Volume 13 Number 1 \Winter/Spring 1992

Journal of the Conductots' Guild

Table of Contents

COMMENTARY

PERFORMING ARTS AND THE NATION: A CHALLENGE FOR TODAY 2 by Joseph\7. Polisi

THE IMPACT OF HAYDN'S CONDUCTED PERFORMANCES OF T-HECREANON ON THE \TORK AND THE HISTORY OF CONDUCTING 7 by Pau[ H. Kirby

CONDUCTORS, ORCHESTRAS AND SOCIETY: A CONTEMPORARY VIE\T 22 by Kurt Masur

STRAVINSKY, TEMPO AND LE SACRE 32 by Erica Heisler Buxbaum

AN ANNOTATED BIBLIOGRAPHY OF SELECTED \NND ENSEMBLE/BAND REPERTOIRE TEXTS 40 by Harlan D. Parker

SCORES AND PARTS 45 Dimitri Shostakovich,Symphony No. 6 in B Minor, Op. 53 by Glenn Block

ARTS MEDICINE CENTERS RESOURCE LIST 54

BOOKS IN REVIE\UT 57

Max Rudolf, TheGrammar of Conducting,3rd edition by Samuel Jones Richard Koshgarian, Arnerican OrcbestralMusic: A PerformanceCaulog by David Daniels

Julie Yarbrough, Modem LanguagesforMusicians by Raymond Friday Victor Rangel-Ribeiro and Robert Markel, ChamberMusic: An Intemational Guid,eto V(orksand their Instumenution by John Jay Hilfiger

Humphrey Carpenter, Benjamin Britten: A Biography by Judy Ann Voois

LETTERS TO THE EDITOR CONDUCTORS' GUILD, INC. tournal of tbe Conductors' Guild

Editor ...... JacquesVoois 103 South High Street,Room 6 'West Chester, PA 19382 AssociateEditor David Daniels Tel & Fax: 215/430-6010 Band/\Ufind Ensemble Editor ...... Harlan D. Parker Officers Editor-at-large .Jonathan Sternberg President ...... LarryNewland Vice-Presidents"...... AdrianGnam Assistant Editors David Daniels BarbaraSchubert Stephen Heyde John Jay Hilfiger Secretary ...... CharlesBontrager Louis Menchaca Jon Mitchell Treasurer ...... Joe1Ethan Fried John Noble Moye John Strickler PastPresident...... MichaelCharry Contributing Authors Board of Directors Glenn Block Erica Heisler Buxbaum Henry Bloch Glenn Block David Daniels Raymond Friday Canarina Catherine Comet John John Jay Hilfiger Samuel Jones Margery Deutsch Robert Emile Paul H. Kirby Kurt Masur Falletta Robert Fitzpatrick JoAnn Harlan D. Parker Joseph\[. Polisi Iauren Green Joseph Henry 'Wes J.rdy Ann Voois Dondd R. Hunsberger Kenney Eric tU[. Ituight Koshak John Executive Secretary Jndy Ann Voois Marsha Mabrey Carolann Martin Staff Assistant Dorothy Langton Manuel Prestamo James Setapen Production The Axon-Chancellor Roben Spano Jonathan Sternberg Press,Inc. John \0elsh Richard'Woitach Burton Zipser The publication date of the present issueof rle JounNer oF THE CoNoucToRS' Guno is Fall, 1993; conseqilently Advisory Council thepublication date and tbe issuedate do not coincide.

Charles Ansbacher Sergiu Comissiona Effectiae Volume 13, the JounNer oF THE Cottouc- Harold Farberman Lukas Foss ToRS' Guno uill bepublisbed semi-annually, tbe tuo issues Margaret Hillis SamuelJones being numbered I and 2; tbe seasonalreferences uill rerrain Daniel Lewis Maurice Peress unchanged,as utill thejoumal's length. Donald Portnoy Gunther Schuller Evan Vhallon The JCG's editors and suff, in eaaluating material ac- cEted for publication, will determine appropriate credit for Theodore Thomas Award V'inners suchcontribution.

Maurice Abravanel Leon Barzin Library of CongressNo. 82-644733 Leonard Bernstein Max Rudolf Copyright @ 1993 by the Conductors' Guild, Inc. Robert Shaw Sir Georg Solti All rights resented./SSN# 0734-1032 Commentary

Two of the articlesin the presentissue -- first valuatlleinformation about such details as com- -- and third derive from addressesand question- poser biographies as well as selection scoring, and-answersessions that took place at the 1993 length, difficulty level, availabilitv. etc" "Scores Annual Conference for Conductors, Columbia The & Parts" column is devoted to University,New York City. Each article deals Shostakovich'sSymphony No. 6. Glenn Block with a different spectrum of the large body of has not oniy identified confirmed errata in the issuesfacing the fine arts in today'ssociety. Al- source editions, he has also provided several though,in a sense,the speakerswere both New presumederrata aswell. Sincethis is one of the Yorkers at the time of the conference, they more frequently performed of Shostakovich's provide a fascinating diversity of observations, symphonies,we anticipate that this errata list opinions and suggestionspertinent to the prob- will be of great interestto many readers. lems at hand. In their respectivearticles, Dr. In Volume 12,Nos. 7 & 2, theICG published Joseph Polisi and Maestro Kurt Masur bring articlesdealing with topics of arts medicine and insightsbased on life experienceand a cosmo- forensic musicology. Since the distribution of politan universalityto the issuesraised and dis- that issuemany requestshave been receivedat cussed. It is hoped that additional articles on the CG office for information about the location this critical subject will appear in future issues of stateand regional arts medicine centers. We of the ICG. are indebtedto Angela Babin, Director of the In- Paul Kirby offers a richly researchedinvesti- formation Center at the Center for Safetyin the gation of Haydn the conducior and the legacyof Arts, Inc. and to the InternationalArts Medicine his podium efforts. It is difficult, if not impos- Association (IAMA) for the entries in the re- sible,to read and absorb the plenitude of facts, sourcelist publishedhere. "Books ideas and postulationsfound in Kirby's article in Review" leads off with Samuel without seriouslyreassessing one's own view of Jones'sassessment of Max Rudolfs The Gram- the importance of Haydn's conductedperform- mer of Conducting,3rdediticln. Composer f con- ancesto the early historyof conducting.Could it ductor Jones cornparesthe leading twentieth- "Papa be that the endearing appellation, century conducting manuals and Rudolfs Znd Haydn," appliesequally weli to Haydn the con- edition of the Grammar with the new 3rd edition. ductor as it doesto Haydn the composer? Reviewsby David Daniels and John Jay Hilfiger Erica Heisler Buxbaum's careful and thor- explore the merits of two new resourcebooks: ough reviewof sourcesand writingspertaining to one lists twentieth-centuryAmerican orchestral matters of tempo in Stravinsky'sLe sacre du music; the other covers international chamber pintemps is a most valuable referencefor con- musicrepertoire from its inception. ductors who plan to perform the work, or for This issue of the JCG represents several 'firsts.' those who feel the article provides an excellent It is the first CG publicationto be printed opportunity to review and rethink the subjectof on the organization'snew 600 d.p.i.laser printer, tempo in this masterpiece. Many segmentsof ancl the first to undergo tvpeface and format the article are amusing, revealing not only renovationsenabled by this acquisition. In a Stravinsky'sacerbic tongue but also his funda- largercontext, it is the first of six issuesplanned mental honesty in assessingsome of his own for the 1993-1995fiscal years. The purpose of recordedtempos. this project is to return the journal to a produc- For the wind ensemble/bandconductors in tion schedulethat coincideswith the calendar the readership,Harlan Parker'sannotated bibli- year. E,achmember of the editorial and produc- ographywill prove to be a highly useful resource tion staff realizesthe challengethe project rep- document. In addition to a broad spectrumof resents;with diiigenceand a coordinated'team band repertoire, the surveyedtexts also contain effort,'weplan to succeed. Editor Performirg Arts and the Nation: A Challengefor Today

