagner, Cosima directorship this way: inherited the directorship of the "As Festival. Her main mission was to long as the staging of a piece further l/agnerian concepts , and, in is seen as its mere shell, in so doing, she deified Wagner. In accordance with the schematic idea her productions, she did not allow of a body/sou1 relationship that the slightest deviation from dominated aesthetic theory in the Wagnerts written words of instruc- 19th century, its production history tion found in his scores or from his is nothing but the description of a personal methods of stage directionl series of changing exterior forms in i.e. r ro deviation was permitted which the work has presented itself, from her interpretation of the without any effect on its identity former and her memory of the and substancel the soul remains latter. (2) She established Bayreuth inviolate. But if the staging is as a paragon of operatic production regarded as part of the work itself, and as a shrine to the Master. She as its completion and fulfillment, also managed to establish most of then one must accept the idea that Wagner's operatic works in the works of art will be changed by Festival's repertory, excluding only history an idea that is hard to his three earliest operas. (3) grasp, let alone embrace, since it contradicts the deeply rooted belief As was the case with Richard, Cosima that one of the features rendering a assumed the role of director- work of art great is that it is administrator of the Bayreuth above history or resists it, and Festival. She, too, was involved in attempts to preserve not only the every area of production, but work itself but also its production, devoted the greatest part of her both the principles and actual time and attention to the acting, features of the production, from the dramatic interpretation, and the changes that would be changes to the staging of the works. She believed essence of the work itself, and not that every element of the work merely to its exterior casting. The should be subservient to its drama- aesthetic maxim that tampering with tic form. (4) In this respect she the letter of a work of art will differed greatly from Wagner's necessarily damage the spirit was Bayreuth philosophy that accepted extended in the Bayreuth tradition the concept that music is the from the verbal and musi-cal text to " supreme element in opera. (5) It include the staging as well. (7)

59 Cosima also had definite opinions mained as regulars until 1930 and concerning the musical direction of L925r r€spectively. Beidler became the production. She favored slow Siegfried's brother-in-law by marry- tempos and distinct enunciation of ing his sister Isolde, but because the text.(8) She had a definite and of familial disagreements, he was singular approach to every work: ousted from his position as conduc- before any acting instruction was tor when Siegfried became the direc- given, the musical line had to be tor of the Festival. (11) fixed with its exact rhythm and clarity. Next came detailed in- Essentially, Cosima's era at Bay- struction in verbal enunciation. reuth reemphasized the importance of AdmiLtedly, there is nothing unusual the stage director in operatic or innovative about this order of production. Yet even more important procedure. What is important is than this is the fact that during that the enunciation was often given her directorship, the ldagner cult more time and emphasis t.han the almost became a frenzy. It was musical line. (9) Yet both the propagated mainly by her personality enunciation and the musical line and by her complete devotion and were used as a means to a common adherence to l^lagnert s ideals . end the externalization of the Cosima was not the only propagator character. Cosima often took the of this cult, but she was definitely position of vocal coach at the the protagonist. Almost everv keyboard during piano rehearsals important conductor and singer with the soloists; however, she during the time of her directorship always shared this responsibility participated in some way in the wiLh her many musical assis- Bayreuth experience. They were tants. (10) She chose her conductors indelibly influenced by it and carefully and relied heavily on them inevitably became cult champions for for the musical interpretations of Wagnerianism. the works and also for help in the selection of singers. This \./as Throughout his directorship, Sieg- certainly an advantage for her fried Wagner closely followed in his productions at Bayreuth since Hans mother's footsteps. It is hard to Richter, Hermann Levi, and Felix determine if Cosima was a behind- Mottl, who were her regular conduc- the-scene influence on Siegfried; tors, had all been disciples of however, she never publicly inter- Wagner. Anton Seidl and Franz fered with his direction and any Fischer, two other long-time hlagner similarity between the two styles assdciates and frequent guest con- may have been coincidental. Sieg- ductors, were often asked for fried could claim only a few innova- artistic advice. Of all these tions and those were limited to the disciples, only Richter was to area of scenic design. What should remain at Bayreuth until Cosima be noted about his era is that he stepped down from the directorship. again echoed Richard Wagnerts view But Seigfried Wagner had served a that producing (stage directing in Iengthy apprenticeship under these particular) is a ful1-time job. He Wagner disciples and was able to stated emphatically that the conduc- establish himself as a conductor, tor at Bayreuth occupied a position serving Bayreuth in that capacity that was secondary to that of the for several years before he assumed director. Eventually, he gave up Ehe directorship. Karl Muck, all of his conducting duties Lo Michael BalIing, and Franz Beidler focus his attention on directing were also eminent conductors at productions and running the Fest- Bayreuth in the early part of the spielhaus . (tZ) The second genera- 20th century. The first two re- tion directorship of Siegfried was

60 riddled with a multitude of prob- World War II and virtually buried by lems: artistic, financial, and the Hitler stigma. However' it is political (World War I occurred certainly possible that Siegfried's early in his era). His reputation directorship simply occurred at a as an artistic personality is rather time in the history of the BaYreuth questionable. This is ProbablY Festival that witnessed a normal because he has been overshadowed on decline resulting from the extreme either end of the Wagner family tree elevations of Wagnerian ideals that t by both of his parents and his son had occurred during Cosima s Wieland. In addition, his director- directorshiP. ship was damaged politicallY bY

(1) This is true if one considers Der Ring to be one workr ES Wagner himself did.

(2) Geoffrey Ske1ton, Wagner At Bayreuth: ExperimenL and Tradition (London: Barrie and Rockliff, 1965)' p. 7I.

(3) Skelton, Wagner At Bayreuth, P. 77.

(4) Skelton, Wagner At Bayreuth, P. 81.

(s) Donald Jay Grout, A Short History of Opera, Vol. II (New York: Columbia University Press, 1965), p. 423. See also: Jack M. Stein, Richard Wagner and the Synthesis of the Arts (Westport, Connecticut: Greenwood Press, Publishers , L973) , pp. 5-1

(6) Skelton, Wagner At Bayreuthr p. 81.

(7) Carl Dahlhaus, Richard Wagner's Music Dramas (Cambridge: Cambridge University Press, 1979) , p. . 158

(B) Dahlhaus, p. 158

(e) Skelton, Wagner At Bayreuth, 87.

( 10) Skelton, Wagner At Bayreuth, pp 101, 102

(11) Skelton, Wagner At Bayreuth, p- 103.

( 12) Ske1ton, Wagner At Bayreuth, p. 107.

Ghapter4 (Excerpts)

Other WagneriansInvolved In Operatic Production

In order to fully understand the men generation and even of the century. discussed in this chapter, one must Richard Wagner and his ideas con- be familiar with the most enlighten- cerning opera and operatic producing musical idealogy of their tion had achieved deification in the

6t minds of many musicians. This was strongly emphasized by Wagner alI especially true of the impression- these striking innovations required able younger generation of musicians a controlling spirit. Where until who in turn became the leading recently the need had been for a composers, conductors, and stage rehearser with discipline r preci- directors of their time and spread sion, and a sense of style, the Wagner's fame and influence through- newly conceived dramatic cosmos out the Western World. Their glori- demanded a master of that cosmos. fication of \dagner the man, as well Beating time, until then a relative- as of his music and ideals, knew no ly simple activity, had to become an bounds. independent technique capable of balancing the masses of sound and The immediate younger generation of bringing out at the proper moment a great musicians who were inclined to theme in the orchestra, a vocal worship Wagner and were intimately phrase on sLager do interjection by involved in operatic production the chorus, or a trumpet signal throughout their lifetimes included offstage. Physically, the conduc- Gustav Mahler (1860-1911), Richard tort s gestures had to encompass an Strauss (1864-tg49), and Arturo increasing variety of sound combina- Toscanini (1867-1957). These men tions, and constant control vJas established international reputa- necessary because of the incessant tions while trying to incorporate flow and flexibitity of rhythm and Wagnerian concepts into their own color. Spiritually, the conductor working methods. In the fietd of had to project the new atmosphere operatic production, they v/ere that had been created, something probably the most influential that the best, most precise orches- Wagnerian disciples of their age. tra and soloists could not do alone. He had to reunite the audience and Gustav Mahler the work no\.v separated by the sheer size of the Romanticst appara- Perhaps the best way to ttset the tus."(1) st.age" for the colossal creative and recreative genius known as Gustav This description takes only Wagner's Mahler is to reiterate summarily how music into account, yet it clearly Wagner completely altered the musi- shows how his music forged a place cal world and made it possible for a for a new type of conductor. How- complex personality such as Mahler ever, it lras not only his music that to evolve naturatly. CarI Bamberger brought about this change; his work desclibes this transformation verv as a stage director and a conductor explicitly: (i.e., all the ways in which he demonstrated his theories and "Wagner created an entirely new ideals) spawned the modern approach cosmos. From Weber, the orchestra to operatic conducting and stage precipitously rose to the entirely directing. Most of the important new Wagnerian idiom. The demands of musicians of the next generation the libretto, now far removed from developed their styles and methods the aria-carrying vehicle fashioned of musicmaking according to Wagner's to serve the singer, played a domi- precepts and examples. nant part in shaping musical expression. The operatic orchestra became The most influential musician- a symphonic one. The constant conductor-director of this next interaction between singers and generation was Mahler. This was instruments, the symbolism of the partly due to the fact that fate thematic developments in the orches- (and the Austrian Court) decreed tra, the modifications of tempo so that he would be at the helm of the

62 worldts most prestigious opera house was in Vienna, Mahler was even more of his day the Vienna Imperial inclined than Wagner to make the Court Opera. He served in that drama equal to the music, at least position for a relatively long time in comparison with the latter's in comparison with the tenure of his years at Bayreuth. Mahler also predecessors a full ten years, allowed no cuts whatsoever in any of 1897 through 1907. the Wagner operas that were performed and very few, if aoy, in most The Gustav Mahler decade at the of the other operas. One would Vienna Opera was one of the most easily be led to believe that llahler notable periods in operatic history. was both the stage director and the This was due almost entirely to conductor for many of his perfor- Mahlert s personality. Not only h'as mances in Vienna. (4) But Bruno he a composer and conductor of Walter, Mahlerts assistant conductor genius, but he was also greatlY in Vienna and his most eminent concerned with every facet of opera- disciple, has made it clear that tic producti-on, both musical and Mahler did not consider himself to theatrical. The first half of his be the stage director there. directorship was devoted almost Throughout the Mahler decade in exclusively to perfecting the sing- Vienna, that position was held by ing and the acting and to the build- August Stoll. Granted, Mahler ing of an ensemble of the highest always told Stoll what he, the ttmaestro,tt caliber. These goals necessitated wanted to happen on stage many reforms. Today most of these (down to the last detail), but "stage reforms do not seem to be remarkable Mahler was not the director" because they have been routine for himself- (5) This reveals that the so long, but in Mahler's time they day of the stage director who acted were revolutionary. His earlieBt as a traffic controller on stage was reforms included dimming the house- not over; the conductor still main- lights before the curtain was tained supremacy and total artistic raised, dissipating the claque control. Mahler supervised every (Mahler was not wholly successful in detail of the operas he conducted, t.his ) , keeping the late-comers out including stage design, lighting, until the next intermission, rais- costumes, acting, and music - Sto- ing the performance standards, and ries of his keen eye for the stage revamping the rehearsal system. are numerous as well as vivid. Mah1er brought about these last two Mahler, like Wagner, was constantly reforms by taking many of the piano demonstrating to the singers how rehearsals himself. He forced the their roles were to be dramatically singers to sing exactly what was characterized. written in the score and made them work hard in all of the rehearsals. In spite of all his efforts, Mahler (They had been accustomed to loafing was not able to fulfill his goal of during the rehearsals and working complete unity in operatic produc- hard only during the performances. ) tion until he found the innovative He required that they learn to act stage designer, Alfred Roller. as well as sing their roles. It has Roller was able to collaborate with been said that ttMahler never parti- Mahler very successfully, and to- cularly liked 'lovely' voices: he gether they captured the essence of preferred hard, steely voices of Gesamtkunstwerk more completely than great power, artists who could run anyone else up to their time, with the whole gamut of the emotions and the possible exception of Wagner and give expressj.on to the things of the those who had inherited his legacy mind in terms of singing and act- at Bayreuth.(6) ing."(3) This implies that while he

63 It is certainly a paradox that one that the phenomenon of Wagner pene- of the most important and mosL trated into his consciousness. artistically uncompromising Wagner- tforbidden' Through study of the ians was never invited to conduct at score of Tristan the young Munich Bayreuth. Cosima l{agner even fought music studEtt u last found his way against Mahler's appointment to the into that wonderful work, and later directorship of the Vienna Opera also into the Ring of the master because he was Jewish by birth. (7) whom he had hitherto rejected out One would be apt to wonder 'I if hragner of hand. still remember very himself would have been so close- well how, at about the age of L7, I minded, in view of the fact that he began feverishly turning over the had worked closely all of his life pages of Tristan, intoxicated with with many Jews, including one of his enthusiasm which cooled off only principle conductors at Bayreuth when I t.ried again, at a performance Hermann Levi. There can be no of the work, to find confirmation of doubt, however, that by being out- the impressions my eyes and my side of Bayreuth, llahler was able to mindfs ear had received on reading spread the Wagnerian t.radition much the score. Fresh disappointments further than if he had been limited and doubt, then back to the score, to conducting under someone elsets until at last it was clear to me administration. that it was the discrepancy between a mediocre performance and the Richard Strauss intention of the great master as I pictured it from the printed music Richard Strauss was in most ways the that prevented the work from sound_ exact opposite of Mahler. While ing ttMahler to me as I had already heard it was a dervish, a priesL, a in my imagination After my eyes fanatic, whose gaze was permanently had been opened in this way I became fixed on the life beyond Strauss (despite all the warnings about the had his feet planted firmly 'Bayreuth in this swindler' that I received world.tt (8) However, Strauss was from my old uncle) a 'complete like Mahler in that he was every ldagnerian'.'"(9) inch a hlagnerian. It is fascinating to read of his conversion to Wagner- Though this quotation makes Straussl ianism. Ernst Krause describes it conversion appear to have been vividly, using many of Strausst own brought about by an almost religious words: immersion in the scores themselves, "He-considered it in fact had a great deal of the high-lying viol- earthly help. Strauss learned the ins in the Prelude 'dread- lglggg1g craft of conducting from the begin- fully "w.ut--"ttd-ilk1y. ' The only ning under the watchful eye of that thing that impressed him in Tann- great Wagnerian disciple, the con- hluser was the scenic transformation ductor Hans von Biilow. Under Biilow f rom the Venusberg to the ltlartburg he served as an assistant conductor Valley on the subject of the of the Court. Orchestra at Meiningen musj-c he was silent. Siegf ried for almost a year, starting in 1gg5. caused him boredom and displeasure. Not 'I only did he study conducting at tell you you've not the slightest Meiningen, but he also gained a deep idea of the confusion there is in it underst.anding of dramatic and theal My ears were humning with those trical effectiveness from the Court monstrosities of chords, if they can Theater there. The art of the stage still be called chords at all and r' director was achieving great re- he added rashly that in ten years' spectability for the first time time no one would know who Richard through the work of George II, the Wagner was It was only slowly Duke of Saxe-Meiningen. The Duke,

64 known today simply as Saxe-Meining- Strauss was given further opportu- €D, was the first theatrical stage nities Lo demonstrate his artistic director in the modern sense, that credos. It was during these Years is, he was neither a play^rright nor that he was joint director of the an actor. He had first come to Vienna Opera with Franz Schalk. In prominence when his company from his Vienna production, Strauss Meini-ngen appeared in Berlin in emphasized the theatrical aspect as 1874. It was a repertory company much as the musical asPect, if not ttAt with that did not have star performers t more. stage rehearsals and he is credited with being the orchestra he would sometimes sit on first to bring to the theater the the stage or in the stalls to watch concept of total integration of all and listen, leaving the actual the elements of theatrical produc- conducting to KarI Alwin."(12) In tion. (10) Because of Saxe-Meining- this application of his artistic ents example, Strauss realized the concepts, Strauss was no different dire importance of integrating the than either Hahler or Wagner. One theatrical elements with the musical is inclined to think, however, that elements in opera. In addition to Strauss was not nearly as insistent the direct influence of Saxe-lleining- upon musical accuracy as were either en and niilow, Strauss was inundated Mahler or Wagner and for that with the Wagner doctrines by his matter, most composers . PrawY friend, Alexander Ritter, who was a elaborates on this asPect of violinist in the Court Orchestra and Strausst recreative personalitY: also a devoted follower of "A11 Wagner.(11) In spite of the fact he wanted was that his work .here that he was at Meiningen less than a should come to life, and nowt year, Strausst course in life was in the glamour of an evening at the set by his experiences there. theatre, and any deviation from the score that enhanced the brilliance During the sunmer of 1889, the fire of the occasion was not only tolera- of his Wagnerianism was further ted but welcomed. It has been said fueled when Cosima Wagner invited that when Strauss was rehearsing a him to work at Bayreuth. He started work of his in which Jerj-tza was as a rdpttiteur and gradually he singing, she used to compose as she went along, sometimes for on worked his way up r eventually becom- Pages ing a conductor there. Of courset end, and when the others tried to conducting came much later, but the put her right Strauss used to stoP tNo vote of confidence from the house of them: , Jeave her alone , she ' Wagner was to be like a bestowal of knows what she' s doing. One could the Midas touch to Strauss' career. quote hundreds of observations of Unfortunately, 3s with Midas thj-s this kind at rehearsals of his own , 'If was to turn into a plague rather works. For instance: Y6u canrt than a blessing in his later life. hit that note, sing another. What- t t But, for more than the first half of ever s easiest, ir doesn t "'(13) his l-ife, it was invaluable. matter.

A11 of Strauss' ideas about operatic Perhaps this was a manifestation of production were built on the same Strauss' superficiality and his basic principles as those of Wagner. tendency toward a love of virtuosity As a composer of opera, Strauss was for its own sake rather than as a able to experiment fully and rather means to a higher end. PrawY does often with actualities rather than not think so. He implies that theories because most of his operas Strauss was a natural child of his Ittere very popular throughout his time and that the phonograph record Iifetime From 1919 until 1924, had brought with it an insistence on

65 accuracy that deadens operatic meretrici-ous tricks and the thick performances. He feels that this encrustation of the interpretive pedantic approach has been very nuances that had been piting detrimental up for to opera in general.(14) decades."(15)

In spite of his seemingly inconsis- It is clear that Toscaninits musical tent approach to operatic produc- interpretive style was completely tion, especially in his later years, opposite of the style perpet.rated by Strauss was, along with Toscanini Wagner, Mahler, and Richard Strauss. and Ernst Lert, a direct and vital He was objective, unsentimenLal, and link from Wagner to the current attempted to recreate the score generation of conductors. exactly as the composer had written it. Plus, he was a perfectionist: Arturo Toscanini uncompromising in his search for perfection in himself and in those In a discussion of the contributors with whom he worked. In this to the development of unity between search, he \,{as very much akin to music and drama, one would probably Mahler and Wagner and though his not. be immediately inclined to bring interpretive style differed radical- up the name of Arturo Toscanini. ly from the Germanic, Romantic, and Because he was an Italian, his work post-Romantic style of subjectivity, in attempting to bring parity in Toscanini vras a true Wagnerian when music and drama to the operatic art it came to the actuality of operatic form has been almost totally ig- production and the implementation of noredr or at least it has not been Wagner's ideals in theatrical refor- given its due credit. Wagner and his mation. He greatly admired [^/agner's Austro-German disciples have almost writings on this subject as well as eclipsed Toscanini's contributions many of his ideas on conducting in to music drama. This is especially general. Toscanini held very strong unfortunate since many of his great convictions, BS did Wagner, "that achievements were in the field of the conductor must seek not onlv opera. technical excellence in working witil the orchestra Iand the singers], but Arturo Toscanini was the most influ- that he must also use his imagina- ential conductor of his age and tion and intellect to try to grasp continues to be a major force in the the outpouring of nervous energy, contemporary world of conducting. the difficult struggle Lowards George Szell described Toscanini's expression, that lies behind the imphct very aptly: notes on the printed page. He also "Whatever believed, with Wagner and Mahler, you may think about his that the only way to reach a higher interpretation of a specific work, level of performance in the theatre that he changed the whole concept of was to develop a system wherein each conducting and that he rectified element of production was conceived many, many arbitrary procedures of a and executed with maximum dedication generation of conductors before him, and competence, in perfect relation is now authentic history. That at to all the other elements and with the same time he has served as a not greatest respect for the intentions too useful model for a generation of of the composer."(16) conductors who were so fascinated that they were unable to follow him Because he was the first conductor with some sort of discrimination is of great stature to be strictly an equally true [h.J wiped out the interpretive recreator and not a arbitrariness of the post-Romantic composer, Toscaninirs impact on the interpreters. He did away with the musical world was even more astound-