by Joseph\[/. Polisi

Thefollowing addressand subsequentquestion- arts community to have a more pro-active advo- and-answersession took place on lanuary 11, 1993 cate of the arts in the White House has been at the CG's National Conferencefor Conductors satisfied,in part, with the election of Bill Clinton. held at Columbia Universitv in lt{ewYork Citv. These positive signs are partially diminished by other phenomena. ********** The complex issue of government support of the arts in the United Stateshas tended to be It's a great pleasure for me to addressthe couchedprimarily in financial terms in the closing membersof the Conductors'Guild this morning. yearsof this century. When the enabling legisla- I feel strongly that the members of this audience tion for the creation of the National Endowments may well be the most influential and effective for the Arts and Humanities was signedby Presi- representativesof the music profession in ad- dentJohnson in 1965,there wasa good dealmore dressingthe deeply-rootedand elusiveproblem lofty languageabout the arts and American cul- of the arts in American society. ture than one hears today. That languagewas During this time of the year we traditionally most probably directly related to the philosophy take stock of what currently exists,and hope for of membersof the Kennedy administrationwho positive changein the upcoming months. It is a skillfully and passionatelyshaped the legislation. naturaland important consequenceof the human Thoseindividuals, especially Arthur Schlesinger, experiencethat the future is viewed with opti- Jr., talked of the arts in moral terms, relating mism. And there is valid causefor a positive artistic activity to the basic fabric of American viewpoint due to the current stateof world affairs societyand presentingan integratedview of the with a few obvious exceptions. From a global arts and their important relationship to the point of view, the recent signingof an ambitious American educational system,especially at the nuclear-arms-reductiontreaty which will cut by primary and secondarylevels. closeto three-quartersthe strategicarms of the The practical side of the issuewas also fully United Statesand Russiacan only be a sourceof addressedby Schlesingerwhen he wrote a memo happinessfor anyonewho has lived through the to PresidentKennedy several days after a glitter- Cold War. ing state dinner in November, 1961which hon- In turn, the inauguration of President-elect ored Pablo Casals.The favorablereaction in the Clinton in two weeksbrings a senseof hopefor the government and art worlds to this event per- future, as is usuallythe casewhen a new admini- suaded Schlesingerthat the time was right to stration moves into Washington. Democratic develop a cultural policy for the federal govern- Presidentshave .been linked with progressive ment. The memo to the President, entitled "Moving socialpolicies in this centuryand the desireby the Ahead on the Cultural Front," statedin part, The Casalsevening has had an extraordi- and dreams. It is the interrelationship of the arts nary effect in the artistic world. On the and educationwhich I believe will determine how next duy,when the advisorycouncil for the and if American culture will flourish in the next National Cultural Center met. a number millennium. of people said to me in the most heartfelt Last Sunday (113/93) Edward Rothstein way how much the Administration's evi- presenteda piece in The New York Times_entitled "The dent desire to recogntzeartistic and intel- State of the [Jnion in the Kingdom of Pan." lectual distinction meant to the whole The subjectwas one relating to the past and future intellectual community. You probably which critics have been assignedevery January saw a column this morning which read, First sincethe invention of movable type. But, in "President Kennedy is the best friend my opinion, this article was special. In a concise culture . . . has had in the White House manner Rothstein focussedon some of today's sinceJefferson." mostpressing issues in the arts. I am suremany of you had the opportunity to read the article,but I All this is of obvious importance, not only believe it would be useful for me to quote from a in attaching a potent opinion-making few sectionsof the piece. After noting several group to the Administration,but in trans- positiveaspects of today'sarts' world, Rothstein forming the world's impression of the then addresseda few negativepoints. First and United Statesas a nation of money-grub- foremost was his view of the state of American bing materialists.And it is notablethat all music education. this hastaken place without any criticism, so far as I am aware . . . no editorial writer Public music education is subject to hasused the Casalsdinner to accuseyou of shameful neglect. Many of the public fiddling while Berlin burns. school systemsin New York and the na- tion, barely managingto carry on ordinary I wonder whether this might not be an business,have trasheda heritage of sing- appropriatetime to carrythe matter a step ing, playing and study that took a century further. and a half to develop. Musical instrument collectionshave been dispersed and music Sadly,not enoughsteps have been taken since teachers coaxed into early retirement. thosehalcyon days of the'60's.In 1993there is no Generally, public arts education has be- culturalpolicy in the United States.There arearts come a matter of feel-goodpop psychol- agenciesat the federal, state and local levels. ogy,with lots of self-expressionand little There are various advocacy organizationsand learning. In 20 years,if this approach to there are the creativepresenters. But there is no teaching continues, it will produce the policy,no plan for insuringthat the arts havethe audienceswe unfortunatelv deserve. positive influence on American society which theymust if America is to successfullypick up the The dismal state of American music educa- mantleof leadershipwhich hasbeen thrust upon tion in the public schoolshas no better or worse it by world events. examplethan musicalactivities in the New York I spoke of moral imperatives earlier and I City SchoolSystem. As a product of that system, spokeof our educationalsystem with all its hopes I am personallyconcerned to seean educational structurewhich no longer evenhas a supervisorof cated and highly qualified music teacherswhich music. Thirty years ago thousands of children existedin the pasthas been seriously depleted. In were introduced to the serious study of music as addition, the basic essenceof music-makinghas they entered seventh grade. The quality and been blurred in this country. Mr. Rothstein quantity of the music-making in this city was presents the problem well when he writes, "Music-making exceptional,with bands,orchestras, choruses and representeda form of aspiration: various other ensemblesflourishing throughout there was alwaysmore to learn, something addi- the five boroughs. The reasonpresented for the tional to play. Most acquaintance with music demiseof this extraordinarysystem was financial. came through playing it. On a mass scale,this True, a lack of fiscalsupport in the 1970'swas the movementhas come to an end. Personalaspira- first causeof the erosionof the system,but I would tion has given way to the quest for novelty." contend today, ladies and gentlemen, that the I urgeall of you asconductors, music directors, weaknesswe seein the artistic fabric in our cities composers,teachers, and music professionalsto is not basedon dollars alone,but rather on a lack seriouslyconsider your role in changingthe pres- of effectiveand passionateleadership for the arts ent reality. Specifically,the quality of the Ameri- in our society. We as an American arts commu- can conductor is one which this nation should nity have been ineffective in having our individual embrace with pride and enthusiasm. In typical and collectivevoices heard in supportof the arts. American fashion, this country has not compre- How canwe resolvethese problems, as multi- hendedthe wealth of talent which is embodiedin facetedand abstractas they may seemtoday? My the American conductor. Without being xeno- answer and the answer of many others is con- phobicor parochial,I believewe mustunderstand tained in one word: education. Education in the thatwith the help of the American conductor,who most creative,joyful, energetic manner that we comprehendsthe traditions and proceduresof can imagine. But in this caseit is not enoughto this couotry,we can be able to form an alliance define the content of programs for it to be a with local school boards and state educational success.We need to plan further. We need to agenciesand set in motion a nation-widemove- designateand empower the carriersof the mes- ment which raisesconsciousness about theseis- sage.And this is where the American conductor suesand then setsabout to implement curricu- can have a great influence. lum-basedprograms in the arts for our primary The image of the conductor as teacher in and secondaryschools. America wasso thoroughly embodied in Leonard I have alwaysviewed myself as an optimistic Bernstein that it has become a daunting task for person,but I am deeplytroubled by the quality of any conductor to attempt to create the level of the American arts experiencefor all our citizens discoursewhich Bernstein wove between per- today. The time to act is now. I trust that with the former and listener. Yet, as you know so well, help of your leadershipand a true and real moral successfulprograms exist throughout this nation commitment to positively resolve the current where the music director hasbecome the princi- stateof the artsin our educationalsystem, we can pal link betweenthe musicalarts and the children move into the next millennium with a strong of a community. The major challengewe face in influenceof the arts in our societyand a revital- the 1990'sis that the musiceducational infrastruc- rzededucational system which allowsthe arts to ture of the small and large towns and cities of touch the daily lives of the individualswho make America has been eroded or, in some cases,has up the fabric of this extraordinarynation. totally disappeared.The preciousstock of dedi- QursrroNsAND Axswnns between the efficacy of general learning and the presence in the curricuium of arts education; Q: You speakof the need for a national move- personally,I believe the concept is quite valid. ment. Do you know of any group presently One of the problems with the Helms initiative developingplans to accomplishthis? three yearsago was that the unsophisticatedciti- zen who did not examine every detail of the JP: No, I don't, and that is my concern. I believe processleading to the report only heard a single there are many earnest,qualified, and dedicated (and singular)statement, to the effect that the arts "evil" people in all parts of the country. I seeit when I were a potentially -- if not totally -- source meet with educatorsand performers at Lincoln of information. In turn that report causedlocal Center. I follow developments in Washington, school boards to hear only one word: EVIL. and I do not see such a movement originating at When it came time to vote on funding, the arts the federal level; consequently, I think such a programsreally got hit hard. movementmust be initiated by professionalslike you. Oneproblem when the NEA/Mappiethorpe Q: I find that MENC's decision to suspend "Sound brouhaha exploded a few years ago is that during publication of Power" is a lamentable "Sound that period there was no single-focusgroup that one. Power's" purpose was to provide had a strong enough voice to analyze and publi- guidelinesfor public advocary in arts education. cizethe fundamentalcauses of thosefiascos. Had I believethat in addition to specificmission of the such an organrzation existed, the arguments National Committee for Standardsin the Arts, it mountedby the anti-NEA forcescould have been would be most helpful if such a group filled the "Sound significantly neutralized. The arts community void of the Power" loss by establishing tendsto unite quicklywhen there is a crisis,but we proceduresthat would guide membersof the arts are not very good day-to-daylobbyists. Finding a community towardsbecoming an effectivepublic solutionto this problem could solvemany of the relationsforce. problemswe are discussingthis morning. JP: I couldn'tagree with you more. [Jnquestiona- "Action Q: The MENC has what they call an bly we must becomeeffective lobbyists if we hope Packet" for music educatorsthat discussesthe to succeed. "bottom line." Are vou working with them? Q: When I was music director of the Nashville JP: Yes. Currently, the directors of MENC, Symphony,I learned about the Lincoln Center NASM, andother national associations of schools Institute. The staff there assistedus in establish- "sister of drama and art are all involved in drafting a ing a institute" in Nashvillewhich is now in documentthat would establishnationai standards its eleventhyear. For those of you not familiar for performingand visual arts curricula in the U.S. with this organization, the Lincoln Center Insti- tute and institutesmodelled on it throughoutthe Q: How are these organizationsattempting to country bring together performing artists with convinceeducators that in the long run, it would teachersand studentsin the arts, work to assist be more cost-effectiveto retainmusic in a schooi's local orchestrasand other artsorganizations, and curriculum? are generally very helpful centers for arts advo- cacyand support,sometimes even with problems JP: There appearsto be a definiterelationship that fall outside of their charter. Anyone inter- ested in information on the processof establish- seesno needto hire arts teachers,since it seesno ing suchan institute in their city or region should need to have an arts curriculum. contact the Lincoln Center Institute [70 Lincoln Center Plaza,New York, NY 10023-65941.Each Q: I have been involved in arts education since institute is an independent, autonomous organi- 1968,and eventhough the presentcrisis is one of zatron that operates according to time-tested the worst in that time span, I have never known "If guidelines and practical, workable methods de- anyperiod when the operative thinking wasn't velopedhere in New York. It seemsto be one of we have to cut something, let us cut music and the few recent developments in arts education art." If your committee is going to focusits efforts that is succeeding,and I therefore recommend it on attempting to persuadeboards of education 1 very highly.' that music and art should have a strong place in the schoolcurriculum, is there someway to con- JP: What you say is unquestionably true. The vince them only once per decaderather than each principles that drive the Lincoln Center Institute and everyyear? Or, instead,shcluld we instead have had enormous impact not only here but work to establishmore youth symphonies,bands, throughoutthe country aswell. What is important and chorusesin the schoolsso that if a local school to remember, however, is that I have been ad- board had no option but to cut the musicbudget, dressingthe great need for creating or restoring the community would be in a position to take con- curriculum-basedactivities. While it is vital to trol of those performing organizationsand main- provide an inter-active forum that will enrich and tain and support them asindependent community motivate artistsand arts teachers,unless the day- organrzationsoutside of the school system? to-day teaching of the arts in our public and private schoolsis enhanced,such teacher enrich- JP: Certainly an interesting alternative. I think ment will be wastedin a svstemof education that there hasalways been a senseof impendingperil about the relevance of music within the curricu- lum. I would saythat consciousnessof this chal- r Editor's note: In 1992 the Leonard Bernstein lengeexists in the 1990sin waysthat did not exist If we do not wagea Center fo, Education Through the Arts was in the 1950sand the 1960s. created in Nashville, Tennessee.One of the mis- much more intense, focussed, and intelligent sions of the center is to expeiment with wrys to battle on behalf of inclusionof all the arts in our integrate the arts into the classroom, to find ways curriculum-basededucational system, alterna- to use dance, music and painting to teach math, tives may be suggestedthat we simply cannot history and science. Over the next threeyears, the support. For example,the point has been made centerplans to develop a national teachingcenter that regularlylistening to CD performancesin the where instructorswill be taught how to infuse arts home is better than occasionallyattending a live into the teachingof other subiects. There are also performance. This does not make senseto me. superiorexperience plans for the center to establish a researchdivision You might havea technically staffed to study the leaming process and how the on CD, but one of the basic purposes of an group human arts might best be used to facilitate learning. The orchestralconcert is to allow a of with you Bemstein family and estate have donated beings(the orchestra)to communicate 8150,000to the center and given it permission (the audience)at a levelthat cannotbe duplicated to usetapes of Leonard Bemstein'sYouxc PnopLE's in other ways. In my opinion, there really is no CoNcBnrsin the program. basisfor comparison.This is the kind of subtlebut potentially devastingview that could erode the Dr. Joseph W. Polisi has servedas the president whole foundation upon which many of us have of the Juilliard School since 1984. Previouslyhe dedicatedand based our lives. In closing,let me held administrative positions at the Yale University reiterate that today our greatest challenge is to School of Music, the Manhattan School of Music, discoverhow to come together as a community, and the UniversiQof Cincinnati College-Conserva- and how to become stronger -- and ultimately tory of Music. He holds academic degreesin both superior -- advocatesfor the inclusion of music in music and political science,and is an active con- America's school curriculum. certizingsolo and chamber bassoonist.

he I*pact of Haydn's Conducted Performancesof Tbe Creation on the Vork and the Flistory of Conductitg

by Paul FI. Kirby

"Conducting" is defined in The l'{ew Grove tween 7798and 1802Haydn mounted no lessthan "The Dictionary of Music and Musiciar?sas: direc- twelve productions of his oratorio , The Creation, tion of a musicalperformance by meansof visible for which he conductedat leasteighteen perform- gesturesdesigned to secure unanimity both of un."r.2 In many of these, if not all, he stood, executionand of interpretation."t Throughout without playing an instrument, and conducted the historyof music,the variety of compositional with a baton. This format was probably also styles,venues of performances, and types and followedfor a number of performancesof his two sizesof performingforces necessitated a modifi- other oratorios. Il Ritorno di Tobia and The cation of existingconducting stylesas well as the Seasons,which he conducted between 7794 and birth of new ones. Gaining insights into the 1802. Finally, some evidence existsthat he may conductingpractices that evolvedduring periods have conductedseveral of his masses,as well as of stylistictransition canbe of greatinterest, since the works of other composers.Although, aswith often they provide valuable information about most transitionalperiods, new and old practices the origins of a particular development in the coexistedfor some time, conductingunderwent craft. great changesduring this period, and Haydn's FranzJosephHaydn (1732-1809),long recog- contribution to the changeswas significant. nrzedas one of the greatestcomposers in music history, has rarely been mentioned in treatises Tnr SrerB oF Coxnucuxc IN THELerp and discussionsabout the history of conducting; ErcurBrNrs Crxrunv when he is, the discussionis usually limited to 'modern whether he led a givenperformance of his music By 1800, conducting' had not yet from the keyboard or violin. Nevertheless,be- been developed;it was during the first half of the director of an nineteenth century that the fundamentals of the highest member or the complete or- modern conducting were established by such orchestra. In courts with a music or for composer/conductors as Berlioz and Men- chestra, either for church title Kapellmeister delssohn. Neal Zaslaw explains that there was opera, or for both, the whose duty it is no needfor a modern-styleconductor in the eight- is given to that composer "the pieces especiallycommis- eenth century because ensembleswere usu- to composethe to selectand procure ally smaller; the musicianswere required to play sionedfor court use, for performance, and oniy the music of their own time (and not that of other artistic works the entire music in the severaldifferent eras); . . . [the] music was largely to conduct based upon the steady pulses of dance and performun.".8 march, and was usually of a basically simple that the Kapellmeister texture and rhYthm."' Koch also explained had the responsibil- Elliott Galkin, rn A History "f Orchestral conductedfrom a score,and together, cue entrances, Conducting in Theory and Practice, cites eight ity to keep the voices placements,secure transitional methods of conducting in use during make effective instrumental instruments,and correct the period from Quantz to Berlioz: I- no leader, correct intonation of the "In music he beats time 2. constantaudible time-beating, 3. intermittent mistakes. church piece,but in the opera he audible time-beating (only the first beat of each throughout the entire from the scoreat the measureaudible), 4. triple control (keyboardist, usuallyplays the figured bass Although violinist, and time-beater), 5. dual control be- same time, i.e., while conducti.rg."9 violinist, 6. dual this descriptionpertains only to conductingopera tween the keyboardist and the "It to note that is control between Kapellmeister not at the key- or church music, it is important 'Kapellmeister'tobe found board and the violinist (first reported tn 1772),7. the first entry entitled singlecontrol from the keyboardist,and 8. single in any musicdictionary."10 for one or more conduc- control from the violin leader.4 Obviously the need and choral/or- While the idea of triple divisionof ieadership tors became apparent as operas involve ever-largerper- may seemunusual to the twentieth-centurymusi- chestralworks began to dynamic resources' cian,it was consideredappropriate, if not essen- forming forces, spacing and evidenceof time-beatingin tia1,to performancesof large choral/orchestral There is considerable ". without a baton, audibleor works in eighteenth-centuryVienna: . . in a variousstyles, with or and throughout the concert of the Vienna Tonkilnstler Societythere silent, somewhat before As an example, Friedrich wasaviolin-leader, a harpsichordconductor, and eighteenth century. 'bei (1713-1795) Anleitung nn Musik Salieri der BAtttttA."'5 Especiallyfor works Marpurg's t be s o nder s,publis he d involving voices and instruments,such divided u be r h aup t und zur s ingkuns "' ' ' the in Berlin in 7763,showed eleven different pos- leadershipwas consideredmandatory: 11 Kapellmeister,directing at the keyboard,cannot at sible time-beatingPatterns. time-beatingwas an estab- the sametime keep singersand orchestraprop- In Paris, audible of such works lishedcustom, and the practicehad its adherents erly together."6 Dual direction "How commented, much wascommon in England,a situationthat no doubt and critics. Rousseau Paris Haydn his two ex- our earshave been shockedat the Opdra of became familiar to "during and disagreeablenoise made by tendedvisits to that country.' by the continual with hisstick, whom the The Musik-Lexicon(1802) of Heinrich Chris- the personwhobeats time humorousiy compared to a wood- toph Koch (ll 49-1316) describes Kapellmei,ster as little prophet chopper cutting wood!"12 In 1776, Johann As Galkin has noted. Reichardt (I752-1814),Kapellmeister at the Ber- lin Court Opera, began (silently, one presumes) [William Thomas] Parke and the German usinga baton.13 music historian Carl Ferdinand Pohl Unfortunately it is impossible to determine (1819-37)have written that when Haydn which, if any, of these conducting stylesplayed a participated in the concerts organizedin major part in influencing Haydn's concept of London in 1791and 1792by the violinst- time-beating or baton usage. impresarioJohann Peter Salomon (1745- 1815), he presided at the clavier while Heyox's CoNnucnnc ExprRmxcn Pruon ro Salomon led with his violin; and when The Creation Ignaz Pleyel (1157-1831)was engagedto 'Professional conduct the rival Concerts' It was Haydn's practice to lead his Esterhfny in London during the sameyears, he also orchestrafrom either a keyboard or violin, as it directedfrom the kevboa.d.17 J had beenfor most other composersof the period. Haydn preferred the violin, and often directedhis This is confirmed by many documents,includ- symphonyand chamber music concertswith this ing public announcementssuch as the following, instrument.Albert Dies (1755-1822),director of cited in Landon's Haydn: Chronicle and Worl

ilqi! nnnni-rn i"Ii"'i |0-l 0b. i i i....-j r-Eai*-l ,d l-VidToiT-l fT6nn oT-l lTi 0 L IE i2cor.z I Foqott I ryionnoT_l iFl-T:lll..:_[ll lli'-""r i.ii...--! i tii i'-;--, tl tl l_il i

the performance mateial' Figure lb: A conected versionof the painting above,deived from