66 ing and revolutionary. He and hands in rhythmical command, often Mahler differed from Wagner in that singing in unison with his pupils, they both viewed the conductor as a shouting his directions, giving this person who logically should assume order or that, criticizing, encour- control over every detail of the aging, blaming, approving, and production, and both went to all without referring to the score. extremes to achieve this con- "The trol. (17) Wagner had Bayreuth, next step is the rehearsal Mahler had Vienna, and Toscanini had on the stage to the accompaniment of La Scala in Milan. a piano. On such an occasion you will see stage managers and assis- Though Toscanini's work in the tant conductors scurrying about United States somewhat clouds it, among the singers, hinting, helping, the fact is that La Scala was the suggesting. You will see the promp- focal point of his artistic exist- ter sitting in a chair following ence throughout his life. It was to the vocal score and reading aloud La Scala that Toscanini kept return- the first words of every line in the ing. There he was able to struggle text. The conductor, you will toward his goal of achieving a observe, is also on hand, not only totally integrated musical-dramatic to keep his artists within the art form.(18) rhythmical limitations defined by him, but to cooperate with those Toscanini's methods of working whose immediate duty is to map out toward this end are vividly de- the dramatic scheme of the play, to scribed by Max Smith, 3o American tell the actors ...how they must journalist who spoke Italian well move about, with what. gestures they and was friendly with the conductor: must express their feelings At times, indeed, he will act a whole ". . .Toscaninits method of study is scene to convey his intentions as follows: first, he sits down at graphically Even more enlight- the piano and plays the score care- ening is his verbal comment and fully, with his extremely short- criticism, inspired by a penetrating sighted eyes held close to the page. knowledge of the interlocking artis- In this way he supplements and tic values, dramatic, poetic, and sharpens his photographic vision musical. through his keenly retentive ear. ". Subsequently he studies the score . . With most musical directors apart from the piano, only now and the first general rehearsal has many then calling upon the instrument for interruptions. Singers stand inac- assistance. Stretched at ease in tive while the orchestra practices a bed or relaxing comfortablY in a part of the score that did not go chair, he pores over his volumes for quite as it should. Musicians grow hours at a time, spending occasion- fidgety waiting for some stage aIly a whole night at work... tangle to be settled. The strain upon all because of pauses, discus- ". . .Toscanini gives personal atten- sions, and repetitions is at times tion to each of the principals, intolerable. When Toscanini mar- sometimes going to their homes and shals his forces this is not the playing their accompaniments him- case. The previous preparations self, before he meets them for a have been carried out with so combined rehearsal. It is interest- elaborate a care that when the ing to watch him at that stage, parts are finally assembled every sitting at some distance from the piece of the complicated operatic piano, which is manipulated by an machinery fits perfectly into its assistant conductor, clapping his particular place Even under

61 Toscanini, to be sure, there may be had on him during the early develop- occasional halts and repetitions, ment of his artistic personality. and woe to him who has to shoulder "From the responsibility! But these are the first bar, it vJas as if I the exceptions, not the rule.''(19) had been struck a blow. I was completely disconcerted by the This closely resembles the works of perfection that had been achieved both Mahler and Wagner. t/hiIe Of course, it is known that Mahler was attempting to reform Toscanini was forever polishing and operatic production in Viennan working at this Falstaff and choos- Toscanini was doing almost exactly ing new singe."l- Thii production the same in Milan, only in briefer was already at that time perhaps ten intervals over a much longer period or twelve years o1d (aclually not of time. He was at La Sca1a from quite eight) -- not I'old'r in a real. 1898 to 1903, 1907 to 1908, and L92L sense, but mature. For the firsL to 1929. time I grasped what ttdirectiontt meant. To be sure, Toscanini had In the endeavor to improve the whole employed a stage directorl but atmosphere of the theatre, Toscanini basically, the essential conception had the house lights lowered (as came from him. The agreement be- Hah1er did in Vienna), had a new tween t.he music and the stage per- curtain installed that opened later- formance was something totally ally instead of vertically (so that inconceivable for us: instead of the audience did not see first the people senselessly standing around, singerrs feet, then legs, then here everything had its place and waists, etc.), required the women to its purpose. I do not believe at remove their hats during perfor- all that the Viennese then under- mances, and persuaded the admini- stood how great a service La Scala stration to have a deep orchestra had performed in coming Lo Vienna pit built so that the players would and showing us young people, for not be seen during performances. once, what one can make of an interpretation if everything is in its The monumental accomplishments of right place." (20) this phenomenal operatic ttmaestrott were also felt outside of Italy. The long-term impact that resulted When the company from La Scala, with from this single young man seeing Toscanini at their head, went on this particular production gives tour in 1929 to Vienna and Berlin, ample support to the notion that the the repercussions were revolution- Viennese cer:tainly could not pos- iryr especially because they have sibly have comprehended the great- touched on our own era. 21-year-old ness of the service rendered them by Herbert von Karajan witnessed the the Italians. And they most cer- performance of Falstaff under tainly did not comprehend the great- Toscaninit s baton it Viur*". His ness of the service rendered by reactions to this production (which Toscanini himself in his devotion to were written much later) clearly the preservation of the integrity of indicate the direct and indelible both the music and the drama in influence that Toscaninits ideals operatic performance.

(1) Carl Bamberger, The Conductorrs Ar! (New York: McGraw-Hill Book Company, 1965), p. 12.

"Directorship" (2) is the title given to the artistic director of the particular opera .house in question. The person who held it often simultaneously filled the various roles of conductor, stage director, and head administrator.

68 (3) Marcel Prawy, The Vienna Opera (New York: Praeger Publishers, 1970) , pp. 68, 69 .

(4) Michael Kennedy, Mahler (London: J. M. Dent and Sons , Ltd. , L974) , p. 33. See also Prawyr p. 66.

(s) Walter R. Vo1bach, Problems of 0peri Production (n.p.: Archon Books, 1967), p. 37.

(6) Bruno Walter Gustav Mahler (New York: Alfred Knopf, 1972), p. 83.

(7) Prawyr p. 64.

(8) Prawy, p. 107.

(e) Ernst Krause, Rl ch_ard Strauss: The Man and His WoLk (London: Collet's, [td., 7964)r pp. 87, 88.

(ro; Robert Cohen and John Harop, Creative Play Direction (Englewood Cliffs, N. J.: Prentice-Hall, Inc., 7974)r pp. g, 10. t'Richard (rr1 Hichael Kennedy, Strauss" in The New Grove Dictionary_q! Music and Mrg.Sl"rs, Vol. 18, pp. 218- . publishers Limited, t6aO;, p. 2lg.

t'Richard ( 12) Leo Wurmser, Strauss as an opera Conductor,,, Music and Letters , 45, No. 1 (L964), p. 4.

(13) Prawyr p. 108.

( t+; Prawy, p. 108.

(1s) Haro1d C. Schonberg, The Great Conductors (New York: Simon and Schuster, 1967) , p. 252.

(to1 Harvey Sachs, Tosc?nini (Philadelphia: J. B. Lippincott Company, 1978), p. 49.

(17) Sachsr p. 49.

ttArturo (18) David Cairns, Toscaninitt in The New Gror" Di"tioru.y of Music and Mugicians, Vol. 19, pp. 85 fficMillan Publishers Limited, 1980), p. AO.

(1e) Sachsr pp. 118, 119.

(201 Sachsr p. 191 Swnmary

The hlagnerian ideal of unity between most. of the concepts practiced by stage and music in operatic produc- llagner himself , and emulated by tion was preserved ttWagnerians, tt and put into these were not new in practice by the greatest musicians any way. They were old ideas that of the era. However r orr€ must were implemented and refined by each always bear in mind the fact that generation in its own way. Natural-

69 Iy, every serious, influential everything else; in the second musician who inherited them and place, the stage manager (i.e., adhered to them, adjusted them to stage director) must be a man of fit his personalitY and sPecific musical perception and musical situation. education, (sic) who is just as conversant with the score as the conductor is. . . no conductor should be appointed to a theatre who has not shown that he can stage an Gonclusion opera, and no stage manager who cannot rehearse the musical part of The relationship of the stage direc- the work."(2) tor and the conductor in oPeratic production is by its verlr nature an Thus, close collaboration between open-ended subject. Consequently, the conductor and the stage director final conclusions are multifarious is imperative if Lwo people are and often controversial. filling these positions. If one person assumes both roles, then he The most definite conclusion that must realize that a great deal of one can draw from this thesis is collaboration is still going to be that the conductor, until the earlY essential to the success of the 1950s, had alwaYs been the most production. The only difference is prominent member of the team of that the collaboration in this case conductor/stage director. (1) At is between the conductor-director first it was the composer who merely and the stage and lighting design- conducted his own work. Then, er(s), the performers, and the gradually, the conductor evolved technical staff. The conductor- into a recreative and interpretive director must always bear in mind personality who controlled all of that he alone cannot make the pro- the elements of the Production, duction a success no matter how occasionally with, but usuallY successful he has been in conducting without, the composerts guidance' and directing it. He must be de- Until the emergence of the stage manding and authoritative, but he director as the most Prominent must also be flexible and under- member of the team, the conductor standing open to other peoplers ideas and to the prob- was , from the very beginning, the sympaLhetic sole autocrat. In sPite of this lems involved in recreating the work fac$, however, most great conductors of art. realized that a close collaboration with the stage director was essen- It seems that it makes little dif- tial to Lhe artistic success of a ference in an actual production production (though theY still in- whether the roles of the conductor sisted on having the ultimate con- and the stage director are taken bY trol over every detail of it)' one and the same person or not. One Felix Weingartner, a resPected member of the production staff conductor who became the Director of (i.e., either the conductor or the the Vienna OPera after Mahler re- stage director) almost always takes signed, vehementlY states that in over, is given authority overr or is order to achieve this essential assumed to be in charge of the collaboration "two things are neces- production as a whole. Many factors sary. In the first Place, the determine which person becomes the conductor must have a knowledge of, authoritarian figure of the produc- an eye for, and an interest in the tion. These may include person- stage, and not merelY burY himself ality, relative famer or simplY the in his orchestra to the ignoring of position(s) that the conductor or

70 the stage director has within the repeatedly demonstrated by perfor- hierarchy of the company. Regarding mances of the highest possible the latter, the stage director, who dramatic and musical quality that is also the artistic director of the Saint Evremond's rather humorous company, almost automatically be- def inition of opera as t,a bizarre comes the prominent figure of the affair made up of poerry and music, conductor/stage director team. The in which the poet and the musician, same would be t.rue of the conductor each equally obstructed by the if he were the artistic director. other, give themselves no end of If both the conductor and the stage trouble to produce a wretched director are imporLed for a produc- resultt'(3) is an exaggerated carica- tion, the prominence of one or the ture. No matter what happens during other would be due to other factors. or outside of rehearsals, it must be the aim of both the conductor and In the final analysis, it is the end the stage director Lo further opera result, that is, the performances, as an essential and cogent art form that must determine this nebulous by producing convincing and moving relationship of the sLage director performances. and the conductor. It must be

(1) Richard, Cosima, and Siegfried Wagner were each exceptions to the rule- However, it is important to remember that Richard and Siegfried v/ere welI-known and respected conductors as weIl as stage directors. They simply chose not to conduct the works that they directed.

(2) Fe1ix Weingartner, on Conducting (Leipzig, Germany: Breitkopf and Hartel, 1925), p. 55.

(3) Willi ApeI, €d., Harvard Dictionary of Music (Cambridge,'. Massachusetts: The Belknap Press s , W].z) , p 5g2.

71 MONDAY,OCTOBER 29, 1787

by Max Rudoll ttWorld premiere" is a 20th-century the singers, working out details of term. In L7B7 Don Giovanni was ensemble and staging, copying the simply announced as "a new opera, tt orchestra parts from the manuscript its first performance to take place score, and rehearsing the orchestra. in Prague on October 74" The sing- On top of all this, the opera was ers, however, were not ready with not yet compl-eted. At least four their parts, and preparation of pieces were still to be written scenery and costumes required more the overture, one aria, one duet, time than expected. Prague lsas and the second finale. disappointed, particularly in view of the special event that had been The composition of the overture is planned to coincide with the opera surrounded by legend. Historians premiere : on that Sunday, a Haps- now assutre that it was written the burg princess was to meet her bride- night of October 27, just in time groom in the Bohemian capital in for rehearsal the next morning. anticipation of their forthcoming (Maybe haste was the reason for some wedding. The wisdom of selecting, uncertain accidentals in the viol- for such an occasion, the spectacle ins, which have remained controver- I1 Dissoluto Punito (the punished sial to this day: three different rogue the opera's original main versions of them can be heard in title), may seem questionable, but, performances.) Masettots role was as it turned out, the princely assigned to a basso, who had to couple was treated to Le Nozze di double as Commendatore. Consequent- "Ho Figaro. Mozart had .ottd,rctEE-This ly, the aria capitort' planned in opera in Prague nine months earlier, G major for a baritone, had to be so he did not mind Laking charge of scored one step lower, causing an the performance. The substitution awkward switch of tonality still was made over the protest of an often heard. influential lady who objected to the textrs frivolity an incident A duet for Giovanni and Leporello, enjoyed immensely by YTozarL. to open the second act, was added during rehearsals. Originally, this Pasquale Bondini, the impresario of act was to begin with the recitative the Opera Company at the Nostitz that now follows the duet. As to Theater, first postponed the pre- the second finale, composed entirely miere of Don Giovanni by ten days, in Prague, Mozart probably wanted to but a member of the company, which investigate local conditions in counted no more than seven singers, regard to scenic effects and the fell ill. The date hlas then f inally availability of a stage band. AII fixed for October 29. Mozart had the more must we wonder whether he arrived in Prague on the fourth of really expected to mount Don the month. It is hard to believe Giovanni in hardly more than a week. that he had earnestly planned to A letter to a friend seems to indi- present his new opera after no more cate that he had been over-optimis- than ten days of preparation, which tic. In this letter he complains, was to include teaching the parts to "The singers, who are Lazy, refuse

72 to rehearse on opera days, and the October 8 and stayed at the inn Zum impresario, out of fear and anxiety, Platteis, across the street from tt does not want to force them. Mozart's lodgings. Mozart, who Further, Mozart referred to the always took an acti-ve interest in ttnot stage personnel as so skillful shaping the text for his operas, was as those in Vienna to prepare an said to have carried on discussions opera of this kind is such a short with his librettist from window to tt time . window. However, details regarding changes in the Don Giovanni libretto Such $las the situation waiting f or have not been r.p..t"d. D. pontets Ylozart when, aft.er a journey of time was l-imited r 6s his commitment three days, he and his wife alighted to Salieri called him back to Vienna from their coach on a Thursday after a week. morning to put up at the inn Zu den drei Liiwen in the center of f rague. Actually, proof does not exist that Their minds were not so untroubled Mozart stayed at the inn during as Mtirike' s romanticizing novella those days. He was spending much wants us to believe. Constanze was time at the Bertramka, the country pregnant in her seventh month. Not home of his close friends the too long before, her last-born child Duseks, located in a garden-Iike had died after only four weks. setting not far from the city. There were other worries. Always Mozart loved that place, and it was during those years lTozarl was there that he did most of his com- pressed for funds. The 100 ducats posing. An interesting conversation he was to receive for Don Giovanni with Jan Krtitel Kuchar, a conductor were much needed. and the arranger of tfie first piano score of Don Giovanni, took place However, more important reasons made after the first orchestra rehearsal. Mozart look forward to the premiere According to Nemecekr dD early with happy anticipation. Prague was flozart- biographer, the composer ilWhat the city where, in January, he had asked, is your opinion of the scored a tritrmph with Le Nozze di music of Don Giovanni? Will it Figaro at a time when h" f"It d"- please as *@r It is of pressed by disappointments and a different character.tt After a few hurniliations in Vienna. In f,act, reassuring words from Kuchar, llozarL ttl Prague was the only place where continued, have not spared Mozart was not merely welcome but trouble and labor to accomplish ttour admired, honored, and called something exceptional for prague. tt Mozart. People are wrong who think that my art has come easily to me Nobody As could be expected after the has devoted so much time and thought success of Figaro, the composer to composition as I. There is not a approached the same librettist, famous master whose music I have not Lorenzo Da Ponte, for a new text. industriously studied through many Da Ponte, already negotiating with times. tt two other composers, l{artini and Salieri, had a nurnber of dramatic The theater where llozariu was rehear- plans under consideration. For sing had been opened in 1781. It lTozart he chose Don Gt:tgrg. , and was modern and well-equipped, thanks the choice re"nlt.d in one of the to the munificence of Count Nostitz. luckiest coincidences in t.he history The Critli.ch Nostitzsche National of music. As it was customary for Theater, in later years renamed the librettist to be on hand during Stavovske Divadlo, had about 800 ttAbbJ poei rehearsals, the Da Ponte, seats. Its stage was 33 feet wide, of the Courtr" arrived in Prague on 65 feet deep, and its proscenium had

73 a height of 28 feet. Josef Platzer, We wish this artist could have been a gifted scenic designer and paint- interviewed about the premiere €rr had supplied an amPle stock of before she died in Milan at the age scenery in late baroque style, while of 106. Caterina Micelli, the Donna the costurnes ref lected contemporary Elvira, was a coloratura soubrette; rococo. For new works, onlY the her voice was not considered very most necessary additions were pro- attractive. Perhaps Mozart would vided. The capable and enterprising have preferred to have her switch Bondini, who held the concession for roles with Teresina Bondini, the the theater, had to operate on a ZerLina. However, Signora Bondini, modest budget, and we can assume the irnpresarior s wife and a magnif i- that available sets were used for cent Susanna in tr]garo, found her- most scenes in Don Giovanni. self in advanced pregnancy, and singing Elvira would have - been too Information on the lighting equip- strenuous. The soprano vtas the ment is lacking, but there is no darling of the Prague publicr so doubt that the stage director, people did not mind seeing an ex- Domenico Guardasoni r could rely on pectant mother flirting with the the best devices manufactured at the Don. time. With chandeliers, candles, lanterns, oil lamps r and torches r 8D Antonio Baglioni as Don Ottavio imaginative director was able to fulfilled all expectations. His was achieve remarkable results. Colored a beautiful, perfectly controlled panes provided variety, and a mecha- voice, and his interpretation was nism of tin covers, hanging from an marked by exceptional taste. He had j-ved iron rod, could assure sudden or j ust arr f rom Venice , where he gradual changes from a bright scene had appeared in another Don Juan to darkness. opera, singing Duca Ottavio in Gazzan.iga' s Convitato di Pietra. Mozart was fortunate to work with a Bertati's libretto for that work had cast of talented young singers. The served as a pattern for Da Ponters protagonist was baritone Luigi version, but Don Giovanni's part was Bassi, only 2l Years old, who Por- written for a tenor. Giuseppe trayed the Don without a beard - His Lolli, the Couunendatore and Masetto, voice was described as being would now be called a comprimario rrbetween tenor and bass. tt Earlier bass. For economic reasons, he was in the year he had sung the Count in responsible for both roles. Figaro under t{ozart's direction. He was- an excePtionallY imPressive The stage director, Guardasoni, ltas actor and liked to imitate his a man of experience and ability. He colleagues, a skill that made him helped Mozart to do wonders within a ideally suited to mimic Leporello in crowded schedule. All told, the the second act, when the action stage was available only twelve days calls for it. The buffo Part was during the three weeks of rehearsal. sung by Felice Ponziani, a highlY Under the inspiring guidance of the successful vocalist and comedian- composer and stage director, every- He had performed Figaro for l{ozart, one worked in an atmosphere of and his clear diction in raPid ethusiastic cooperation. Portions passages was especially praised. of the opera were createdr so to speak, while working out certain Teresa Saporiti, at the age of 24, scenes. Years later, Bassi, then an was a woman of unusual beautY and a elderly stage director at Dresden, lovely Donna Anna. Thanks to her recalled the liveliness and freedom widely recognized vocal gifts, she that Mozart thought to be essential later made a fine career in ItalY- for the dinner scene. In fact, he

74 encouraged Bassi and Ponziani tc Even if we stretch our imagination improvise their lines, in parlando and try to understand the feelings style, while the band was playing of those who applauded the first tunes from various operas, with the Don Giovanni r aoy attempt to identi- result that this scene turned out fy fully with an audience in L787 slightly different in each perfor- must fail. Our perspective, musi- mance that llozart conducted. While cally and intellectually, is shaped the same spirit of improvisati-on was by our own time. An example in reflected in the performers t acting point is the dinner rnusic played out of the secco recitatives, their onstage in the second act. Every stage deportment was of a different opera buff then recognized immedi- nature during arias and concert.ed ately a tune from Vicente Martin y numbers. For these it was still Solerts opera Una Cosa Rara, heard traditional to apply stereotyped in Prague just a few weeks earlier. gestures with a minimum of movement The next selection, ttCome un agnello and, during ensembles, groups were che va al macellot' f rom Giuseppe formed in a semicircle or a straight Sarti I s Fra i Due Litiganti il line. Terzo Gode, was equally well known. Mozartrs arrangement of this little When we read the first local news- tenor aria altered the melody, which paper report r we must remember that did not go unnoticed by the audi- most of the time Bondini had to do ence. However, the high point of without any chorus. Otherwise, the this potpourri of popular operatic reviewer would not have made so much tunes was Mozart t s own ttNon piu fuss about the rather limited parti- andrai" that people had been whist- cipation of chorus singers in Don ling in the streets sf Prague for a Giovanni Furthermore, the decor year and that the composer had used was just a bit more elaborate than as the theme for a brilliant impro- usual In any event, the report visation of the fortepiano during that appeared in the Prager the past concerL season. How could Oberamtszeitung five days after the we nolrt, we must ask, react in the premiere gives a vivid description same fashion? of the evening: Still more difficult to evaluate is "Monday, the 29th, the Italian Opera the overwhelming impression the Company presented Maestro l{ozartr s opera must have made by its novelty. eagerly awaited opera Don Giovanni In contrast. to other composers of or The stony Banquet (@ the period, whose works were marked, Gastmahl). Connoisseurs and musi- if not by repetitiousness, then by cians say that nothing like it has predictability, each work created by ever been performed in Prague. Herr llozarL for the lyric theater opened Hozart himself conducted, and when a new world, musically and drama- he entered the pit, he received a tically. Our conception of its triple ovation, repeated when he "novelty" is fundamentally different left. Incidentally, the opera's simply because all the music com- execution is very difficult, and posed between then and now is firmly everyone admires the good perfor- embedded in our musical conscious- mance, despite the limited time of ness, making it impossible to iden- study. Stage and orchestra did tify in a real sense with the first everything to reward Mozart with a listeners. good execution. Much expenditure was required by choruses and Those days were perhaps Lhe happiest scenery, aII provided splendidly by in Mozart's life, thanks to the Herr Guardasoni. An unusually large geni-us loci and the company of crowd guaranteed the applause, which understanding friends. Among the tt was shared by all. interested and sympathetic listeners