Landon also observes that riuring Haydn's Haydn quite c1ose."20Shortly thereafter came London sojourn he normally conductedthe the famous fall of the chandelier in which no one first concert at which his works and those of was injured becauseall had left their seats' entire were performed; but later, during the sec- Although during this period baton conducting others London visit, he tended to conduct only his was not uncommon, Haydn apparently was not ond symphony.22 It should be noted, however, yet readyto adoptit. Johannchristian Firnhaber, own Haydnwasnot aversein principleto conduct- who in Il93 was present for the rehearsalsand that "The of other composers' Georg performanceof Haydn's SymphonyNo' 94, ing compositions Griesinger (\169-1845),another early Surprise,"stated in a long letter to the magazine August the sec- "I incidentally, Haydn biographer,reported that during Der Freimt)thige, ought to add, "The visit to England, King then wanted that he did not conductthe orchestrain the latest ond to conduct a Psalm by Handel from the mode with a stick in the hand but led, asis the Haydn organ. Haydn, who had studiedHandel's works customwith greq\virtuosi, from a harpsichordor diligentiy, executed this mission to every- fortepiano. . . ."21 very 10 body's satisfaction."23 There exist additional the requirements of the symphoniesand written referencesdescribing programs on which other music to be 'plaved J on the different Haydn conducted music other than his own. euenings.26 It also should be noted that the Salomon orchestra,numbering thirty-sevenor thirty-eight, This influenced Haydn's later stagingof The "It was the largest and perhaps the best orchestra Creation As Landon points out: will be seen Haydn had ever directed .rp to that ttme.24 that this obviouslyeffective plan was the basisfor the arrangement of the forces used in the first The difficult technical level of Haydn's public performance of The Creation rn 1799."21 'Salomon' Symphonies-- e.g. the octave Figure 2 rs areconstructionby Neal Zaslaw of the passagein the violins at SymphonyNo. 97/ London seatingplan.A IV , 171-4,difficult evennow for our great- The fact that the Salomon-Haydn concerts est orchestras.or the whole Finale of No. represented,at leastto someextent, divided lead- 94 -- showsmore clearly than any written ershipis borne out by the following note fromThe testimony how good were the players Diary; or, Woodfall's Register,,as cited by Landon: "The Haydn had at his disposal.For the Handel other exertionsof the Concert were worthy Festival in 1791, Haydn could see the of an entertainment in which the great HAYDN excellent standard of British choirs and took apart, and which wasconducted by the taste the enormouslyeffective sound of massed and geniusof Salomon This is ,rot the only forces; and he would carefully repeat the notice in which Salomon'sleadership, as well as largesize in the Vienneseperformances of that of Haydn, was noted. Perhapsthe success his own late oratorios.25 of their dual leadership arrangement explains why Haydn did not adopt baton conducting at An important innovation devised by Haydn this time. while in London was the arrangement of his The large-scaleproductions of Handel orato- musicians.Charlotte Papendiek, who observeda rios that Haydn witnessed during his London concertdirected by Haydnrn 7791or 7192.wrote visits had a profound impact on him. Karl and in her diary: Irene Geiringer, in Haydn -- A CreativeLife in Music (7982), quote William Gardiner, an ob- The orchestrawasarranged on a newplan. server at the 7184 Handel Commemoration at The pianoforte was in the centre, at each WestminsterAbbey which Haydn also attended: "On extreme end the double basses,then on enteringthe Abbey I was filled with surprise eachside two violoncellos. then two tenors at the magnitudeof the orchestra;it rosenearly to or violas and two violins, and in the hollow the top of the westwindow and abovethe arches of the piano a desk on a high platform for of the main aisle.. . . The band was a thousand with his ripieno. Salomon At the back, strong,*bly conducted by Joah Bates upon the verging down to a point at each end, all organ."" Although pointing out that the sizeof these instruments were doubled, giving the performingforces may have been exaggerated the requisitenumber for a full orchestra. by Gardiner,Geiringer notes that Gardiner also ". Still further back, raised high up, were said, . . Haydn was so deeplymoved that at the 'Hallelujah' drums, and [on the] other side the trum- chorus he burst into tears,exclaim- 'He pets, trombones, bassoons,oboes, clari- ing: is the master of us all."'31 nets,flutes, & c.,in numbersaccording to It wasupon Haydn'sreturn to Vienna in 1793

11 ,w W re'ee: q trtE gE

CHORUS

VOCAL soLolsrs

Dr' Neal Zaslaw, Figure 2. Source: Westilp, Zaslaw & Seffidge-Field, Oncursrna,p. 829,with the kind permission of in Zaslaw, Rrvmr, p' 165, Stanley Sadie, and the RoyalMusical Association. This plan conects the diagram appeaing Salomon in and in Westrup& Zaslaw, OncHnsrnr,p. 684, which has Haydn with his back to the audience and the curve of thepiano and thus on the second-violinside of the instntments.

"It customary that he had the first opportunity to lead large- In a footnote. he indicatesthat was scaleperformances of his own compositions.He in the performances of the Tonkunstler-Societiit led the produc- was asked to conduct the 22 and 23 December that, if possible,the composer "It is not performances of.1193 at the Burgtheater, which tions."33 Mary Sue Morrow notes that "The simply mak- included a number of hisworks. WienerZei- clear whether this position involved 'Haydn and voc- tungwrote: himselfconducted the orches- ing a visible beat for the instrumentalists also seatedat a tra, which consistedof over 180persons, and the alists,or whether the personwas seemsmore excellent performance moved the public, which kevboar6."34 However, the former specifically as appearedin large numbers,to showits complete likely, in that Haydn was listed "Battutist" "time-beater," "Slg:[nore] Um- satisfactionby often repeatedand vigorols dem- or and ttrL "Clavi What remains un- onstrationsof its undivided approval; Iauf' as Cembalo." performance Otto Biba citesa contemporaneousdocument known is the extent to which this "S,g:[nore] the divided leadership that shows Heydn [sic]" as"Battutist" may have represented asnoted earlier by for the first performance of"II Ritorno di Tobia tn tradition of Vienna at the time, that whatever the expandedversion, given 28 &-30 MarchIl84. Galkin. It is probable, though, 1,2 leadershipmay have come from the keyboardist Haydn was in front using the first known or violinist, the direction provided by the com- baton. The first violins sat immediately to poser (and a celebrated one at that) would have his left with the secondsimmediately to eclipsed the others, as Biba's footnote would his right. It ended with nine horns, nine support. trumpets, nine trombones, and the three Although information about Haydn's con- pairs of timpani in the back. it was quite a ductingat this time is incomplete, it is known that sound -- the orchestra for The Creation during the time between his secondreturn from was lSL players,J and there were 20 first London and the premiere of The Creation, he violins.38 conducted several performances of his own works. As an example, Landon points out that PerhapsLandon's assertionthat Haydn used "first "On the Feast of St. Stephen, 26 December the known baton" is a bit of an exaggeration. U7961, Haydn conducted a new mass lMissa in Galkin proposes709 B.C. asthe first usein history temporebellil in the beautiful Baroque church of of a conductor'sbaton: the Piarists in the Viennese suburb of Jo- 2< sephstadt."" There is no indicationwhether he Pherekydes of Patrae, giver of Rhythm, conductedthis from the organ or violin. While it . . . had stationed himself in the center is fairly certain that Haydn conducted his own (there were 800 performers), and had incidental music to Alfred at Eisenstadt in the placed himself on a high seat, waving a autumn of 1796, it is also possible, although golden staff, and the players on the flute speculative,that he may have conducted a per- and cythara were . . . placed in a circle formanceof Mozart's Die Zauberflotethere in the around him. . . . Now when Pherekydes same year.-"36 Again, the.1 manner of conducting with his golden staff gavethe signal,all the cannotbe determined. art-ex-periencedmen began in one and More significant is that Haydn conducted a the same time, so that the music re- large-scaleperformance of his choral/orchestral sounded even to the sea. The version of Die Wortedes Heilands am Kreuzeon 1 Rhythmagosbeat with the stavesup and and 2April, 1798 for the Tonktinstler-S o ciet at . As down in equal movement so that all might "the choruswas150 strong, the orchestraalso very keep together.39 ,2'.| Iarge,"'' it seemslikely that Haydn continued the practice,as noted above for the 7784perform- Galkin citesseveral other sourcesnoting the use "battutist," ances of.Tobia, of conducting as and of a conductor's baton from the eighth century not from the violin or keyboard.Again, the extent onward. to which he gaveleadership beyond simple time- Nevertheless,it is clearthat Haydn conducted beating,or the extentto whichhe mavhave shared the performancesstrictly as a conductor and not the leadership,is unknown. from the keyboard or any other instrument, and, like most modern conductors, actually used a Hevnxts Coxnucrrn PBnromraNCESoF baton. A. Peter Brown, rn Pe(orming Haydn's The Creation Creation, quotes Georg Johann Berwald (1728- 1855),who noted during the 19 March 1799per- "pyramid Describingthe form" of stageset- formance, ting for early performances of The Creation, Landon states, When we entered,we saw that the stage 13 proper was set up in the form of an am- tion, for two whole hours on end theY phitheatre. Down below at the fortepiano experienced to the full that which, hith- satKap ellmeisterWeigl, surrounded by the erto, they had known only by fleeting inti- -- vocal soloists,the chorus, a violoncello, mations an existenceof bliss,nourished and a double bass. At one level higher by desiresconstantly renewed, ever rein- stood Haydn himself with his conductor's vigorated, and yet unfailingly satisfied.a2 baton. Still a level higher on one sidewere the first violins, led by Paul Wranitzky and PrincessEleonore Lichtenstein, alsopresent, on the other the secondviolins, led by his recordedin a letter of May 1,1798,that the music "was brother Anton Wranitzky. In the centre: played to perfection, conduct.4ly Haydn, hands."43 violas and double basses[sic cellos?]. In who gave the beat with both the wings,more double basses;on higher SamuelSilverstolpe ( 1769-185 1), a closeasso- levels the wind instruments, and at the ciate of Haydn, observed, very top: trumpets, kettledrums, and trombonar.4 I believe I can still see his face, as this passagesounded forth in the orchestra. He also mentions that the so-calledTonkilnstler Haydn had an expressionas someone who Score, one of the early authoritative sourcesof wasthinking of biting his lips, either to stop "was The Creation, used by the battutist or con- his embarrassmentor to conceala secret. ductor."41 Henri Beyle was present at the first And in that moment, as this light broke "Appartments have said performance in the [sic] of the forth for the first time, one could SchwarzenbergPalace" (29 and 30 April and 7 that the ravs emanated from the artist's and 10 May 1798),and observed, burning "y.r.*

Who could describethe enthusiasm,the A review in the Allgemeine Musikalische delight, the applausethat echoed and re- Zeitung of the 22 andZ3Decemberperformances echoed throughout that evening? I was gives the most informative account of Haydn's there myself, and I can assureyou that conducting: never in my life have I been present at so memorablean occasion. . . Haydn himself Haydn'sgestures were most interestingto conducted. The profoundest of silences, me. With their aid he conveyedto the the most reverent attention, an atmos- numerous executantsthe spirit in which phere that I could almost describeas reli- his work was comPosed and should be gious in its deeP resPect, held sway performed. In all his motions, though very throughout the entire assembly:such was anything but exaggerated,one saw the mood that held the audience in its clearly-45 what he thought and felt at each graspwhen, at long last, the stringsstruck passage. up the first note. Norwas suchexpectation largely disappointed.We beheld,wending its way This account is remarkable in an eta before our senses,a long processionof devoid of even the concept of interpretive wonders, of a beauty unconceiveduntil conducting. exagger- that instant. Men's minds were taken While Haydn may have eschewed in the unawares:drunk with delight and admira- atedmotions, he was nevertheless observed 14 -_-=I

16 January 1801 performance by Griesinger to strong contrasts,resulting in a total sound "conducted have with youthful fire."6 However, with greater distancesbetween loud and Beda Plank, of Kremsmrinster Abbey, also pres- soft than any other music ever heard in "I ent at this performance,wrote, noticed that the Vienna. The Creation was thus the first tempo, especially in the arias and aiso by the work to use carefully controlled and ex- fugues,'t1."47was rather moderate, and not as quick as panded dynamics of the sort later ex- *J ao ploiteclby Beethoven.49 "thought What was it that Haydn and felt at each passage"of this work, ideas and emotions The strength,drama and variety of these mu- that he conveyedso well through his conducting sicalelements certainly heightened the needfor a "anything gestures? Although his gestureswere conductor, and explains, in part, why Haydn's but exaggerated,"the only direct account of his approach to conducting this work involved more stateof mind wasgiven by Griesinger,who wrote, than basictime-beating. In the years that followed, Haydn conducted I had the fortune to be a witness of the additional performancesof The Creation,several deepemotion and the most lively enthusi- of The Seasons(composed 1801),and a limited asm that several performances of this number of his other works. Most recorded im- oratorio under Haydn's own direction pressionsof theseperformances are highlyfavor- wrought in all hearers. Haydn also con- able. For example,the following accountofthe26 fessedto me that he could not conveythe December 7802 performance of The Creation, feelingsthat masteredhim when the per- given in a letter by Andrei Ivanovich Turgenev, "Yesterduy, formancewholly matchedhis wishes,and reads: my dear brother,Iheard The the audiencein total silencelistened in- Creation here which Hayden [sic] himself con- "Now tently to everynote. I would be ice ducted. With the greatestpleasure I heard, felt coldin my whole body,now a burningfever and understoodall that the music expressed."5o would come over me, and I was afraid more than once that I should suddenly Havoxts Rnscansal Tncurrquns suffer a stroke."4S Unfortunately, little is recorded of Haydn's Clearly Haydn's senseof emotion over his rehearsalprocedures. Widely known as a kind work foreshadowedthe imageswe now hold of and generous man, Haydn conducted many suchnineteenth-century romanticists as Berlioz, performances,including several of The Creation, Liszt and Paganini. for charity benefits. Such an instancewas de- Although other oratorios had receivedlarge- scribed in the PressburgerZeitung, No. 3L, 10 scaleperformances in Vienna, Brown observes, April 1802:

What separated The Creationfrom works On the 25th of last month the Creation like Dittersdorf s L'Esther (1773) or . . . was performed in the The ater an der Haydn'sownl/Ritomo diTobia( 1775)was Wien to benefit the Children'sHospital. its employment of sound pictorially, Herr Haydn. who is aswidely known symbolically, and dramatically: large for his charitableness and kindness of numbers of instruments were used to heart as for his genius which is the underline what were already unusually wonder of thegreatest nations, conducted 15 the performanceof his masterpiecehim- tact, so that out of love for him they roseto self,to the thunderous applauseof a large the level of inspiration required for per- audience.. . ." forrnance of a Haydn work, and which generates the charm and grace we are "Farewell" The well-known story of the speakingof here.53 Symphony, the authenticity of which, until re- cently, had been disputed for nearly two centu- George Smart, as cited by Landon, provides ries, demonstrates Haydn's kindly attitude to- another rehearsalvignette, this one from 1794. ward his orchestral musicia.rr.5t One may sur- mise that Haydn's renowned sense of humor At a rehearsalfor one of theseconcerts the also was occasionallyinvoked while rehearsing kettle drummer was not in attendance. "Can his music. Haydn asked no one in the orchestra "I Perhaps the most interesting account of playthe drums?" I replied immediately, "Do Haydn's rehearsal demeanor was provided by can." So," said he. I, foolishly, Dies. The episode occurred while Haydn was thought it was only necessaryto beat in rehearsingan opera during his first London visit. strict time, and that I could do so. Haydn came to me at the top of the orchestra, Haydn'sconduct toward the orchestrathat praisedmy beating in time, but observed could make or break his opera was capti- upon my bringing the drumstick straight vating and kind; he won them over to his down, insteald of giving an oblique stroke, sideat the first rehearsal.He had setout a and keeping it too long upon the drum, "The symphonythat began with a short a^dagio, consequentlystopping its vibration. "have three identical-soundingnotes opening drummers in Germany," he said, a the music.Now when the orchestraplayed way of using the drumsticksso as not to the three notes too emphatically,Haydn stop the vibration" -- at the same time 'Sh! "Oh, interrupted with nods and Sh!' The showingme how this wasdone. very "we orchestrastopped, and Salomon had to well," I replied, can do so in England, interpretforHaydn... . Haydn. . . saidwith if you prefer it."54 the greatestcourtesy that he was request- ing as a favor something that lay wholly While the preceding quotation illustrates within their power, and that he was very Haydn's concernfor correctnessof detail, it also sorry that he could not expresshimself in demonstratesthat he maintaineda high standard English. Perhapsthey would allow him to for eachperformance of his works. This is borne demonstrate his meaning on an instru- out by Griesingerwho, in a letter describingthe 15 ment. Whereupon he took a violin and November 1800 performance of The Creation, made himself so clear by the repeated wrote that Haydn v,'asonly partially satisfiedwith playingof the three tonesthat the orches- the rehearsal. Nevertheless,according to Biba, tra understood him perfectly" He the musicalstandards at this theater-- at the time -- praised them [the musicians]and inter- under the directionof Wenzel Mtller appeared wove reprimand, when it was necessary, to be reasonablygood.)) "Joseph with praise'inthe subtlestfashion. Such Georg Feder, rn Hrydn als Mensch behavior won him the affection of aii und Musiker,,"takes the view that Haydn was a musicians'withwhom he came into con- very demanding conductor who insisted upon 16 either directinghis musichimself or appointinga during early performances in order to facilitate "Haydn trusted colleagueto do so. appeared to ensemble.buBrown believes that the distances have consideredhis own direction to have been involved in the seating plan would have made more or lessindispensable for the large oratorios ensembleprecision in this passagequite difficult and masses."56Feder further cites a number of as originally scored,and prompted Haydn's addi- Haydn's direct comments-- some negative,some tion of violins to the accompaniment. Brown also neutral, and somepositive -- to demonstratehow makes a number of similar points about other discriminatinghe was. Landon notes that Haydn passagesin the oratorio. insisted on having Paul Wranitzky serve as con- Brown also addressesthe secondconsidera- certmaster for a 1799 performance of The tion, performanceforces, proportions and set-up. Creation presented by the Tonkiinstler-Societiit It shouldbe reiteratedthat Haydn consideredthe and conducted by Haydn. In addition, Haydn performance set-up, as discussedearlier, to be decreed that Wranitzky should conduct the per- very important. In most modern performances formance to be given the next year by the same the orchestra is placed in front of the chorus, organrzation,in place of its regular director, Jo- which usually outnumbers it by 2:1 or more. In / seph Scheidl.) There are many other instances Haydn's large-scaleperformances these factors where Haydn gave special directions regarding were reversed:the choruswas placed in front, and performances of his works, the best known of the orchestra,with wind sectionstripled, had a which is probably the Applausus letter.58 sizenearly double that of the chorus.Those wish- ing to givea modernperformance that couldbe la- "authoritative" "authentic" TnB Lpcecy oF Heyoxts Coxnucrnn PBnroRr{ANCBS beled or shouldgive oF The Creation somethought to thisarrangement, as well asto the more customary considerationsof instruments Haydn'sconducting of the earlyperformances used,ornamentation, vibrato or lack of same,etc. of The Creation impacted the history of the work As to the practice of ornamentation, suffice it in severalareas. They include: 1.possible altera- to say that Haydn preferred little to moderate tions of the score by Haydn during rehearsals.If amounts. A number of sourcesbear this out, significantalterations were made,is there away to as does the fact that the early performance discover what legitimate alternatives exist and material has merely a few examplesof written- why the alterationswere made?;2. the perform- out ornamentation,an important detail cited by ingforces used, their proportion,and set-up;3. or- Bro*n.61 namentation;and 4. tempo. The final consideration,tempo, is reviewed The first consideration,possible score altera- thoroughly in an article by Nicholas Temperley tion, is most ably discussedby A. Peter B.o*n.59 that appeared in a recent issue of Early Music.& He hascarefully examined the early performance Temperley provides a complete chart of the materialsfor indicationsof changesthat may have metronomictempos for each movementas given been made during rehearsalsunder Haydn. One by two witnessesto Haydn's own performances: of Brown'sspeculations is that the changesin the Antonio Salieri (1750-1825),who provided tem- orchestrationof the openinginstrumental section posfor only four movements,and SigismundNeu- of #29 ("Aus Rosenwolkenbicht, geweckt") -- komm (1778-1858),Haydn's star pupil, who fur- originally scored for three flutes without con- nished tempos for all of the movements. For tinuo,to which first the continuo,and then violins comparison purposes,Temperley also includes were added -- may have been made by Haydn tempos rendered on several modern recorded t7 of Haydn's performances.Although Neukomm's tempo list others were present during some of them eventu- was made from memory many years after his Viennese performances,and all The Creation attendanceat Haydn's early performances'it ally conducted performances of could have re- remainsvaluable inasmuch as it is the gdy com- themselves. Is it possible they by Haydn's plete quasi-authoritativeguide to temposof this mained imperviousto or uninfluenced mentioned before, work. While a slavishadherence to the listed performances? While, as yet to become stan- temposis neither intended nor desirable,and conducting practices were "a roll of paper when con- other details such as the size of the hall and dardized(Spohr used at an orchestral performingforces must be factored into all tempo ducting Haydn's The Creation in 1809."64),Haydn's decisions,it would neverthelessbe advisablefor concert at Frankenhausen must have presented conductorsto considerNeukomm's tempos while conducted performances with specific makingdecisions in that area.At the very least, the next generation of musicians his works and a such reckoningmight prevent the wide diver- examples of how to interpret a multi-force genceof viewsrepresented by recentrecordings general one on how to conduct of.#L3 ("The Heavensare Telling"). The metro- performance. "The Orchestra in nomicmarking for the half note at the openingof Clive Brown, in the movementvaries as follows: Beethoven'sVienna," writes,

to have been Krauss (1949) = 76 Beethoven himself seems in Vienna to Horenstein (1959) = 72 one of the first musicians concertswith- Willcocks (1974) = 84 attempt to direct orchestral for the Karajan (1982) = 63 out an instrument. His concern his own orches- Marriner (1980) -- 108 proper interpretation of to supervise Bernstein (1986) = 68 tral works made him anxious -- was not primarily Rattle ( 1990) 108 their performance. He never to have di- Hogwood (1990) = 108 a violinist and seems rected from the violin, nor is there evi- he, or anyoneelse in Neukomm,srecommendation for the half noteat denceto suggestthat first decadeof the 19th this point is 88.63 Vienna during the century, made a practice of directing or- from the keyboard' All Cotlct ustot'l chestral music surviving accounts of Beethoven's con- that he directed from a Although the effect of Haydn's conducted ducting suggest deskwithout a baton'65 performancesof The Creation on either the his- separatemusic tory of conducting or music is not easily docu- friendship between Beethoven and mented, certain strong probabilities do emerge. while the cooled during the years following the Vienna was Supremeamong centersfor music at Haydn had performancesof The Creation,Beethoven this time, asit hasbeen ever since.Beethoven and initial aware that Haydn regularly con- other important composerswere activein Vienna was certainly the work and of the tremendouspublic at the time Haydn conducted The creation, and ducted it achieved;one can only assumeit had an theyhad to havebeen awareof what he wasdoing. success on him, at least causinghim to evaluate Neukomm, Salieri, Paul Wranitzky, Weigl and influence

18 the importance of conductingin the production of Paul Kirby is a composer and conductor in good performances. New York. He has served as music director and Brown further points out that in 1800 conductor of the Houston Youth and lowa State Beethovenhad wanted the premiere of his First (Jniversity Symphonies. He served as treasurer of Symphony to be performed by the Akademie the Conductors' Guild for six years. orchestra and conducted by Wranitzsky, but the orchestra musicians, preferring their regular ********** Viotin-direktor,Conti, rebelled.bo Certainly this Exnxorns incident illustrates the rise of the conductor as a 1' "Conductirg, " musical force in the early nineteenth century. JackWestrup, inThe New GroveDictionary of Music and Musicians,ed. StanleySadie, Vol. 4 (London: Here, Beethoven was concerned not only with MacMillan Publishers,Limited, L980),p.641. renderingcorrect temposbut alsowith the proper -) interpretation of his music, and he had a definite SeeA. Peter Brown,Pe(orming Haydn's "The Creation" preference as to who should conduct it. This (Bloomington: Indiana University Press,1986), pp.2-7 for a represented a definite change of attitude from chart of the ViennesePerformances of The CreationtoEarly only a few yearsearlier, when most performances 1810. - were supervisedby composer/conductorsfrom " "Toward Neal Zaslaw, the Revival of the ClassicalOrches- the violin or keyboard. tra," in Proceedingsof the Royal Musical Association, Yo| Inasmuchas the conductorwas just emerging 103 (London: 1977),p. 160. as an important musical forc e at this time, it is 4 pllio,, regrettablethat we haveso little direct documen- W. Galkin , A History of Orchestral Conducting in Theory and Pracrice (Stuyvesant,New York: Pendragon tation of the era'sconducting practices. Reviews Press,1988), p. 437,458-9. of concertsof this period commented heavily on "5 the merits of the musical works themselves, Galkin,p.M9. Galkin creditsthe quotation to Eduard somewhaton the generalqualities of the perform- Hanslick, Geschichtedes Concertwesens inWien (Vienna: W. ance and of the soloists,and, occasionally,on Braumidller,1869) , p.94. audiencemake-up and reaction. Little attention 6" Galkin,p.449. Galkin creditsthe quotationto "Uber den " wasgiven to the art of conducting.Nevertheless, Zu st an d der Mu si k, Al Ige m ei n e M us ik al li sc h e Z eitu n g 23:Il by the middle of the nineteenth century, the (Berlin, l82l), col. 297. conductorwas firmly established as an indispen- ' sible entity for performancesof opera,symphonic Cf. William Thomas Parke, Musical Memoirs, Vol. 1 (London: Henry Colburn and Richard Bentley, 1830),on and choral music; already there were signsthat "The pp. Il9-20 records, Lent performances (1788) com- certain conductors were beginning to assume mencedat Drury Lane . . . underthe directionof Mr. Lindley celebrity status. From the diverse but limited and Dr. Arnold. . . . Oratoriosunexpectedly started up this contemporary reports just presented,we must seasonat CoventGarden. . . . and were under the direction concludethat Haydn, one of the earliest major of Messrs.Harrison and Knyvett.. . ." This is alsocited by Galkin, p. a50. While theseparticular performancesdid not composersto step away from the violin and key- take place during one of Haydn's visits,others given in this board to lead his musicianswith a baton so as to tradition did. conveynot only time but musical senseand style R aswell, made a major contribution to this impor- Adam Carse, The Orchestra in the Eighteenth Cenntry tant evolution. (Cambridge:W. Heffer & Sons, 1940),pp.18-23. Cited by Galkin,p.203.

********** q- Carse,pp. 18-23,in Galkin,p.203. 19 22 to p.256. Gulkirr,p.zo4. Lundon,III, 23 11 "Time-Beating: G. A. Griesinger, Biographische Notizen i)ber loseph S". Galkin, pp.273-4.In ChaptersFour, "Time-Beating Haydn, in Gotwals, Descriptions and Definitions," and Five, to P.33. in Specialized Sources conducting: Procedures Described 24 *:Huydn,sorchestra for his Salomon Concerts,the largest from Earliest Times to Berlioz," Galkin cites various period orchestra that he ever had at his disposal,contained thirty- sourcesto illustrate that, as one might expectof an emerging seven or thirty-eight musicians." See Michael Broyles, art, there were many different time-beating patterns used ,,EnsembleMusic Moves oul of the Private House: Haydn to during the late eighteenth and early nineteenth centuries. Beethoven," in The Orche s tra - Origin s and Transformations, The Marpurg chart appears onp.273. ed. Joan Peyser(New York: charles scribners Sons,1986), t2 p. 115. J"un-JacquesRousseau , Dictionnaie de Musique (Paris: quoted in Galkin, p' 191' ChezlaveuveDuschesne, L768), as 25 Lurrdon III, p. ?a- "The little prophet" refers to Baron Friedrich Melchoir von "Le Boehmischbroda" (Paris: n'p', Grimm, petitprophite de 26 Landon, II, p. 52. Landon notes that, although Mrs' L753),trans. oliver- strunk tn source Readings in Music Papendiek recorded the year as I'792, she may have been History (New York: W. W. Norton, 1950),pp' 622- 3' mistakenon this and on someother details. He stateson page 13 Mrs. Papendiek'sdisposition of the orchestra, p. 493. 53, regarding Gulkin , "We that haveconfirmation of it, incidentally,in the amusing 14 of George (later Sir George) Smart in 1794;', Albert Dies, Biographische Nachichten von loesph description - Two Contemporary Haydn, in Vernon Gotwals, Haydn 27 Lundon, III, p. 53. Portraits (Madison: University of wisconsin Press,1982), p. 101. B Zurlu*, p. 165. 15 how one of the ladies Di"., p.Ll2. Dies goeson to explain 29 Lundon, III, p. 84. musedabout what might happenif the professionalsdropped in collusion with the other out of this ensemble,and Haydn, 30 Ku.l and Irene Geiringer ,Haydn - A CreativeLtfe in Music professionals,arranged for this to happen. The amateurs (Berkeley: University of California Press, 1982),p' 113' were quite unable to continue alone and everyoneenjoyed a laugh. good 31' The Geiringer , p. ll4. This incident is also reportedin 16 "See GreatDr. Bumey, Volume II, by PercyA' Scholes(London: Gakin, p. 454: Denis Bartha and L6s16Somfai, p. 113' (Marnz: Schotts' s ohne, 1960)' p^>dordUniversity Press,L948)' H aydn als o p emkape I lm eis ter " cit.d by Landon,III, watercolorby unknownpainte r,p. 49 [sic]." It is actuallyopp. P.226. p.48. 33 "Beispiele bei Otto Biba, filr die Besetzungsverheiltnisse 17 Auffihrungen Haydns oratoien in wien zwischen1784 und Gulkin , pp. 453-4. 1808," in Haydn-Stttdien, IV 12, Muy, 1978 (Munich: G' "Lista 18 Henle, June 1965-), p.94: Von den 28tenund 30t"n H. C. Robbins Landon, Haydn: Chronicleand Works,3 Marti; 78a abgehaltenenMusicallischen Societdts Ac- vols.(Bloomington: Indiana university Press,1976-78), Vol. [sic] "Bei ademien." In a footnote on p' 99 he adds, den III, p.43. Auffihrungen der Tonkilnstler societc)t war es durchwegs 19 ilblich, da!3nach Moglichkeit derKomponist die Produktionen Lurrdon,III, p. 56. leitete." 20 Di.r, p. 131. 34 Mary Sue Morr ow, Concert Life in Haydn's Wenna 21 ,,Beichtigung Aspects of a Devetoping Musical and Social Institution Lundon, III, p. 151. The letter als Beitrag (Stuyvesant,NY: PendragonPress, 1989), p' 183' zur Geschichte der Musik," appeared rn Der Freimilthige (XXII, 1825,P. 960). 20 ""?5 Landon, "Haydn IV, p.120. ger? Ollesonbelieves so. SeeEdward Olleson, in the Diaries yearbook ""76 of Count Karl von Zinzendorf," in Haydn See Landon, IV, pp. L08-9. Yol.2 (1963-4) (Brytt Mawr, Pa: Theodore presser Com- 77 pany, 1962), p. 57. Landon, IV, p.317. M' " " Haydn diigierte selbstmil jugendlichen Feuer." Wien: d. "-1R "The Landon, Classical Tradition of the 20th Century,,, 2IJan.1801 - Briefe. Cited in Gunter Thomas, ,,Giesingers Ioumal of the Conductors' Guild,Il:l, Winter 1981, p. 6. BiefeilberHaydn," inHaydn Swdien I:2, Feb., 66,p.67. On "J. "-?q p. IT2,Geiringer attributesthis citationto C. Rosenbaum, Galkin,pp.487-8, quoting Professor Murchard ,,Dis- [?], official in the serviceof Prince Esterh6ry, [who] kept a diary coveryof Ancient GreekTablets Relative to Music.,,,Her- that affords much interesting information about Haydn after monicon3, April-May 1825,pp. 56,76. his return from London. (Cf.p. 9.)" However, Biba's *Eben ul'" komme ich von Haydn. . ." GeorgAugust Giesingers Kone- Brown,p.29. spondenz mit loseph Haydns Verleger Breitkopf ilnd Hrirtel, - 41'^ I 799-1 8 19 (Zurich:Atlantis Musikbuch Verlag, t9B7),p. 53, Brown,p. 28. confirms Griesinger as the source.