75 assembled in Prague was Giacomo premiere might turn out to be a Casanova . He had come from Dux, 40 rather bewildering experr_ence. miles away, where he was in charge Students of 18th-century performance of the Waldstein librarY. Having practices rightly suspecL that our been involved in the theater in the present ideas are frequently not in course of his turbulent life, line with the way music vtas felt and Casanova seems to have scrutinized performed in Mozartrs time. For ftDeh, Da Ponters dramma giocoso in his own example, the Donts serenade, " special way. A sequence of verses vieni all finestra, is marked in the sextet was not to his taste, allegretto in 6/8 time. At present, and he offered a different version. it is often sung at a metronome It was the passage beginning with speed of 50 for each of the two "Mi1Ie the molto allegro, torbidi beats in a measure. A metronome pensierirtt that he wished to replace marking of 60 would imPress us as with an extended solo for Leporello, being on the fast side. Howeverr it to be followed bY a new ensemble for is safe to assume that Mozart would the six singers, eliminating Lepor- have asked for a still faster tempo. "Ah tt ello t s aria pieti ! Casanovats We can refer to a list of metronome suggestion fell bY the wayside, but figures for Don Giovanni, ProPosed the autograph of his verses r repro- as authentic by an intelligent duced in facsimile, is still extant. musician who had heard the opera in Prague numerous times during the A much more significant correlation early 1790s. Furthermore r w€ find can be established between Don another set of metronome markings in Giovanni and Casanova. Aside from a score printed in t822. According the personal and PsYchological to these two sources the serenade implications, a surprising similar- should be sung at a speed of 76-80 ity can be noted in the Phraseology per beat, which would seem normal appropriate to the attempt to seduce for a lTozarL allegretto and at the a female, a tYPical and frequent same time be in line with the then feature in Casanova's memoirs. The customary treatment of the mandolin. very words used bY Giovanni when he On the other hand, there is reason tries to seduce Zerlina are found in to suspect that the dashing toP- Casanova's reports on his conquests speed delivery of Giovanni's cham- whenever a nobleman and a girl of pagne ariar ES it is usuallY heard, lower class are involved. Also, would have displeased Mozart, who Elvirat s tirades have their counter- always insisted on having all the part-- in the bitter accusations of notes played clearlY and rhYthm- . jealous women as PortraYed bY ica1ly. Casanova. Though the setting of the Don Giovanni storY was the 17th While details of this sort may be century, w€ must not forget that it' Iess important to the general public was much the same atmosPhere of than to professionals t another ttthen sexuality, intrigue, and covert dif f erence between the and tt immorality in which Mozart and his now, the enormous change in overall audience had grown uP. sound, can easily be aPPreciated. Starting with the string orchestra, We are on less secure ground when we the sonority was then determined by try to reconstruct the details of the exclusive use of gut strings and the musical Performance- What other accessories that have become wouldn't we give for a rePlica of obsolete. This, together with the Mozart's reading of Don Giovanni! old bowing style, produced a sound On second thought, though, we ought alien to modern ears. Moreover, the to realize that Peering into the string group was small seven musical proceedings of the Prague violins, and only two each of viola,

76 ceIIo, and bass Likewise, the Giovanni, the last on November 3. tonal quality of all the wind in- Ten days later t,he Mozarts departed struments differed considerably from for Vienna, where Don Giovanni was what we are accustomed to. As for presented the r"rlffi and vocal performance, the consensus is found a cool reception. In those that the singing style, including days Mozartts operas were over- voice production as well as the use shadowed by works now long of appoggiatura and other improvised f orgot"ten. ornaments, did not conform to our preferences. Honesty requires us to admit that even now the Aida Boheme Carmen Next questions to of sound and style constellatiott orlt"nio." ltor.rt k we must keep in mind those intan- masterpiece in terms of popularity. gible qualities that stem from an In the history of Western civiliza- artistfs personality and in the end tion, however, it occupies a place determine the character of his unique among all works for the stage rendition. Not only training, but by transcending its musical signifi- emotional and physical behavior cance. This cannot be ascribed patterns change from one period to merely to the symbolic implication another. At bestr w€ can try to associated with the Don Giovanni guess how artists felt, sang, and image. The spiritual irp""t of th" acted during the latter part of the opera, recognized and interpreted by lBth-century. poets, writers, philosophers, and psychologists, must be led back to Speculation aside, a question re- the composer's deep understanding of mains that lately has stirred up human nat.ure and his dramatic intui- interest. On what. kind of keyboard tion. Don Gl-otgg.t, reflecting the inst nrment did Mozart accompany the whole of ft"*u"ity in music, has secco recitatives? The harpsi- become part of our heritage. chord's popularity was declining, Praguet s opera-lovers who witnessed and the fortepiano had begun to find its first performance could not have its way i-nto the orchestra pit. We foreseen the workt s historic impor- know Lhat Mozart, who had come to tance. Yet, they deserve our grati- dislike the harpsichord, played on tude for having brought a few days his own fortepiano when directing of happiness into llozart t s Iife. the Figaro premiere in Vienna (1786). There are valid indications that he also used a fortepiano in Prague. But, here again, the sound - of "Mozart a claviert' differs from peared in the February 1, 1975 issue that of its modern counterpart, the of Opera News, is reprinted by piano. permission of the publisher and autho r . After the premiere Mozart conducted another three performances of Don

ll in large Lheaters know (perhaps RANDOMTHOUGHTS instinctively!) that their sound musL anLicipate Lhe conductor's beat ON OPERACONDUCTING by a fracLion of a second and, certainiy, must never fall behind i L. The experienced opera conductor by Peter Paul Fuchs real izes Lhat in such a siLuation he must be a tower of strengLh he mus L g ive Ltre Lempo and not re ce ive fhe late Fausto Cleva once made a it (except in an emergency). rnost en1 i ghten ing statement Lhat has been quoIerl marly t imes . He sa i d If, on the other hand, the conductor Lhat a capable and experienced opera i s inexperienced, Lhe perception of conducLor should be able Lo conducL a sound that seems to reach hirn a a symphoni c performance at I easL shade early may readily confuse him. "calch competently, but that the reverse He may then try to up" with t'Why?t' was by no means true. we may the solo singer or chorus in ques- ask. Is Verdi's Aida structurally tion, with potentially disastrous more complicated than Brahms' First results. (It should, of course, be Symphony, or does Stravinsky's real ized thaL genera I 1y the time Oedipus Rex pose bigger Lechnical delay is very small but certainly problems than his Sacre? I think large enough to endanger the rhy- not. We therefore must Iook for Lhmic coordination of a perfor- other reasons if we assume Cleva's mance. ) sLatement to be true. Overlooking for the momenl all factors of inLer- There is an obvious question that preLation thaL should be investi- could be asked: Why musL the con- "center gaLed from an enLirely different ductor in opera be the of viewpoint, let Lls f irst look aL the the universe?" Could not Lhe con- most obvious difficulLies Lhat arise ductor be accommodaLing by adjusting when a symphonic conductor of aver- his beat to Lhe sounds emanating age experience approaches the medium from the distant singers or chorus? of opera. Admittedly, this has been tried, with varying degrees of success. In I. The elemenl of distance. The Lhe long run it does not seem prac- speed of sound is slow enough to tical for the following reasons: a) creaLe challenging problems when Lhe a singer placed far upstage is not s inger, pos itioned far upsLage, has always the best- reference poinl for to Bynchronize his singing with Lhe setting the Lempo because he may orchestral accompaniment. The move in various di rections or, problems become more acuLe when an worse, turn away from Lhe audience instrument, or group of instrumenLs, and Lhereby confuse Lhe signals; b) posit ioned offstage needs to be if Lhe conductor had to make the synchrortized with the musicians in adjustments this would mean that on the piL. Assistant conductors in occasion he might have Lo follow charge of backstage ensembles used various performers, some being far to be instrucled Lo anticipate Lhe away, others close by not exactly c'hief conducLor' s beat in order to the best prernise for a closely-kniL counLeract Lhe naLural delay of the ensemble. backstage sound. With Lhe advent of te l evi s ion set s Lhi s problem has II. Cover:ing_Lhe singers. No la rge ly heen e I imi nated But it accusaLion is raised more frequently st i I I exi sts as it (-oncerns perf orm- against young, i.nexperienced conduc- ers sol o or chorris on the Lors and sometimes even againsL sLage itsel f . Experienced singers older, experienced ones Lhan Lhat

7B of covering the singers I must a r-e two or Lhree l evel s Lo Lhe' pri l , admit that in most cases the accusa- make sllre ttre frrasses an

7c) orchestral sound: lowering the III. Selecting the correct tempo. dynamics of certain instruments by This item has more built-in problems one or even two degrees, adding than one would expecL. A novice in diminuendos here and subito pianos the pit who may have shown excellent there. I usually ask the singers to judgment and great assurance in the sing in their full voices for aL choice of tempi during piano re- least part of the first rehearsal, hearsals ffi&y, faced wiLh piL, stage, the moment when most of the adjust- and multiple sounds emanating from "lose ments should be made. And I have diverse locations, suddenly one iron clad rule: if while con- his nerve" and become unpredi-ctable and inconsistenL. This intimidated ducting I cannot hear a singer's voice clearly, then there is at and confused state often causes the least a 75% chance that the audience tempo to drag. If he is intelligent will not hear him clearly either. and talented enough and is given the If the musicians in the orchestra proper advice, he may overcome this teal-ize early on that you, as con- weakness by the second orchestra ductor, are fanatical about giving rehearsal. A very aggravating and the theater its due by insisting unfortunate situation arises when that whatever is sung or spoken on the inexperienced conductor is stage must reach the audience, they accused by the singers of being are then likely to cooperate with much too slow in a situation in you. Of course, sometimes condi- *ttl.tt f,i= t"*pi may not have actu- tions are so bad that the conductor ally dropped at all. The reason, in musL be ready with drastic remedies, many cases, is that the opera such as the omis s ion of a doubl-ing singer, despite all affirmaLions to wind part. Such procedures are not the contrary, will give more sound likely to be required in Don on stage than he did in the rehear- Giovanni or Falstaff. Unfortunate- sal room, a situation in which Lhe ly, not all operas that we perform customary amount of breath will no are masterpieces of orchestration. longer be sufficient to sing the (It should perhaps be mentioned that phrases smoothly. At that point, light, non-covering orchestral sound the singer, without any trace of is not necessarily the simple pana- malice, will determine that the cea it appears Lo be. At the other conductor is at fault for taking end of the tonal spectrum, emascu- slower tempi when in reality it is Iated orchestral sound lurks in the the singer's own increased volume shadows of the pit. The secret is that is at the heart of his inabili- to make the singers heard without ty to make the necessary physical emas-bulating the instrumental adjustments. If the conductor can sound so that in spite of dynamic expla in this to Lhe s i-nger , during discretion, the playing of orches- intermission, privately and in as tral climaxes will still appear with friendly a fashion as possible, then the richness of color, texture, and half the battle may already have drama originally conceived by the been won. composer. Despite these potentially hazardous factors, it should be It is utterly important in everY remembered that a satisfactory phase of opera conducting that the balance between stage and orchestra conductor be spiritually in touch can often be produced by the visual with the singer, with al1 the visual appearance and impact of the conduc- happenings on stage, during anY tor' s Lechnique. An overly 1arge, given second. Sometimes this is "breathing clumsy, or vague beat will rarely calIed with Lhe singer," produce a precise, light, and in- which is, of course, an exaggera- as spiring sound. ) tion. But there is nothing