4) Henri Beyle, 47 "Irh (pseud. Stendahl), Haydn, Mozart and bemerkte, dalJ das Tempo, besondersbei den Aien Metastasio, Trans. (New Richard N. Coe York: Grossman und auch bei den Fugen ziemlich moderato und nicht so Publisher s, 1972),pp. 110-11. schnell wie bei uns angegebenwurde." Cited by Altmann Kenner, Musikgeschichtedes Stiftes Kremsmijnster (Kassel: 43- "La musique a dtd parfaitement execut1e,diigde par Bdrenreiter,1956), p.567, and Landon, IV, p.22. Hayden [sic] qui donait la mesure des 2 meins.,, Cited by 48^ Hugo Botstiber, Ioseph Haydn - (JnterBenutzung der von C. Grresinger,p. 38. F. Po h I hint erl as s e n en M ate i ali en, Y ol.3 (Leipzig: B r eit ko pf 49 tind Hdrtel,1927), p. 13L,and Landon, IV, p.320. Brown, Performing, pp. 30-32.

44' ' "Ich ""50 glaubenoch sein Gesichtzu sehen,als dieserZugvom Citedby Landon,IV, p.240. orchester ausgtng.Haydn hatte dabei eine Miene wiejemand, 5L ,,Music der sich auf die Lippen zu beilSendenkt, entweder um seine Marianne Pandi and Fritz Schmidt, in Haydn,s verlegenheit zu hemmen oder aber um ein Geheimnis zu and Beethoven's Time as Reported in the pressburger verbergen. Und in demselbenAugenblick, als zum erstenMal Zeitwg," inHaydnYearbook Vol.8, 1971(Bryn Mawr, pa.: dieses Licht hervorbrach, wilrde man gesagt haben, dalj TheodorePresser Company, 1962-), p.2f.3 also cited by strahlen geschleudertwurden aus des Ktinstrers brennenden Landon,IY, p.222. "Joseph Augen." Cited by Georg Feder, Haydn als Mensch " ""\) und Musiker, in OsteneichischeMusikzeitschift, XVII/2, SeeLandon, II, pp. 180-1. February1972 (Yienna: H. Bauer Verlag,January 1946 -),p. 5? 65. Dies,pp.'123-4.

45^- 54 Geiringer,p. 164,quoting AMZ review of the 22 and23 Landon,III, pp. 247-8. December 1799performances. The original passagereads: "Mirwar ""55 "DiesenAbend seineMimik Hochst interessant.Er hauchtedadurch glebtman in LeopoldstridterTheater (dem dem zahlreichen Personale der Tonkiinstler den Geist ein, in casperle) die schopfung zum Bestendes daselbstAngesteilten welchem sein Werk komponiert wer, und auf gefi)hrt werden Musikpersonals. Haydn war mit der Probe nur mittermr)ssig musste. Man las in allen seinen, nichts weniger als zufieden." Biba, Giesingers Konespondenz, p. 49. In a tibertiebenen,Bewegungen sehr deuttich was erbey jeder stelte footnote to this quotation, Biba comment ed:"Das musikatis- gedacht und empfunden haben mochte. Es istzu wunschen, che lViveauscheint nicht schlechtzu sein,auch wennHaydn in dalSein Werk, welchesHaydn und dem teutschen Vaterlande diesemFall nichtrecht zufiedenwar. Kapellmeister an diesem so sehr zur Ehre gereicht,nie durch eine ungeschickteoder Theaterwar WenzelMilller (1767-1835))' mittelmcissigeExekution entstellt werde. -- Gr." (AMZ, No. "-56 "Haydn 16,L5 January 1800, pp.28l-2.) Was this reviewby Griesin- Feder,p.65. scheintseine eigene Direktionbei den

21 62 "Haydn's Temperley, Temp osinThe Creation," gro!3en Oratoien und Messen fi)r mehr oder weniger un- Ni.holas MuY, 1991, entbehrlichgehalten zu haben." rn Early Music, P.238. 63 57 tabtreof p. 238,to which I addedthe F.d"., p.65. Fro- Temperley's Bernsteintempo marking. 58 pp. tM-48. S"" Landon, II, 64 w.rt.up, p.643. 59 "Forces, Chapter2: Scoring,Dynam- Bro*r, , Performing 65 "Options: "The Orchestrain Beethoven'sVienna," in ics;" and Authentic, Allowable and Possible in Cliu" Brown, February, 1988 (London: offord University Performing Haydn's The Creation,"Mttsical Times, L31, 1990 Early Music, Press,JanuarY 1,913 -),, 13. (London:Novello & Co.), PP-73-76' P.

6o 66 noted by Morrow, p' 1-81,with a Performin5, 4l-43. thi, incident is also Bro*r, , PP. "A}y'rz, footnote indicating October 15, 1800, col' 49" as the 61 "Embellishment source. Bro*o ,Performing, Chapter 3, and Or- namentation."

rrot Conductors' Orchestrasand )ocrety: A Contemporaty View

by Kurt Masur

- history.He is a playerwho is involvedin the quest The fo ll owing addre s s and subs e quent ques t io n has put a very human and-answersession took place on January11, 1993 for freedom, and one that It is fortunate for our at the CG's l{ational Conferencefor Conductors face on world events. that this new face is held at Columbia []niversity in New York City. Western musical heritage director. Being a The tape transciption was effected by Ms. Tse- both a conductor and music the New York Phil- Ying Koh, a graduatestudent in music theoryat the twenty-five-yearveteran of you personallyof the new- ShepherdSchool of Music, Rice University,Hous- harmonic, I can tell that the Philhar- ton, Texos. Editing of the transciption was per- found warmth and commitment monic musicianshave toward the work they are formed by JCG Assistant Editor for Orchestral new music director. Music, Iohn lt{obleMoYe. doing under their wonderful Let us welcome a man who needsabsolutely no *{.******** introduction, Maestro Masur.

I would like to form an CG President Larry Newland: Recentlywe have Kurt Masur: Today, that we may speakopenly to seen a new player emerge on the stageof world alliancewith You,so 22 each other. My objective is to learn from your dreams, implement our ideas, and maintain the questionsand your ideas. artistic level we want. When I first came as guest conductor of the I am not aware of all the different organrza- New York Philharmonic, I wasvery excitedabout tional plansfor orchestrasthat existin the United the musicalpossibilities in this city. I learned that Statesand Canada.but I am sure we all have one there were not alwayseasy solutions to the prob- trait in common: we all want to create musical lems and, even before I knew that I would be performances of the highest possible level. In offered the post of the music director of the New addition, we must also look for meansto interact York Philharmonic, I was intrigued by the chal- with society in a meaningful manner that im- lenge of those problems. From the discussions proves the quality of life for the members of surroundingthe requestto speakhere, clearly you society.It doesnot matter whether you are agood know of these problems. conductoror a not-so-goodconductor. You must When compared with music directors in the have a messagefor contemporary society:and I beginning of this century,the role of the present- believe the messageis one of humanism, of po- day music director has changed considerably. etry, and of beauty. It is unimportant at what level Earlier directorswere chosenby the elite,people this is done; if it is believable,you will persuade who could afford to pay them, and then they were people and create a niche in society. placedbefore the orchestra. The opinion of the I feel it is very important to learn to know the orchestramembers was not considered,and they people who surround us. To accomplishthis in were expectedto perform for whoever was cho- New York. we initiated'a seriesof conversations sen. This situation existedin the United Statesas with the audience. The first eveningwe did this, well as in Europe. many people at the Philharmonic were very nerv- This method of operation has changedradi- ous. They feared that difficult and uncomfortable cally in the course of the twentieth centutY, &S questionsmight arise, and they were very con- orchestrashave become much more democratic. cernedabout how I would respond. I had no idea While this democratrzatron of musical life of what to expector how I would respond. I thought orchestrascreates some possible pitfalls for con- that if I had nothing to hide and were honest,I ductors, it also establishesmusic-making as a would establisha bond with the people. They creative partnership between conductor and or- would feel I wasinterested in them, that I wanted chestra. When I compare my activitiesin New to listen to them, and I wanted to know their York with those tnl-ntpzig, I discover that there desires.I would then be able to offer them a taste are similar problems in both locations. The of the musicalfood they expected,and theywould orgafirzationsare very different: the New York be more willing to listen to works that I felt they Philharmonic is not a government orchestra,as is should experience,such as contemporarymusic. Lerpzig,and it needssupport from a board com- By establishingthis personal relationship I feel posed of people who understandthis orchestra that the audiencewill be more likely to acceptmy has a proud tradition that should be protected. judgment as to what deservesto be heard. I can The organrzational plan in Leipzig is, in one then exposethem to some works in which they respect,a kind of liability; but it also provides should be interested because they ate in the security. We are supported by the government contemporary musical language, and they may but there arepersistent budget reductions due to have the same (or better) impact on them as a lack of money, and we must aggressivelysearch hearing the Beethoven Fifth Symphonyfor the for additional support to be able fulfill our one-hundredthtime. it is important to presenta 23 comprehensiveassortment of musical selections, musical world. To obtain the supreme musical but I can only do this successfullyif I have their resultswe all desire, it is necessaryfor the musi- trust and respect. cians and the conductor to work together to It has been said that the performance of the accomplishthe goal of artistic excellence.It must New York Philharmonic has improved recently; be known that the conductor is not promoting is certainly very pleasant to hear. However, himself or herself individually or attempting to that "show those musicians have always been able to play reap the possiblerewards of the business" well. The improvement, and it has not been side of the industry for themselves. We must created by me alone, has been generated by a demonstratethat we are committed to function- changein philosophythat givesthe musiciansthe ing in a partnership with the players. All orches- feeling they are apart of the managementteam. tras in the world want to perform at the highest They feel the orchestra management and music possibleartistic level. When theyfind a conductor director will listen to them, and that we are who can help them accomplish this, they will working in partnership. I believe this is the admire and respect that Person. most appropriate approach for music directors Frankly, for me it is like a marriage. Not all to use today. That is, to be the leader of a orchestraswill respond to me in the same w&Y, partnership as in the Latin phrasepremus inter evenif I exhibit the samebehavior, have the same pares,the first among peers. The comprehensive goals,and try to be friendly but demanding in the and extensiveeducation possessedby most or- work. Therefore, it is necessaryto look for a chestra members creates a valuable intellectual partnership in which the conductor aswell as the resourcethat, if utilized, can enhanceorchestral orchestrafeels comfortable, one in which a close managementas well as produce the most imagi- bond may be developed. In our collaboration native musical results. yesterdayevening with Yo-Yo Ma, I, and maybe In the early daysof my conductingactivities, I everyone, felt deeply involved in the creative worked with a very small orchestrain which it was process. It was never necessaryto ask him what necessaryto function at a very basic level. At he wanted to do in a particular phrase, and he times I wasrequired to build the soundof a simple never had to ask me; we followed each other. chord or provide elementaryinstruction in phras- This kind of partnership in musicallife is the only ing to be able to produce acceptable perform- model through which it is possible to project ances.I learned asmuch or more than the players clearly the messageof a composer to the audi- perfec- becausethrough our interaction they taught me ence. It has nothing to do with technical It about the limits of possibility. In turn, I encour- tion, playing in tune, or having a nice tone. aged them to develop and use their imagination. concernsthe seekingthrough imagination of the The current challengesfacing the New York meaningof music. pro- Philharmonic will not be overcomewithout diffi- The recent changes in Germany have culties, as of course they never are. As conduc- ducedresults that are somewhatshocking at times as tors,we shouldnever forget that we havediverse to the outsideworld; but it is not alwaysas bad personalitiesin the orchestra,that everyoneis a the televisionnews shows would haveyou believe. human being who has their own legitimate musi- After such a long time of living in a divided to- cal imagination.Nobody shouldever be forcedto Germany, we must rediscover how to live What work as a musicalslave. gether; and everybody must learn this. Performing in an orchestra demands musi- societiesall over the world must learn is that the Ifyou cians to relinquish a part of their individual artsare not luxuries;the arts are anecessity. 24 want to have the people of your country com- Thiswas one of the primary goalsI established pletely healthy, they must have a healthy soul, a when I cameto New York. I felt this orchestrahad healthyheart, and respectfor their neighbors,for been seriouslyunderestimated. Every orchestra partnership,and for cooperation. In my opinion, that cameto New York from elsewheregot better this only canbe accomplishedthrough interaction reviews than the New York Philharmonic did in and experiencewith the arts. its hometown. The differencebetween New York If you go to some countrieswhere the people and Berlin was that a member of the Berlin are educated effectively and comprehensively, Philharmonic would be treated like a millionaire, music is an important part of the curriculum. In whereas a member of the New York Philhar- Japan, for instance, everybody learns to play monic would not be afforded the same respect. recorder in the elementaryschools. It is a toy for This is an issuewe must face. It is our responsibil- them and the teachers are aware that music ity to convincesociety that we are not just enter- reading is not difficult. However, if you go to tainers,but that we fulfill a basic need of society. Europe, there are many teacherswho consider This is an important point to consider for the musicto be too difficult. Yet, very young students future and, in my opinion, it is one of our primary are capable of learning to use computers and to responsibilitiesas conductors. play computer gamesat a very sophisticatedlevel I will stop now to answer any questions or that most adults are incapable of imitating. We respond to any comments you may have about must confront those people who are able to go my ideas. into space,those who are able to build the rockets to make it possible,those who are able to handle QunsrroNsAND Axswnns computers in such a virtuosic way, and demon- strate to them that they are in danger. They are Q: Can you give us some insights into how you in danger of losing their ability to experience formulate programs so that you can personalize emotionally,to discoverthe beauty of a flower, to the music for the audience? discover the beauty of life, because they have becomecomputerrzed. KM: This always requires extensiveconsidera- Technology changes people in a way that tion. The first thing I refuseto acceptis someone's should concernus. We must not think that we opinion that a program will not sell. I think that have fulfilled our obligation to societyif we per- marketing personnel can do considerabledam- form musicwell. We should face the fact that we age in this regard. In the previous seasonwith have an obligation not to allow our audience to the New York Philharmonic,there was a debate overlook the beautyin the world. over the schedulingof a Memorial Day weekend What has helped produce resultsin the New performance of the War Requiem at St. John the York Philharmonicwas that we tried to make the Divine Church. I fought for this performance peopleof New York awarethat this orchestrais a becausewhen I saw the church, I felt it was the culturaltreasure. It is a collectionof diverse,well- perfectlocation. Somepeople suggestedit would educatedpeople who have very interestingand be a disaster. The cost was estimated at productive lives outside the orchestra. As the $170,000.00 and that proved to be accurate. orchestrabegan to reahzethat their place in the However, it was also suggestedthat it would not "sell" societywas becoming more respected,they be- be possibleto this concert,as no one would came more proud to be a member of the New come on Memorial Day weekend. They claimed York Philharmonic. it is a weekendtraditionallv used to take advan- 25 would justify tage of sales, rather than a time when people provide a basis for a kinship that wouldwant to remember the dead. I believedthat performing them together. Such associations programming in New York, there must be people who were provide the foundation for a type of but also suffering,who had lost someone,and who would that intrigues not only the emotions want to go to such a performance. I stubbornly the intellect. the first insistedthat we perform the concert. Another consideration is the effect The church has4,500 seats. There were 8,000 work on the program will have on the audience. concert is people who came to the performance, so the This is very dependentupon where the in a relzured remainder had to be turned away. This wasproof held. If the audience will arrive with a con- that the marketing people could be wrong. It is manner, then it is possible to begin ful| attention. alwaysnecessary to believe in our audience. certo or a work that requires their for New I am very impressed by the people of New However, if you are planning a concert that the audi- York. I have discoveredthat most of the people York, then it must be reco gntzed Opening a you meet on the streets or anywhere else have ence may arrive mentally unfocused. full atten- family and friends. There are also many millions concertwith a work that requires their be somewhat of lonesomepeople you see on the streetswho tion, suchas a modern work, would with a want to connectwith others. In music,if you make less successful.Generally, I never begin attention. the right choiceswith programs,you can have an piece that would need their whole manner in which effect on the life of people, not only temporarily Another considerationis the audience for but also permanently. We have received many one work may serve to prepare the will perform letters from members of our audiencethat Serve another. For example,next week we (Symphony No. 13, as proof of this point. the Babi-Yar Symphony first as Designingprograms is complex and I want to 119621)of Shostakovich.I was in doubt at half. I made the explain how I do this. I feel that contemporary to what we should do in the first of a people do not want to listen just to beautiful choice to shock the audience. If the ears a Schumann music. Theywant to havea unifying theme under- musicalaudience are presentedwith in the first tying the program or relationship betweenworks piano concertoor somethinglike that rn the second which provides stimulus for thought. I recently half, then the Babiy-Yar Symphony with the earsof a scheduled a program beginning with Brahms' half, they will listen to the work audience. First Piano Concerto in the first half and the saturated, very well-fed American the Shostakov- Second Symphony of Robert Schumann in the Their impressionlikety will be that story. They may fail secondhalf. The relationshipbetween these two ich communicatesa very sad I would like them works is that Brahms' First Piano Concerto was to obtain the impressionthat a horrifying story' composedshortly after the first suicideattempt of to receive: that it is actually means by which to Schumann. It was under this influence that The challengeis to find the use their earsin Brahmswrote thiswork. Schumann,in hisletters, focustheir listening,so that they Then it may be possible documentedthat he wanted to recover from that the manner that I want. music, moment of despair by composing the Second for them to discoverthat Shostakovich's is deeplyfull of Symphony. To me, this forms a bond between as in the words of Yevtushenko, it describes horrifying these works. The relationship between Brahms humanism, even when and performingprograms and Schumann,their friendship, and their rela- events.When creating we may persuadeand tionship with Clara, (which may have had many we should consider how more conflicts than we know) -ay be seen to influencepeople. 26 Q: What is the program for the first half? KM: The financial director of the board would be the most appropriate person to answerthat ques- KM: It is a work that chroniclesthe Tiananmen tion. I think that Avery Fischer Hall is now, after Square events. It is composed by Bright Sheng, the recent changes,acoustically one of the best the Chinesecomposer who lives in Chicagoat the halls in the world. There is one physicalchange I moment. I met him and discussedthe work with have been considering,and it is that we need an him. It is a very hard work to listen to. There are organ. There is considerablerepertoire that we horrifying soundsin the orchestra, but I think it cannot perform without that instrument. We demonstratesto the audience that musical lan- already have a builder, we only need the money. guagewhich horrities has an appropriate place in In referenceto other possiblelocations, I am the repertory,a conceptwhich may alsobe seenin alwaysin searchof alternate sights.Currently, we the musicof Mahler. After the Sheng,listening to are looking for a location for summer concertsto the Shostakovichwill be more like listening to a replace the loss of Tanglewood. I have reviewed classicalpiece. This program may prove to pro- a number of locationsin New York, but no deci- duce a very uncomfortable evening, but it will sionshave been made as yet. certainly be unforgettable. Q: Many of us are concerned about dwindling Q: In your opening remarks did you indicate that audiencesand the lack of educationto generate you have a direct dialogue with the audience at interestin music. I know you havestarted the new times? youth concert series. Could you expand on that subject and explain how that might also be KM: Yes. adaptedto adults as well?

Q: How do you do that? KM: We expanded our preconcert lectures, which is for the older audience,basically to help KM: This wasvery easyto initiate becauseI have them discoverand understandnew and unfamil- done it in l-e,rpzig,where it has created a bond iar compositions.This is a very good first step. between the orchestra and the audience. We As you may know, one of the programs we announcethat we will have a one-hour conversa- initiated was the rush-hourconcerts. I wanted to tion with the audiencebeginning two hours be- createa new form of concert to attractpeoplewho fore the concert. The managingdirector and I go could not afford to come to our regular concerts. out on stageand have a discussionwith the audi- Then someonesuggested the wonderful idea of ence. Approximately 600people cameto the first rush-hour concerts. This kind of concert meets meeting. It wasa fantasticdialogue, and I wasvery the needsof the audiencewho cannot afford to impressedwith the knowledgeof the people. return to the cityfrom their homesfor the evening concerts. The first meeting was surprisingfor us Q: Are you contemplating making any physical all. We performed genuine music, and the re- changesin Avery Fisher Hall in the near future? sponsewas very positive. It is very important to Secondly,now that you haveplayed in St.John the ensurethat the qualityof theseperformances is as Divine, are you consideringany other placesin good as for an eveningconcert. the city or nearby to which you would like to bring Regarding educationalconcerts, I think you the orchestra? had a golden time in New York with Lenny

27 we placed the Bernstein. I know that many of our present At the beginning of this season' and the sound was middle-aged musicianswere inspired to go into bassesin their usual position not outsideanymore and the field of music by him. This cannot be re- wonderful. The celli are sound. So I think peated; there is nobody like him on the current we are very satisfiedwith their to refine the tone scene,and the time is very different now. How- we have a new opportunity ever,we have received support from many differ- quality of the orchestra. ent sourcesto designsome new productions. We the differences or have established an association with selected Q: Can you comment on in lripzig and schoolsthrough which we are bringing teachers similaritiesbetween the orchestras in which they work with their classesinto rehearsals. Many people New York, and the way are interested in seeing how a rehearsal is con- with you? ducted,how an orchestradevelops its sound,and between lripzig how it works together with a conductor. KM: The principal difference 85Vo of the Additionally, we have created some special and New York is that more than the Conservatory programsusing members of the different sections playersin Leipzig are trained at They have the of the orchestrato perform community outreach of lrerpzig, at.the Gewandhaus. vibrato, the same spirit, concerts,and we alsohave initiated a young artist same training, the same member of the orchestra. competition for studentsin the New York area. and are proud to be a Traditionally the music director hasnotbeen able to changethe soundof that orchestrasignificantly Q: There have been some changes in the set- so carefullypassed up of the orchestra. For example,the bassesare becausethe tradition hasbeen generation. As you in the back. down from generation to know, Brahms often conducted this orchestra as all of his KM: When I came here, I tried to discover the did Mendelssohn. Brahms conducted concertoswith the weak points of the acousticalstage. I discovered symphonies,he played all the their sound is the that the hatl acousticsof Avery Fischerwere good, Gewandhaus orchestra, and I pick a Brahms sym- but the stagewas a problem. It seemedthat the sound Brahms imagined. haveone rehearsaland sound of brass reverberated and masked the phony like a ripe fruit. We and perform it. Of string sound, making it impossible to achieve a then we discussthe music in Pais', rI' proper balance. To solvethis, I decidedto move course, if I perform An American Brahms becausethe char- the bassesto the back, so they would cover the soundsa little bit tike is so instinctive. back wall with their bodies and their instruments acter of the orchestra New York, theY can and dampen the reverberation in the shell. This When I come to PlaY I can choosethe helpedfor the first seasonalthough some players anything very well technically. and they canplay it. What developedhearing problems. It wasvery hard to mostunorthodox tempi we want to give perform from that position, and I am very grateful we must discussis the kind of spirit classical literature, for to the orchestra for their patience and coopera- to a phrasing. In the not in the tradition of the New tion. We then designedsome alterationsin con- instance,whichwas we must work extensivelyto sultation with the acousticianRussell Johnson, York Philharmonic, stYle. who designedthe halls in Dallas, Texas and in develop the aPProPriate the differencebetween Birmingham, England, both of which are very I am often askedabout European orchestras. I always cleverlybuilt. After a year of delaysfor financial American and is not really a difference be- reasons,the changeswere made to the stage' answer that there 28 causethe ClevelandOrchestra can play Mozart sayhonestly to the audience that I believe in the like the Vienna Philharmonic. George Szell's work. I am alwayssearching for suchworks. influenceis still evident.The New York Philhar- monic is much more comfortablewith the Ro- Q: We appreciatethe conductorsround table you mantic or contemporaryliterature. What they have instituted, but you mentioned that people can read is just incredible and their rhythmic are not generally aware of it. knowledgeis extraordinary. KM: We actually meet quite often. This is a Q: What are the qualitiesyou look for in new meeting with very young conductors,mostly from playerswhen they come to audition? the conservatories,who are allowed to attend rehearsals,and then afterward we meet for dis- KM: That is a good question. Virtuosity, of cussions. It is a wonderful forum. lnl-e,ipzig we course,is an important consideration,but the have a connection to the Conservatory that was principalconcern is musicality. You can easily establishedby Mendelssohnand continuestoday. discoverwhether the playerhas musical taste, if In New Yorkwe had no similar collaborationwith they can build a phrase,and if their musical any of the three music schools.We havebegun to imaginationis sufficientto performwith suchan establishsuch liaisonsby opening rehearsalsto orchestra.I feel it is a mistaketo look only for students and collaborating on musical perform- technicalperfection. Every orchestra has players ances. For instance,I am very pleasedthat in the who canplay all the notesbut cannotdo anything next few daysI will be rehearsinga Martin Luther more. It is very difficult to explainand develop King Memorial Concert with the Mannes School musicalimagination and style. Therefore,it is Orchestraperforming the Bach D Major Suite, necessaryto bring players into the orchestra Duke Ellington's Three Black Kings, and the " who alreadypossess a senseof musicalityand Reformation" Symphony of Mendelssohn. musicalstyle. Q: It sometimesseems that we live in an age Q: What do you look for in newcompositions? where classicalmusic is consideredto be more a luxury than an experience that is available to KM: Everything.I prefer to performworks that everyone. In Europe, concertsare considereda expressthe characterof the countryor regionof social event and made available to everyonewho origin.The ideais to find a characteror a musical can go. Here, they are so expensivethat many languagethat interestsor impressesme. Some- people cannot afford to attend. times it is the architectureand structurethat initiallyinterests me, but it alsomust have some- KM: There is a difference between the way the thingto say.I look for a personalityin the score, two societiesview the importance of music. In andwhen I firstread it I usuallycan decide quickly Europe, the orchestras are supported by the whetheror notit isa work that I canperform well. government, which feels that it is their duty to It maybe a greatwork, but if I canfind nothing provide this experience. The reductions in the with which to identify,then I am reluctantto educationalprograms in America horrify me. I performit. It is not somuch a questionof quality created a children's choir in Dresden. Initially asit isthat I wantto be ableto createa bondwith there was considerableopposition to the idea thework. If I conductit. thenI wantto be ableto from parentswho felt it would interfere with their