80 irritating to the singer on stage as to Leinsdorf, is that a certain type a conductor who keeps his head of conductor is very adept at taking tts buried in the score all the time and care of ituationstt that arise: a seems to be too busy conducting the tenor entering a bar early, a sopra- orchestra to become aware of, and no stepping on her train and getting attend to, his needs. Every work of confused, a chorus losing concentra- the musical theater basically takes tion because of high leaps of ballet- place on the stage, in spite of dancers, etc. This type of conduc- beautiful instrumental passages. tor often actually exploits such Therefore, every competent opera semi-catastrophes for his own bene- conducLor must keep his eyes riveted fit since they usually create a on the stage and must also try to certain kind of excitement that make the kind of music that enhances Ieaves its mark even on the audi- every element of the stage action. ence. In symphonic playing there are, generally, oo Lenors, no prima- (I myself was rudely awakened to the donnas, and no choruses that have to necessity of looking at the stage act. The excitement has to be while conducting my first opera, a created by more austere means. This student performance of Nozze di leads me to the essential point of tt Figaro. During the third u.t ".* interpretation . tt tet, I became most anxious to keep the orchestra under Light control so I have personally known a number of that it would not overpower the conductors (some of whom have made s lngers . Through this veil of rather respectable careers) who saw anxiety, I suddenly heard peals of their most important function as laughter from the audience. bringing about the precise entrance Bewildered, I turned around but of an orchestral chord after a received no clue. When I finally singer's whimsical cadenza. Such "virtuosos" looked at the stage everything would pay no attention seemed normal. Later, I found out to the drama on stage, almost con- that the singer who portrayed Bar- sidering it as an enemy. (t{hy care tolo apparently had been leaning on about a singer's acting as long as his cane so heavily that it broke in he remembers to stand close to the two. I was rather embarrassed not footlights and Lo watch the conduc- to have noticed this myself, and the Lor' s beat at all times ! ) Happily, episode taught me a lesson that I many good things have happened in have never forgotten. ) opera since the L94Os and early 1950s, when the majority of singers IV. The meaningful interpretation tried only to make Lhe best vocal of the work. This is a partial impresslon possible and were largely corollary to the above-mentioned unconcerned with dramatic values. need to maintain appropriate and This change of attitude also strong- dependable tempi. However, there is ly affects the conductor. There- much more to it ! Erich Leinsdorf, fore, opera conducting, while sti1l in his book The Composer's Advocate allowing for the fact that every (perhaps in a sense contradicting word pronounced on the stage should Cleva), states that there are con- be understood by the audience, has "symphonic" ductors who can handle an opera become far more in its performance, psrticularly that of an aLtitude, thereby giving the conduc- Italian standard opera, quite skill- tor a stronger position. I think fully, but who, on the symphonic that, currently, most opera conduc- podium, become dry and unimaginative tors realize that rendering precise time-beate rs (Would Cleva have accompaniments for the singers is "being thought of this as com- not enough thaL there must be a petent?t') The reason, according structural outline from the first to

B1 the last note of a work (just as in If this is merely a rather important a symphony) and that, in sPite of requirement in an opera bY Verdi all the visual marvels of any Pro- (excepting, of course , Ot-eIlo and duction, it must be the man in the Falstaff, which are in a category bY pit who establishes that structure. themselves) it is totally indispen- sable in operas with a closely-knit Not long ago I watched a Young symphonic texture, such as the works conductor doing an accompagnato of Wagner and Strauss. It Proves recitative f rom a l{rozatt opera - He how essenLial it is for the oPera undoubtedly had done his homework conductor not onlY to be aware of well; he knew exacLlY when the every delail of the stage action, chords should be PlaYed and at what but also of every word that is said, dynamic level. And Yet I felt from and how it is said. the beginning that there was something wrong. GraduallY, I realized In these limited 1ines, I have that the conductor's basic approach consciously cut onlY a small slice "I'll seemed to be do a chord, the from the big cake called interpreta- singer will sing a line then I'11 tion. Yet, in view of all the " do another chord, etc - The resul- p r..tl-o,ts ly-ment i oned te chni ca I ting impression could be compared to problems, it is PerhaPs beLter for an automobile that had to be cranked the moment not to overburden the up every quarter mile. It is true minds of our colleagues who, finding that in many operas Lhere are reci- Lhemselves in a LotallY new situa- tatives during which the conductor tion, will at best have to make a needs to physically do nothing other score of adjustments in order to than hold a sustained chord or mark adapl successfullY to the changed the number of elaPsed bars during a climate. general pause. Ugg!4]Y, however, he must particiPate at al1 times. He must clearly plan every utterance of the orchestra in such a fashion Peter Paul Fuchs is conductor and that it directly relates to the last music director of the Greensboro orchestral statement as well as to (NC) Symphony and artistic director the preceding line of the singer. of the Greensboro OPera ComPanY.

B2 SCORESAND PARTS

by Jonathan Stemberg

Many letters have crossed my desk requesLing a review of the errors, omissions,andinconsistenciesinBeethoven'[email protected] fore, for this column, I have collated all of -y notes on the symphony gathered through Lhe years from many different editions. On several occasions I have consulted the fair copy and an early set of parts in Vienna. This is indeed helpful, but does not always furnish a defini- tive answer. The original manuscript is lost. Some corrections are simply a matter of judgment based on what one thinks Beethoven mgy have intended but didn't do in the heat of creation. Others are merely mist-akes and oversights of the copyist or engraver. Below are the most interesting items. Not included are several fascinating nuggets that appear in the recentty-published book Orchestral Vari- ations written by my English colleague Norman De1 lt"r (*1.*.a irt this issue), a work that I highly recommend.

The bar numbers in the following list refer to the Breitkopf, edition, except when reference is made to small score editions. In such cases, the edition's bar numbers are indicated. They differ only insofar as Breitkopf does count the measures in the first endings and the small score ediLions do not. Thus, for example, in the first movement, the Breitkopf bar number 159 would be 155 in Eulenberg I in the third movement, bar 261 would be 255; and in the Finale, bar 57 would be 55.

N-B- The Kalmus edition is a reprint of the Philharmonial the Dover edition is but an enlargement of the Eulenberg small score.

SymphonyNo. 3 in E-flat Major

T}M EROI CA

by Ludwig Von Beethoven

FIRST MOVEMENT

Bar I44 A sforzando should be inserted on the second beat of the 2nd violins and violas, similar to bar 551. The Kalmus (philhar- monia) small score is correct whereas Eulenberg and Dover (which is an enlarged copy of the Eulenberg small score) require correcti_on in both instances.

Bar 148 In all editions, the fp is meaningless in the violas. There should be no dynamic mark in this bar, however a p should appear in the following measure.

B3 Eroica Corrections, May 1982, Jonathan Sternberg

Bar L74 In the Kalmus and Belwin editions, the oboe should read sf

Bar 189 The 2nd violin Breitkopf parts should read A-natural.

Bar 196 The lst violins have a single A at the beginning of this bar and it is probably an oversight that the lower octave A is not there, ds in the previous bar 192.

Bar 208 Is this an oversi-ght as well? There is no sf on the third beat as in the preceding alternate bars. Most conductors include it and retain the Pattern.

Bar 243 Bar 246 In Eulenberg (Dover) a sf is missing on the last bassoon beat.

Bar 25I In the clarinets, a f should appear with the last beat.

Bar 253 In most small scores, the trumpets are missing a sf.

Bar 287 In Eulenberg, 2nd violins are missing a sfp.

Bars 320-327 The omission of staccato dots in the 1st and 2nd horns is inconsistent with the 3rd horn as well as with the preceding similar sequences. The same for bars 324'5 where the flutes and oboes are dotless. Most small scores have a varying assortment of these inconsistencies for these instruments. However, it is interesting to note thaL the trumpets and tympany are without staccati entirely from bar 308 onwards.

Bar 323 Eulenberg and Ricordi have sfp for the clarinets in bars 323 and 325 tnd a f in bar 327. These should all be sf. Same for the bassoon in bar 325 and the cello in bars 323 and 335 along with the basses. Bar 341 Eulenberg and some Dover editions should have a sfp in the cello and bass.

Bar- 350 The Breitkopf score prints the cello and bass parts on the same line, which is traditional for the period, even though the bass sounds an octave lower. However, at this point it is out of range. All small scores here print the basses on separate lines, generally an octave higher except when the wide leaps "normal" are involved. This goes back to on the B-flat following the sempre cresc.

Bar 357 Eulenberg and Kalmus should have a sf and not a sfp in the cello and bass line as in the other strings, since this is part of the crescendo. The same for bar 361.

Bar 44O In most small scores, the trumpets should have a sf on the third beat. Also in bar 341.

Bar 489 In Eulenberg and Kalmus the bass dynamic is p.

Bar 493 In Eulenberg and KaImus the cello should have a decrescendo, followed i-n bar 494 with the dynamic p. BREITK@F

Hn.

Tr.

Ttmp.

Vln Il

VInII

Vlo

Ve- cb.

ail smal sc(res

(on e staves)

BRElTKOPF

.EE--. n.

cl.

Tr.

Timp.

Vln I

Vln Il

Vlc

Vc.

acs?rc c"?4,

all srnat scores cb. aemF?c ercac, Eroica Corrections, May 1982, JonaLhan Sternberg

Bar 499 In Kalmus Lhe 1sL cello note F is a half-noLe.

Bar 633 In Kalmus and Eulenberg, the lst violin lst noLe is sf.

Bar 637 In Eulenberg the 1sL violin 1st note is sf.

SECOND MOVEI"IENT

Bar 14 In most small scores the a2 above the horn note is an error. It should be played only by the lst horn.

Bar 23 Eulenberg and Ricordi should have a dynamic of p for the 2nd violin and viola.

Bar 50 In Breitkopf and Kalmus, the sf of the 1st flute certainly belongs on Lhe second note with the 2nd flute.

Bar 63 In Eulenberg the lst and 2nd violins should be sf on the F- sha rp .

Bar 66 In Eulenberg the A-flat of the bassoons should be f , noL sf .

Bar 69 In Kalmus and Eulenberg the horn should be played only by the Znd.

Bar 84 In Eulenberg and Ricordi, insert dynamic p for horns and tympanY.

Bar 98 In Eulenberg, insert dynamic ff for the flutes.

Bar 126 In Eulenberg and Ricordi, the 2nd violin note should have a sf. Also in bar 127 .

Bar 134 In Kalnus the viola should have a sf on the 2nd note B-flat.

Bar I47 In Eulenberg and Ricordi Lhe lst violin should be sf.

Bar 148 In all editions, the trumpeLs should probably have a sf along with the rest of the orchesLra. Certainly an oversight.

Bar 159 Breitkopf prints a sf for the cel li and basses . Al I small scores have a ff. I doubt that the difference can be heard aL this dynamic for these instruments. I vote for the extra bite of the sf .

Bar 169 Breitkopf omits the Lriplet indi-cation over the 1sL viol ins. |lost smal l scores do as well . also for Lhe f lute.

Bar 171 In BreiLkopf and mosL small scores an accent is missing over Lhe A-flat of the 1st violins and flute. In Eulenberg the accent is missing as well over the bassoon A-flat and B-natural and the 1sL violin last beat B-natural. In Kalmus over the A-f1at of both Lhe bassoon and cello bass line.