29 good question. I feel that any children's educational development. We per- KM: A very must be able to play suadedthem to try the idea. We auditioned and Philharmonic Orchestra In one of our meetings there accepted120 children into the choir. To date they Mozart very well. made by someone,and have performed the Ninth Symphony and the Sr' was a very strangeremark may have the sameidea' Matthew Passionwith me. We perform at a very I feel that many people "When a large orchestraper- high level and I am quite demanding of the The comment was, feels that they are not students. We have informed the parents that if a forms Mozart,the audience worth." I think this is a very student begins to do poorly in school, we will getting their money's The implication is that the remove them from the choir for two months so strange attitude. "Jupiter" of Mozart is less important they canrecover academically. However, this last Symphony Ravel. We must educate the sessionthe median test score of the choir mem- than the Bolero of is not a valid philosophy' berswas slightlybelow the highestpossible score. public to see that this public may have had too much The students had learned to discipline them- I alsothink the on Mozart. There are very selves,and this assistedthem in their academic attention focussed composerswho lived studies.Additionally, and not insignificantly, they interesting and important Mozart, and they can enrich had acquired some direction in their lives. around the time of the whole programming of an otganrzation' On the last program, we opened with a very small Q: I think we also need to educatethe parents as that is a childish but to the effectsof music on the development of the early Mozart symphony performed a cello concerto human being. divine work. We then by Moraw etzlhatwas dedicated to Martin Luther after intermission. KM: I think that the sourceis the children. It is my King and a Dvorak symphony very satisfied. goal to establisha children's choir in New York, The audienceseemed to be but I have to proceed very carefully. For each about how the roie child singingin a choir concert,there are parents, Q: You have been speaking haschanged' I won- grandparents,and other relatives who would at- of musicdirector/conductor a few more words along tend. Usually, there will be a minimum of ten der if you would say personsin attendancefor each child singing. The thoselines. students attract an audience that we may then and the Gewandhaus, influence with the music. This is an excellent KM: Before Mendelssohn by the leader'They means of establishinga link with an older audi- everyconcert was conducted Beethovensymphony cycle ence. In America at the moment, I think the performed the entire was only used for solution to most of our problems is to perform as with the leader, a conductor Ninth Symphony' I many concerts as possible and to make them the last movement of the beginning of the Fifth available to as many people as possible. would imagine the Symphony must have been quite adventurous' It still is for me ! Q: My question concerns the repertoire of the ableto conductan orchestra Classicalperiod. We find very little music of this I havenever been when I wasyounger, I period being performed by larger orchestrasin that did not like me. Even I wasvery clear;if the orches- this country. Is that music something that wasnot cheekybut I would go awayand let them should be reserved for Mostly Mozart, or tra did not like me, If I cannot communi- should it also be included in the repertoire of obtain anotherconductor. it doesnot make sensefor the larger orchestras? catewith an orchestra, 30 me to continueworking with them. I feel that it is rather than going directly to the music director. I a partnership, and that we must be able to com- find that very strange.I would prefer a more open municate to produce mesmerrzingmusicalinter- personalrelationship. pretations. This approach produces leadership through persuasionrather than dictatorship. Q: Can you tell us of the orchestra'sfuture plans I have often wondered whether Toscanini for recordings? would be successfulif he were beginning his careertoday. I think he would simply becausehe KM: I alwaystry not to be a slave of the record never was a dictator personally. He became one companies. I feel there is a dangerwhen manag- because,given the exigenciesof the time, it was ers and record companieshave too much control the only method that would produce the artistic over the musicalrnarket. The marketing theories results he wanted. He was forced to handle the shouldnot be allowed to overrule the imagination orchestrain that manner. Today, it is no longer of the artists. Otherwise, we lose our creativity. necessaryfor conductorsto function in this man- We design our concert programs on the basis of ner becausecurrent orchestrasare educatedto a what we think is meaningful to our New York much higher standard. I think Toscanini would audience; then we offer that repertoire to the have recognizedthis. record company, which selectswhat it wants to I have conducted many amateur orchestras, record. We have agreerrientswith some compos- and I still love to conduct youth orchestras. I am ers, and we try to record their works. At the amazedat what they can do. Of course, it is a moment we have a very good working agreement different performance standard,but I never stop with Teldec that has allowed us to record more teachingthem what they need to know to perform contemporary American works. well, even if they are not able to reach that level of performanceat the moment. A comprehensive Q: We have heard recordingsmade from live educationin performance technique generatesa concerts. Do you prefer that? self-confidencein the players that is absolutely necessaryto create the kind of partnershipthat KM: Oh yes, I much prefer that technique be- produces the most compelling musical results. cause it is very honest. After such recorded The self-confidenceof the musiciansis an impor- concerts,we will have a later sessionwithout the tant factor in their ability to perform to the best of audience,during which we re-record sectionsto their ability and I think we, as conductors,play a eliminate audiencenoises. The live recordingis very important role in fosteringthe psychological much more effective,musically speaking. Some- health of the musiciansin the orchestra. times we run the risk of documenting a lesser performanceif we are not at our best. However, Q: Are there any organrzed feedback systems as the orchestrabecomes more stable. this will that allow the players, either as a group or as becomeless of a risk. individuals, to talk to you and establish a constructivedialogue? Q: You see the orchestra as a necessity,not just entertainment. How do you make that KM: I only engage in constructive dialogue. distinction? Generally, if someoneinitiates a dialogue they speakwithme. The American orchestrasseem to KM: This is a truth that must be understoodby want to work through the various committees societyas a whole. 31 just of our profession, Q: But a lot of concertreviews and advertise- promotenot the survival ments are on the entertainmentpages of the but also the improvement in the quality of print media. peoples'lives through music.

KM: On the subjectof reviews,I thinkwe should Q: And this is more than entertainment? be able to discussthe quality of performances openlyamong ourselves without being destruc- KM: Yes, this is much more than entertain- tive. However,I have often joked that in New ment. York manypeople wait until theysee the review ********** in the papersto determinewhether or not they likedthe concert.There is too muchdependence onnewspaper reviews for mytaste. It isdangerous Kurt Masur, selected by MusIcer, AunRrcAas that thereare writers who feelit is their responsi- its 1993 Musician of the Year, is music director bility to dictate the taste and knowledgeof the of the lr{ew York Philharmonic and the audience.We shouldall be workingtogether to Gewandhaus Orchestra of LeiPzig.

Stravinsky, Tempo and Le Sacre

by Erica Fleisler Buxbaum

questionsas they answerabout the determi- The following article appeared oiginally in many PBnronuexcePnecncn Rnvtnw(Vol. 1, Sping/Fall nation of tempo and the documentary value of 1988).It is repinted here with the permission of recordings. Like Wagner, Stravinsky believed that the establishmentof the proper tempo for a the author. "a work was crucial and declared that piece of

**{<******* mine can survive almost anything but wrong or uncertain tempo."1 Stravinslcynotated his tempi Performing the works of Igor Stravinskypte- preciselywith both Italian words and metronome cisely as he intended would appear to be an markingsand assertedon many occasionsthat the uncomplicated matter: Stravinsky notated his primary value of his recordings was that they In scoresin great detail, conductedrecorded per- demonstratedthe proper tempi for his works. formancesof many of his works, and wrote com- the recordings, however, Stravinsky often de- mentaries that contain a great deal of specific parted from the metronome markings, creating defini- performance information. Stravinsky'srecord- doubt about which should be considered ingsand publishedstatements, however' raise as tive, the markings or the performance tempi.

a-r JL Stravinsky'sideas about the valueof record- I have changed my mind . . . about the ings and about tempo changedsignificantly be- advantagesof embalming a performance tween 7934and 1911: in tape. The disadvantages,which are that one performance representsonly one set [Transcriptionsfor mechanical piano] of circumstances,and that mistakes and enabledme to determinefor thefuture the misunderstandingsare cementedinto tra- relationshipsof the movements(tempi) ditions as quickly and canonically as and the nuancesin accordancewith my truths, now seemto me too great a price to wishes.These transcriptions enabled me pay. (1969,revised 1971)' to createa lastingdocument which should be of serviceto those executantswho As these quotes reveal, Stravinsky's state- would rather know and follow my inten- ments raise questions about the determining of tions than strayinto irresponsibleinter- a single, enduringly correct tempo, and about pretationsof my musicaltext . (l%qz the documentary value of his recordings. For if time and circumstances render metronome Theessential thing, withoutwhich itwould markings obsolete, what guidelines may we use be impossibleto form any idea of the to determine the proper tempi? Are the per- composition[is] the pace of movements formance tempi of more recent recordings to and their relationship to one another. supersede the markings 2. in the scores? If so, (1934)' how might we determine which of these perform- "mistakes ance tempi represent and misunder- A recordingis, or shouldbe a perform- standings"and which illustrate "truths"? ance,and who cansuffer exactly the same Stravinsky'sconception of the role of the in- setof performancelimitations more than terpreter also changed,subtly but meaningfully, once at least with familiar music? over the years. In 1934,he wrote that Monteux A "was ( 1961)- able to achieve a very clean and finished execution of my score. I ask no more of a I could not do any of [the recorded per- conductor, for any other attitude on his part formances]the sameway again. But even immediately turns into interpretation, a thing I the poorest are valid readings to guide have a horror of."8 "music other performers.( 1961)) He maintained that should be trans- mitted and not interpreted"9 and that "an If the speedsof everything in the world executant'stalent lies precisely in his faculty for and in ourselveshave changed,our tempo seeingwhat is actually in the score,and certainly feelings cannot remain unaffected. The not in a determination to find there what he metronome marks one wrote forty years would like to find."lo ago were contemporary forty years ago. In 1961,however, Stravinsky stated that "the Time is not alone in affecting tempo -- most nearly perfect musical machine, a Stradi- circumstancesdo too, and every perform- varius violin or an electronic synthesizer,is use- ance is a different equation of them. I less until joined to a man with musical skill and "What, would be surprisedif anyof my own recent imagination."ll He asked, to a composer, recordingsfollows the metronome mark- is most important about a recorded perform- "The ings.(196D6 ance'?" and answered, spirit, of course,the 33 sameas in any performance. . . . Next to the spirit indicated dissatisfaction with several perform- come the two chief questionsof the flesh: tempo ance tempi that departed from the metronome and bala nce."l2 markings: And in 1970, Stravinsky described a performance of Le sacre du pintemps con- Rehearsal MM Tempo on Commentl6 "always ducted by Zubin Mehta as exciting, at Number recording "many "too least" despite errors, especially in 48 ) = 108 1I2 fast" "too tempi."13 Thus, although Stravinsky'sattitude 54 ) = 160 144 slow" "too toward interpreters did not changeas radically as 57 ) = 168 152 slow" "too did his thoughts about definitive recordings and 72 J = 60 80 fast" "too tempi, his gradual acceptanceof somethingmore 93 j = 80 108 fast" "transmission" "execution" than or from a per- former is significant. What tempi, then, might he have preferred? Among the most informative of Stravinsky's Stravinsky's observations concerning other writings are his reviews of six recorded perform- passages,however, raise questions about the ances of.Le secredu pintemps, including one of markingsin the score. For example,his perform- "The "Introduction his own.14 Several of the performances Strav- ancesof Sage" and II" were "too inskydescribed have been reissued;15*he., stud- described as fast" although both were per- ied in relation to the detailed, specific reviews, formed at the tempi indicated. Again, what tempi these recordings provide enormous insight into would have been preferable? Stravinsky'spreferences regarding articulation, Stravinsky'sreviews of four other perform- balance,and particularly temPo. ancesprovide additional clarification of his ideas A comparison of Stravinsky'scomments re- about tempo rn Le sacre du pintemps - The garding tempo in five of theseperformances with following table correlates the metronome mark- the actual tempi on the recordings suggeststhat ings and the tempi of the five performanceswith while Stravinsky'smetronome markings are on Stravinsky'sremarks in the reviews. By compar- the whole a more reliable guide to his enduring ing Stravinsky'sevaluations of several tempi in conception of the work than even his own per- selectedpassages, we may begin to draw conclu- formance, the tempi which elicited the most fa- sionsabout a rangeof tempi he mostlikely consid- vorable responsesfrom the composerwere more ered acceptableand to see how and where his varied than the absolute markings in the score ideason tempo in Le sncremay havechanged over would imply. Other of his comments, however, the years. In the reviews,Stravinsky's comments reveal either that his original markings did not regardingtempo were plentiful enoughto suggest adequatelyconvey his intentions, or that his ideas that ternpi that he failed to mention lay within an about tempo in some portions of.Le sacrehad, in acceptable range where no contrary evidence fact,changedwith the passageof time, and that his exists. , "Augurs = own recordingwas not alwaysthe clearestguide to For of Spring," (marked ) 50), the precisenature of thesechanges. a rangeof 50-54was apparently acceptable, while Stravinsky'sreview of his own recorded per- 56was definitely too fast. Stravinsky'sown tempo formance of Le sacre du printemps provides of 54 seemsto set an absoluteupper limit, and "the valuable insightsregarding the composer'sinten- even here he commented that end of the tions regarding tempo, but not without raising movementis rushed."19 "Ritual additional questions. For example, Stravinsky The markedtempo for of Abduction," 34 - " J . l3},was judged very fast, but good," tion II" (marked ) - 48) is problematical. "perni- "The suggestingthis as an upper limit, while a As in Sage,"another relativelyslow tempo, "sluggish" ciouslyslow" or tempo of 116 should be Stravinskydid not seem satisfiedrvith any of the avoided at the other extreme. Speeds of 120-732 performance tempi" Von Karajan's performance "sleepy:' seemedto be acceptablehere, with a preference at 44 was describedas while those of for the marked tempo. both Boulez and Stravinskyhimself, which begin Stravinsky's comments on the tempi of at the marked speedbut accelerateto 54 and 58 "spring "too Rounds" (marked, at 48, ) = 108) respectivelyat one measure before 85 were clearly illustrate his predilection for favoring a fast." Although Stravinskywasusually clear in dis- narrow rhnge of possibilities. His remark that tinguishing between unacceptable basic tempi "on Boulez'stempo of 100was the slow side,but and undesirable (always,unless marked) modifi- greatly to be preferred to my own very hurried cationsof tempo,it is possiblethat his real dissat- = reading" ( ) 7lz),suggestsapreferredrange isfaction here was with the later, faster tempi. "the of 104-108,as marked. The passagebeginning at Craft'sstatement that composerupholds the 54,however might be taken slightlyfaster than the metronomemarking in the score"tor.rpports this marked ) = 160 (Mehta's 168 was judged view. Perhapsthe solution would be to perform "brisk and good"), but not more slowly. the movement at the marked tempo throughout. "Ritual "Mystic Neither the three performancesof of Circles" ( J - 60) shouldevidently - the Rival Tribes" ( ) 168)at 160nor the one not exceeda speedof 66: tempi of 72 and faster "too "Glorification at the marked speedelicited comments,suggest- are fast." of the Chosen ing a posqiblerange of 160-168.An even slightly One" ( J_J - I44), however,may be effectively slower tempo, however,should be avoided (152 per-formed at 732("the tempo is good"). Strav- "too was slow"). insky's observation that Mehta's tempo of 138 "The "sounds Stravinsky's comments on tempi for rushedall the way" may refer more to an Sage"imply, for the first time, a real dissatisfac- instability of tempo than the basic speed,since tion with the marking in the score( J = 42). Boulez'sperformance at the sametempo elicited He judged his own performance at the marked no comment. "no tempo better than the other two," in other slightly slower tempo than is marked "ap- + "Evocation words, too fast. If Boulez's ) = 52was ( ) = 144) seemsappropriate for proximately twice too fast" and his J - 58 was of the Ancestors" as well, since Boulez'sper- "more than twice too fast," perhaps.a tempo formances at 138 and 132 were enthusiastically "perfect." of .l,) = 50-54 might be appropriate. In any praised as Tempi of 112-126 are, case,the'tempo should not exceedthe indicated however, too slow. "Ritual speed,and shouldprobably be slower. Action of the Ancestors" ( ) - 52) "a Stravinsky'ssuggestion that slightly faster is another relatively slow tempo about which tempo than the metronomic 168 would not be Stravinskyapparently had secondthoughts, as his "Dance amiss" for of the Earth," and his com- remark about von Karajan'sperformance makes ment that Mehta'sperformance at ) - 160was abundantly clear. Tempi of 56 and 60 were "the "good," best of the three" implies a tolerance of a describedas while 69 was "too fast." rangeof tempi from about 160-17 6 for this dance, Stravinskyfavored his own performance at 66 with a preferencefor the fastertempi. A speedof overall,although he did not comment specifically 152,on the other hand, is definitely too slow. on the tempo. A range of 56-66may be postu- "Introduc- Establishingthe proper tempo for lateC,with 66 as an absoluteupper limit. 35 Stravinsky'sComments Regarding Tempo in Five Recordings of Le sgcre du printemps