B6 Eroica Correct ions . May 1982, Jonalhan Sternberg

Bar 183 A1 I editions , Lhe sLring decrescendo can hardty be correct . Cerlainly this musL be a continuaLion of the crescendo of Lhe preceding bar as in the parailel instance of bar rg.

Bar 184 The dynamic is missing from Lhe 2nd ho rrr 1n most smal1 SCOTCS.

Bar 218 In the Breitkopf parts, a sf is missing orr the high D of Lhe 2nd violins.

Bar 245 All editions vary as to whether the oboes and horns should resolve to an eighth- or quarter-note. Breitkopf has eighths. Most small scores have oboes wiLh eighths and horns with quarters' I believe Breitkopf is correct, otherwise the lst violins would not be heard with their pp note. (personally r prefer to change these resol.utions in the preceding instance at bar 243 to eighths, allowing for a pregnant, momenLary si lence before the violins play.

THIRD MOVEMENT

N.B. Rehea rsa l letters in Kalmus do not correspond LO Brei Lkopf

Bar 174 In Eulenberg and Ricordi, the 2nd horn note should be staccato Bar 183 In Eulenberg, Lhe 3rd horn should be sf.

Bar 196 Most small scores misLakenly prinL a f for the cello and bass This should obviously be a p.

Trio 1st ending flany small scores print the last Lhree dotLed half horn cho rd s slurred. They shoulcl be articulaLed , sCcording Lo the fair copy of Lhe score aL the Gesellschaft der Musikfreunde Librarv in Vienna.

Bar 252 In Eulenberg ancj Ri cordi Lhe horns should be s f , noL f

Bar 431 It hardly seems possible that Lhis bar as well as bar 432 are f following a crescendo and ff passage. These chords are probab_ ly a renewed ff, the symbol being mistakenly spread over two bars by the copyist.

FOURTH MOVEMENT

Bar 55 In most small scores Lhe fermata in the 1st violins should be on the D, not the E-flat.

Bar 171 In Eulenberg and Kalmus Lhe dynamic ff 1S mlSSlng in the bassoon.

Bar 180 In Eulenberg and Kalmus Lhe f1 ut-e shoul d be s f on Lhe A-natural. Flroic'a (lorr-et'Lions. |1av 1982 JonaLhan Sternberg

'fhe [la r 2l'.] dyrramic indrc'ation sempre f follows 4 bars of ff . There is no reason to bel ieve ttraL a lesser dynami c i s wanLed in this G-rninor section, and when the c'larinets ertLer 16 bars later Lhey are lnrleed marked ff, Ieading one to believe Lhat the e'nLire sec'tion front C Lo D should be a tuLti ff.

'['lrere Ba r' 229 seer)s to be contusion in Lhe Znd vioIin dynamic for the 2nd beat c:hords of these 4 bars. BreiLkopf and Kalmus indicaLe ncifhirrg here rlor for bars 231 to 240. Eulenberg and Ricordi hc,rweverpri nl a sf under each chord in both instances , whi ch in Lhis c:ontexL appears appropriate.

B:rr 215 I'he horn has a printed quarter and the possibility exists that this note should be an eighth, along with the 2nd violin attd viola. The preceding C-minor phrase finishes with a quarter in fhe oboe and 2nd violin, but the succeeding phrase with an eighth for the winds and lower strings. The figure of the lst violins in bars 271 and 215 would seem Lo suffer from the lenglh of a quarter noLe.

"con Bar 351 Breitkopf is probably the most accrlraLe with esI)ressione" only under the oboe sLave. Kalmus omits Lhe 3rd horn entirely "con but Eulenberg and Ricordi include espressiorte" for the oboe. clarinets, and horns noL Lhe bassoons.

Bar 422 A more accurale dynamic for Lhe bass would be f and p for Lhe f ol lowing bar, insteacl of fp on a single eighlh-nole.

ErraLa: Vol 2, No. 4, FalI 1981, page 171

Franck Symphony in D minor 2nd Movement Bar 140 should read 141 re Clarinet Bar 225 should read 258 re 1sL violins

VoI. 3, No. 1, Winter 7982, page 35 The final senlence of paragraph 3 should conclude with: Toscanini the III!rye"gISI preferred the detached effecL and sus La ined . BOOKSIN REVIEW

by Henry Bloch

Norman Del Mar, Orchestral Varia- tanL questions in addiLion L<_i\dein- tions, Confusig!__4!d Error--- In The gartner' s more fami liar recommenda- q$S" t rr l R"p. rt. t ry , L.",iln : t ions. Reading the ot Lrer chapLers Eulenburg Books, 1981, 24O pp. , should send every heretofore rtrlsus- $22.50, di stributed by Da Capo pecting conductor back to his scores Press. for scrupulous examinat ion.

I t i s not customary to revi ew It is ironic ttrat a book dealing "..printsr" "confusions but several recent wiLh and errors" unfor- releases of Da Capo Press merit that tunately conLains a number of thenr attention. Happily, Lhe publisher itself (at leasL in my review copy). has made avai lab1e a number of For example, part of Lhe table of publicaLions that are of vital contents (pp. VI, VII, VIII) is interest to performers and scholars mi ssing. In the preface, pp. X, XI , alike. While some of these are of XIV, and XV are missing. This is nrosLly hi storical value, Norman Del most deplorable becaupe it contains Mar's books originally pubtished part of the author's statement of by Eulenburg in England share his purpose of the book! Furthermore, own practical experience with other the book ends (pag" 24O) so abruptly conductors, thus providing an impor- Lhat it is hard to Lell whether it Lant source of editoriat infornta- i s so intended, or if entries by t ion. composers near the end of the alpha- bet ic sequence are mi ss i ng. These Generally, Lo insure authenticity, are minor faulLs, however, Lhat can published scores and parts are be corrected by Da Capo press. compared with each other and with the known sources. As a result, Norman De1 llar, Mahler's Sixth many discrepancies emerge regarding Symphony-- A Study, Lffi correcL notes, dynamics, and burg Books, 1980, 153 pp. , $22.50, phrasing. Are Lhey misprints? Do disLributed by Da Capo Press. they reflect a composer's change of mind and, if so, which is Lhe final A percepLive foreword by Col in choice? Mr. Del }lar deals with all MaLLhews prepares tire reader f or the these ques Lions inte I 1igenLly but , penetraLing study of GusLav l'lafrler' s undersLandably, he cannot solve all Sixth Symphony Lhat f oI I ows . l'he of thern to everyone's satisfaction. first ctrapter reveals Mr. De1 |lar's But he can stimulate further study devolion to Mahler's music as a of Lhe materials in anticipalion of whole. lle knows it well and makes a performance. good case for hi s Lhes i s t haL Lhe: "..presenls Sixth Symphony a cenLral Discuss ion o f the cont rove rs i al and crucial pil tar in the ouLpuL of score and recording of Bartok's one who was irr facL ()ne of the, Viola Concerto, for example, is one greatest symphorrists who ever of Ltre more inter:esting items. 1ived." Comments on several of Beelhoverr's symphonies and concerti raise impor- In the fol lowing analysi s, Del Mar

89 proceeds Lo show the organic uniLY ate or verifiable rtt fact. YeL, tt of Lhe symphony, a uni LY st i i I is precisely ttrjs disc'reljatlc]' be- dominated by the sPirit of Beetho- tween f ac'L and f ic'L ion irr tire ac'- ven. The facL that Mahler subjecLed counts of SLokowsky's li{e'Lhat have hi s works to subsLantial alLeratiorts c:onLributed Lo the myth ol Lhe Irran. is well krtown. According to Del IL is surpri.sing L<-rreati ftov" liLtle l.lar, in the SixLh Symphony |lahier formal training Stokowsky re('('ived wenl far beyond what mighL have been as a young rnan. Yet, his talenL expected of hi m. Thus , the th i rrl prevai led. Anrong mtrsi c ians, tre v"'as - chapter conta irts a Lhorough compari a great sttc,wman, f i-irever ('()IIscir.rus son of ttr.e two existing versions antl of his beautiful frantls and long - provi des vita 1 studY materi a I for wh i te ha i r . Robe rt Shraw, who f.re anyone contemplating a performance. quently c<.ilLabor.rted with hint, pointed out LhaL Stokowsky was ntore i nLerested in c'ri1or and sotlority Abram Chasins, Leopold Stokowsky --- ttran in style and musical structtrre. {_|._olt lS , New Yo rk : Da CaPo PaPer- A critic once clescribed him as a "Kl " back, 19J9,313pp., $8.95. ang Regi sseur, that i s , a " "di rector of sounds. lltrsicians who played under him wi 1 I perhaps We must be graLeful to Da CaPo Press conf i rm Lhat . Whether he wotrld be for having reprinted Abram Chasins' \,vorshipped as much by Loday's audi- biography, thus making i t avai lable ences as he was in his own dav is a to marly readers who mj ssed the f irst maLter of specul at ion But Abram publication in England a few Years Chasins evokes a lively image of the ago. Chasins presents a vivid man, as interesLing,Loday as it was accounL of the career of one of the when iL was originally published. great conductors of this centtrrY, of a uniqrre personality. He brings out the many contradictions in Stokowsky'" public I ife, ds well as Henry Bloch i s conductor of the many sLatements aLtributed to Woodstock (NY) Chamber Orchestra and Stokowsky, Lhat were ProbablY ex- serves orl the facul ty of the Horace pedient at the Lime LheY \trere made, Martrt Schoo! in Riverdale, New York. alLhough they were often not accur-

90 ThePubl ishersCorne

U.S.AGENCY LISTING OF'FOREIGN PUBLICATIONS compiledby KirbyPines

Thismonth's Publishers Corner presents an updateddetailed listing of the representatiorrin the U.S.of foreignpublishers'orchestral and operatic catalogues. The companieson thispage are the Americap publisherswith theiraddresses and the personto contactfor informationabout orchestral and operatic performances.

The pagesfollowing list the foreigncompanies with a brief identificationof the type of catalogueano someof the maincomposers therein. The Americanpublisher acting as agent for eachoverseas publisher is identifiedby the abbreviations.

BELWTN-MtLLSpUBLtSHtNG CO. IBELI GALAXYMUSTC CORPORATTON IGMCI Mr. Robert Holton Mr. KirbyPines .131 1776 Broadway West86th Street New York, New York 10019 NewYork, NewYork 10024 (212)24s.110{r (212) 874.2100

BOOSEY& HAWKES,lnc. IB&Hl MAGNAMUSIC-BATONI MAG J Mr. DavidHuntley Mr. DouglasJones 24West 57th Street 10370Page Industrial Boulevard -l0019 New York, New York SaintLouis, Missouri 63132 (212)1s7-3332 (314)427.s660

ALEXANDER BROUDE,lnc. lABt I oxFORDUNtvERSTTY PRESS lO UP J Mr.William Sisson Mr. JeffreyBishop 225 West57th Street 200 MadisonAvenue NewYork. New York 10019 NewYork, New York 10016 (212) s86.1674 (212\ 67e-7300

c.F.PETERS CORPORATTON EUROPEAN ICFPJ AMERICAN MUSIC Mr. DavidCooper DTSTRfBUTORS CORPORATTONIEAM I 373 ParkAvenue South Mr. DavidBeveridge NewYork, New York 10016 11West End Road (212) 686-4147 Totowa,New Jersey 07512 (201) 526-7'tOO THEODORE PRESSER CO. /rP J Mr. EugeneMoon CARLFISCHER, Inc. ICFJ BrynMawr, Pennsylvania 19010 Mr.Arthur Cohn (21s)s2s-3636 CooperSquare NewYork, NewYork 10003 G.SCHIRMER, Inc. IGSJ (212\ 777-0e00 Mr. HowardScott 866 Third Avenue New York, NewYork 10022 (212)e3s-s100

91 AgencyList

Choudens IASt] - AlexanderBroude Editions fFrance ICFPJ 18th- 20th centuryFrench music including Berlioz Ise tJ - Belwin-Mills and Bizet IB&H] 'Boosey&Hawkes J B Cramer& Co./England IABIJ ICF] - Carl Fischer - Peters Englishcomposers including Stanford and Sullivan IcreJ CzechMusic FundlCzechoslovakia - GalaxY ISaU] IGMC] Czechmusic from the 18th to 20th centuries, - Schirmer IGS] G. includingBenda, Dussek and Martinu - Mognamusic-Baton I MAGJ DeutscherVerlag fur Musik, LeipziglGermany IA St J - IoUP] oxford Criticaleditions of 19th centuryworks and IfPJ - Presser contemporarymusic from the GDB, including Mendelssohnstring symphonies and early instrutnental concerti Artisius/HungaryI B&H J DilialCzechoslovakia ISAU ] Hungarianstate agency for operasand ballets, Czechstate agency for operasand ballets:Dvorak, includingErkel and SzokolaY Smetanaand Martinu BaerenreiterVerlag/Germany IMAG ] Doblinger/Austria IGS] 11th-19th centurychoral and orchestralworks 11th-2}th centurycomposers including Schiske, and contemporarycomposers including Schwertsikand DohnanYi Antoniou, Hameland Krenek Donemus/Holland If P] Barry Editorial/Argentina ISaU ] ContemporaryDutch composersincluding 20th century Latin Americancomposers' Badings,Ketting and PijPer includingCaamano and Tauriello DurandS.A./France ITP I Belaieff/Germany ICFPJ lgth and 20th centurv Frenchconrposers, Russianmusic from the late 19th centuryand mainpublisher of Debussyand Ravel early20th centurY Editio MusicaBudapest/Hu ngary IB&H ] EditionsBillaudoti France If P] Worksof all contentporaryHu ngarian composers Concertosby 18th and 19th centurycomposers' includingBalassa, Durko, Bartok and Kodaly includingVivaldi, Bellini, Albinoni and Hurnmel EditionsMusicales Transatlantiques/France IfPl Boccacini& Spada/ltaly IfPJ 20th century Frenchconlposers including Publisherof littleknown worksby important Milhaudand Jolivet,attd new editiorrsof 18th Italiancomposers, including Puccini and Verdi and.l9thcentury French music Bureaude MusiqueMario Bois/France IBEL] 'pas Engstr/m & S{dring/Denmark ICFP] ballet de A specialistcatalogue of important 19th and 20th century Danishcomposers (Concerto Militaire for deux', Offenbach works includingNielsen Orchestro, Gaite Porisienne) and tnany Cello oncl Enoch& Cie/France IGSl completeballets Late 19th and early20th centurycomposers Bote & Bock/GermanY IGS] includingChabrier, Enesco and Milhaud centurycomposers including Blacher, 18th-20th EditionsMax EschigfFrance IGS] Offenbach, Regerand Yun I9th and20th centurycomposers including Leipzig/Germany Breitkopf & Haeriel Musikverlag, IABIJ Falla,Milhaud, Viila-Lobos and Koechlin I 8th-20th centurystandard repertoire, including Eulenburg/England IEAM ] Sibeliusand the completeBach cantatas Pocketscore catalogue of the entirerepertoire Breitkopf & Haertel,Wiesbaden/West Germany IGS] Faber/Curwen/England IGS] 17th-2}th century composersincluding Liszt, Britishmusic from all centuriesincluding Purcell, Sibelius,Busoni, Suk, LaPorte,Baur, Kelterborn Britten,Holst, Knussen, Sculthorpe and and Rozsa VaughanWilliams BrucknerSocietyEdition/Austria ICfe1 Edition FazerlFinland IMAGJ Rentalmaterials onlY 20th centuryFinnish composers including Carisch/ltaly .llth-2}thISaUI Sallinen,Kokkonen and Klami Italianmusic from centuries,including Forberg/Germany ICf e1 Duranteand earlyworks of Dallapiccola Russianmusic from the late 19th to early20th MusicaleSonzogno de PieroOstali/ltaly IBELI Casa century,including R. 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Strauss,Schoenberg, PantonfCzechoslovakia IB&Hl Busoniand Bruch Czechmusic from the l8th 2Oth centuries Heugel& Cie/France rPl .l9th I includingBenda, Dussek and Martinu and 20th centurycomposers including Paterson'sPublications,Ltd.lEngland ICFJ Masscnet, Vici, and Dutilleux Jolas, Jolivet Worksof 20th cen[ury Englishcomposers HinrichsenEdition/England ICFPI includingMalcolm Arnold 20th centuryEnglish composers including Edition Peters/Germany ICFPI Butterworthand Ferneyhough Classicalliterature of the 18th and 19th FriedrichHofmeister/Germany IABll centuriesand musicfrom the 20th century 18th and I9th centuryinstrumental conccrti BasilRamsey/England IABIJ lsraelMusic Institute/lsrael IBAH I ContemporaryEnglish music including Contemporary musicfrom lsrael: Avni, WilfredJosephs, Bernard Herrmann and Boskovich,Orgad and Partos RosemaryBrown lsraelMusic Publications Ltd./lsrael IrP] Editions Reimers/Sweden ITPJ Contemporarylsraeli composers ContemporaryScand inavian composers Societedes Editions Jobert/France IfPJ includingKaufmann and Morthenson 20th century Frenchand Americancomposers G. Ricordilltaly IGSl includingDebussy, Bolcom, Albright, 17th- 20th centurycomposers including D. Harrisand E. Kurtz Vivaldi,Albinoni, Berlioz, Casella, Puccini, Kahnt/Germany ICFPJ Rossini,Respighi, Verdi, Menotti,Petrassi Originalpublisher of Mahler;also 19th century and Nono operas EditionsSalabert/France IGSJ EditionsAlphonseLeduc/France Ifpl Principally.l9thand 20th centurycomposers ContenrporaryFrench music including Messiaen, includingHonegger, Poulenc, Satie, Milhaud, Tomasi and Bozza Takemitsu,Xenakis, Foss and Constant EditionsHenry Lemoine/France IfPl Samfundet/Denmark ICFP] 19th and 20th century Frenchcomposers l9th and 20th centuryDanish music including includingDamase, Maurice and Tomasi Nielsen F.E.C.Leuckart/Germany IGS] Schauer/Simrock/Engrand IGS J 18th-20th centuryGerman composers including 19th and 20th centurycomposers including R. Strauss,Hoeller and Wolf-Ferrari Bruch,Dohnanyi, Sarasate and Korn Lindsay Music/England ITPJ Schott/Germany,England, Japan IEAM J ContemporaryEnglish composers for young Contemporarypublications include works by auotences Hindemith,Ligeti, Penderecki, Stravinski, Collection Litolff/G ermany ICFPJ Takemitsuand Tippett 20th centuryGerman composers including Schwann/Germany ICFPJ.l8th Genzmer,Baird and Kagel Germanmusic from the 20th centurv Moeck Verlag/WestGerman y IEAM J HansSikorski/Germany IesJ Selectedpublications by 20th century European 16th-20th centurycomposers including (especiallyPolish) and Japanesecomposers Albinoni,Bach, Chopin, Kniep, Rossini, includinglshii, Lutoslawski and Penderecki Ruzickaand contemporaryRussian VerlagNeue Musik/Germany IABtJ compo sers 20thcentury music primarily from the GDR Stainer& Bell/England IGMCI includingEisler, Dessau and Brouwer Early20th centuryEnglish composers including VaughanWilliams, llolst, Delius, lreland and Bridee 93 Supraphonf Czechoslovakia IBAH ] Yorke Editions/England IGMCI Czechmusic from the l8th to 20th centuries lBth 20th centurymusic for soloDouble Bass includingBenda, Dussek and Martinu andorchestra including Dragonetti, Bottesini, Union MusicalEspanol/SPain IGSJ Dittcr'doriand Gordntt Jacob Spanishcomposcrs including Granados, Rodrigo, Zen-OnMusic/J apan I EAM ] Tc--,rrobaand Turina Contemporarycatalogue specializing in UniversalEdition/Austria, England IEAM I JapanesecomPosers 20th centuryEuropean composers including Edizioni Suvini Zerbonilltaly IB&HJ Berg,Berio, Birtwistle, Boulez, )anacek, Kodaly, Specialcollection of musicfrom lTth 19th Mahler,Rands, Webern. Also includes centuriesincluding Monteverdi, Salieri and HAYDN |\4OZARTPRESSE, scholarly researched Clementi.Contemporary ltalian and European editions of classicalrePerto ire composersincluding Berio, Dallapiccola, VAAP/CopyrightAgency of the USSR IGSl Maderna,Pousseur and Petrassi InclucjesKabalevskV, Khatchaturian, Prokof iev, Zinrmernrann/Germany IGS ] and Shostakovich lgth and 20th centuryGertlran composers and Reinecke f osefWeinberger Ltd./England IB&H I includingDrigo 19th and 20th centuryoperas antl opcrcttas includingWolf-Ferrari, Offenbach and J. Strauss' OperaRara colleclion o1' ut.tusual l9th century operasin new editiorrs.English contenrporary composcrsirrcluding Wiliiamsotr arrd Pattcrson

PUBLISHERSACTIVITIES AT THEASOL WASHINGTON CONFERENCE COCKTAILPARTY FOR THE CONDUCTORS GU ILD Monday,lune 14,5 :30 P.lVl. Courtesythe l\4PA 1l\4usic Publishers Association)

AUDIOSHOWCASES Newand Interesting Repertoire for YoungPeoples Concerts 'l: AUDIOSHOWCASE Tuesday, lune l4 i0:30A.lvl.12 AUDIOSHOWCASE 2. Wednesday,iune 15 3 4:30P.M.

Representativesfrom eachof the publisherswill highlightseveral new andoutstanding works from their cataloguesthat have provensuccessful for YoungPeoples Concert programming. Taped exerpts will be playedand scorescirculated where possible. It is hopedthat someof the composerswill be in Washingtonand presentto illustratetheir worksat the showcases.

THE PUBLISHERSROOM

l-he Tudor Room: Hours: Monday,June 1 3. 2 - 5'.30 - Tuesday& Wednesday,June 14,15 9 12.30,2 5:30 Thursday,June 16 9 - 12:30

Scores,catalogues, brochures and cassettesfrom America'smost inrportant symphonic publishers.

Representativestrom eachpublisher will be at the exhibittables to helpin all ways.