Rehearsal Tempo of Stravinslry'vinslcvts 11 ,18 Title Number MM Performance'' comment I t3 :50 K 50 Augurs ) "much 81 56 too fast" of spring "the BZ 52 temPois good" "vitiatinglY M 56 fast" s54

"the fast,is good" Ritual 3i J. : 132 K L3z tempo,though very 81 126 of Abduction "PerniciouslY 82 116 slow" "sluggish" M 116 S T2O

I Spring € a:108 K 69 81" 104 Rounds "on 82 100 the slow side, but greatly to be preferred to mY own very hurried reading" "too M 69 slow" "too S ll2 fast"

I 54 J:160 K 160 81 160 82 168 "brisk M 168 and good"' "too S 1'M slow"

I Ritual of the 57 J = 168 K 168 Rival Tribes 8L 160 B2 160 M 160 "too S I52 slow"

I 4 J=42 K 52 TheSage "more before 81 58 than twice too fast" "approximately l2 BZ 52 twice too fast" "too M 52 fast" S42..myperformanceisnobetterthantheothertwo',

Danceof 72 J = tU* K 160 "a faster tempo than the metronomic 168 the Earth 81 1.52 slightly would not be amiss" "this BZ 144 may bc the slowestPrestissimo ever clocked" M160..thisisthebestperformanceofthethree,, "too S I52 slow" Rehearsal Tempo of Stravinslry's Title Number MM Performance Comment

"sleepy Intro II 7s )=48 K M, M* tempo" B1 52 "too hurried" "a 82 48,54 shadetoo fast" M 48 S 48, 58 "too fast"

8e J =60 K 50 B1 69 82 76 M 54 S 72

Mystic s1. J =60 K 60 Circles B1 66 "the 82 80 tempo is too fast,being in fact the tempo of the piu mossoat93" "this M 72-94 is not onlytoo fastbut pushed" S 80 "too fast"

Glorification L04J )=l.M K r32 "the tempo is good" \_r., of the B1 r32 ChosenOne 82 138 "this M 138 soundsrushed all the wav" S t32

I "this Evocation I21. d ='1..44 K rI2 is too slow!" "the of the B1 138 tempo is perfect and so is the articulation" "this Ancestors 82 r32 is perfect - exactlythe way the music should be performed" "the M 116 pulsation . . . should be exactlythe same as in the previous dance,and not, as here, adjustedto a slower [empo.,, 126

"whether Ritual Action rzs J =52 52 or not metronomically correct, this of the tempo di hoochie-koochieis definitely too slow,, "- Ancestors 81 69 but this is too fast" B2 56 "this is good" M60 "this is good" "the s66 passageis better played here as a whole than in the other recordings"

"sluggish Sacrificial r42 )=rru K 116 tempo" Dance B1 r32 "fast but good"' "unsuitably (1s7) 138 fast" "a r42 82 r20 little slow, but clear, and incomparablybetter than Boulez'sold recordins" M r32 "rushed" S r20

* The secondtempo occursat L before 85.

37 Stravinskyseemed to favor his marked tempo known, or first copyright. These dates are not in "sacrificial of ) = 1260r one slightly faster for agreement with publication information for the Dance." The range of possibilitiesis narrow here, sourcesfrom which the quotations were taken. "a and the limits are clearly drawn -- 120was little "fast 3 slow," 132 was but good," and 138 was Stravinsky,A, Autobiography,p.150. "unsuitably fast." a Thus, in seeking to establish performance Igot StravinslIgor Stravinsky and Robert Craft, Per- 11 formance of Music," in Conversationswith Igor Stravinslry,Dialogues, p. 126. Stravinslq (Garden City, N.Y.: Doubleday and 12 Company,1959),p. 135. Stravinslq, Dialogues,p. 722.

2 13 lgot Stravins$,An Autobiograpfty(New York: Stravinsky, Themesand Conclusions, p. 275. Simon and Schuster,1936; paperback reprint, 14 'The New York and London:W.W. Norton & Com- "stravinsky Reviews Rite': a Review of pany,Norton Library, 1962),p. 101(page refer- Recent Recordings of Le sacredu pintemps," rn encesare to reprint edition). Dates given for Stravinsky, Dialogues, pp. 81-90. A footnote "written quotationsare for completionof the work, if explainsthat the review was in October

38 "Jubilee" 1964for Hi-Fi Stereomagazine, New York, partly London JL 41002,and Stravinsky'son 'useless out of annoyancewith the generalitiesof CBS Masterworkscassette tape MPT 38765. most record reviewing'." This review discusses Stravinsky'srecording has also been reissued by performances by Herbert von Karajan (Berlin CBSas MS6319, D3S 705,MG 37202,and LXX Philharmonic,DGG), Pierre Boulez (Orchestre 36940. national de la R.T.F., Internationale guilde du 1Ar, disque),and P. Kpaot (Moscow State Symphony Stravinsky'scomments are quoted from the Orchestra, Amalgamated [Jnions Gramophone review rn Themesand Conclusions,pp.234-41. Studio). Reviews of performances by Pierre L1'7t Boulez (Cleveland Orchestra, CBS Records), Letters preceding numbers identify conduc- Zubrn Mehta (Los Angeles Philharmonic, Lon- tors. K - von Karajan; B1 = Boulez, Orchestre don Records), and Igor Stravinsky (Columbia national de la R.T.F.; 82 - Boulez, Cleveland Symphony,Columbia Records, 7960, reissued Orchestra;M = Mehta; S = Stravinsky.See "spring 1970),dated June \910, appearin Fever: endnote 15 for recording citations. 'The a Review of Three Recent Recordings of " 18 Rite of Spring' in Stravinslry,Themesand Con- Comments on K and B 1 are from Stravinsky, clusions,pp. 234-4I. Dialogues,pp. 81-90. Commentson B.z,,Mand S are from Stravinslry,Themes and Conclusions,pp. t5 Vo.r Karajan'sperformance hasbeen reissued 234-41. as DGG CD 423 214-2. Boulez's performance \)10 with the Orchestrenational de la R.T.F. hasbeen Stravinsl

LE SACRE DU PRINTEMPS qACTb trEPBAfl PREMIERE PARTIE. lo4trrl rrlrr. L'A.DOl.AttOi Dt LA ttnlt lz Stcc du Printcmpe wu pmdued rt rhc Th6rc da Chrmpr Elynr on Mry 29. 1913. by thc Dirghilcv Brll.t Rue. Mr. Mmtcur @nduct.d- Bcrynaeuie. Iutroduction. 'Thc PART l. F.ftiliv of rh. E nh'

Po Inlniuction l n Brnn@

Drncc of thc Youthr ud Mri&o IGOR ffi Hoft lF€=+ Trungcu STRAVINSKY : c. Drne ol Abdwtion D D. tol'*"IS€4G T E LE SACRE DU PRINTEMPS rE E. Grm ol thc Rivd Torm. (The Rite of Spring) rrunFifffi- F. Eanoe ol tic Crhnlt I Pictures of Pagan Russia E G. Tlrc Ki! to th. E nh 62

H D.nc. to ihc E nh a

'-T'hc PART ll. Srcrifie- Intmddio (Th. P.ttn Nithr) E -rI- B. Mvrk Circh o{ th. Adol€ntt F B.-Frur.;+-ffi F. KAIT{US ORCHESTRA SCI)R,ES Dr@ to thc Glorllied Onc & |mr D. Evdtion of Anqtm I Na YorL N. Y. E. Ritul Pcrftmnc o, lh. A|Elo[ lo PrhtaU.tA rrunp.r }ItsF- F. S.crilici.l D.n€ lll An Annotated Bibliography of Selected Vind Ensemble/BandRepertoire Texts

by Harlan D. Parker

The following bibliography compriseseleven Publisherreferences are abbreviatedand cross- books that list compositionswritten primarily for referencedwith the completepublisher list that wind ensembleand band. In addition to providing appearsat the end of the text. The dategiven is standard reference information, several of the of the originalpublication or lastknown revision. lists include musical descriptions,offer insightful The secondsection offers an alphabetical performancesuggestions, or containbiographical listingof composersand arrangers,and includes information on composers. The books surveyed all compositionssurveyed in the first section. here represent the more celebrated works of Each compositionis also categorizedas Band this genre published in the last ten vears. No Titles (AOO), Collections(BOO), Solos& En- negativevalue judgment should be inferred re- sembleswith Band(COO), Band Method Books garding any similar reference book not included (DOO), or MarchingRoutines (EOO). in this bibliography. Althoughneither selection timings or musical descriptionsare provided,this text is an invalu- ********** able resourcefor locatingcomposers, composi- tions,publishers, and datesof publication. 1. Band Music Guide. Northfield,lL: The InstrumentalistPublishing Company, 1 989. 2. Berg,Sidney, ed. TheDirecfor's Guideto Festivaland Contest Music, The Official Se- The Band Music Guide is divided into two lectedMusic List of the VirginiaBand and Or- sections.The first sectionhas five subheadings: chestraDirectors' Association. Northfield, lL: Band Titles,Collections, Solos and Ensembles TheInstrumentalist Publishing Company, 1 988. with Band,Band MethodBooks, and Marching Routines. The compositionslisted under each In TheDirector's Guide Berg distributesthe subheadingare arrangedalphabetically by title. repertoireamong five performancecategories: Eachentry provides the work'stitle, composer/ Band, Wind Solosand Ensembles,Orchestra, arranger,size of the music,grade of difficulty, String Orchestra, and String Solos and En- publisher,and date of publication.Three sizes, C sembles.The repertoire in eachcategory is listed - Concert,M - Marching,and O - Octavo,are by gradelevel. There are six gradelevels, and represented.The gradingscale is the "standard" withineach level the pieces appear alphabetically Instrumentalistscale: Grade 1 - firstyear players; by composer.Also listedare the publisherand Grade2 -beyondthe beginningstage; Grade 3 - compositionprice (as of 1988).Next to theprice having acquired basic instrumental facility; quotation,out-of-print publications are indicated "POP". Grade4 - moreadvanced instrumentalists; Grade with the anagram 5 - collegelevel; and Grade 6 professionallevel. One of two statemusic lists presented in this 40 article,this guide doesnot include musicalde- the band,band music,and virtually everyaspect scriptions,selection timings, or thespecific instru- of the bandprofession have changed (hopefully mentation of eachpiece. It is, nevertheless,a for thebetter) since 1946. Another exceilent ref- comprehensive list of musicwritten for bandand erencebook for the contemporarywind band orchestra,and would, therefore,be a valuable conductor. resourcefor conductorsof most instrumental ensembles. 4. Dvorak,Thomas L., ed. Bob Margolis. Besf Music for YoungBand, A SelectiveGuide 3. ConducforsAnthology. Vol. 2, Conduct- to the Young Band/young Wind Ensemble ing and Musicianship, 1st. ed. Northfield,lL: Repertoire.Brooklyn, Ny: ManhattanBeach TheInstrumentalist publishing Company, 1 ggg. Music,1986.

Volume 2 of the Conductors ,,A Antholog is Best Music fo, Young Band surveys the compendium of articlesfrom TheInstrumentalist available(as of 1986)repertoire for the young from 1946to 1989on scorestudy, conducting bandand presentsit in threeparts: part I: Con- techniques,rehearsals, and musicianship.',The certfFestivalWorks for Young Band; part II: work has sixdivisions. They include: 1) Interpre- Concert Marches for Young Band; and part tiveAnalyses of BandReperto ire;2) Conducting III: Concert/FestivalWorks for young Wind and Rehearsal Skills; 3) DevelopingMusician- Ensemble. The compositionsthat appear in ship;4) Jazz,Ensembles and Guiding Students; eachpart are listed alphabeticallyby composer. 5) Repertoire; and 6) Interviews/profiles.For Each entry includestitle, grade level (I - III), purposesof thisbibliography, onlydivisions L and duration and publisher. A completelisting of 5 will be discussed. publishers "Interpretative cum addressesis includedin an un- Analyses of Band Reper- titled sectionat the back of the book. The toire" addresses "Wind thirty-oneband compositions; Ensemble"section is separatebecause sixteenof the articles werewritten by Frederick of unusual instrumentationneeds, which are Fennell. Other authorsinclude Harry Begian, listed. Each entry also includesa brief sum- Arnald D. Gabriel,Fisher Tull and Keith Brion. mativedescription of the composition. Eachanalysis "Criteria offersinterpretative ideas for the In the for MusicSelection,' segment, compositions (somearrived at throughpersonal the authorinforms us that eachwork considered discussions with the composer).Where neces- for inclusionin thisvolume was subjected to three s&ry,a list of scoreand parts errata is provided. basiccriteria. ,, "Repertoire" Eachwork had to possess. . . ahigh containsarticles that survey the degreeof compositionalcraft," ". . . important appropriatenessof certaintypes of repertoire,the musicalconstructs necessary for thedevelopment repertoire ". of specificcomposers, and the philoso- of musicianship,"and . . an orchestrationthat, phy of repertoireand programming.Authors withinthe restrictions associated with eachgrade include:Donald Hunsberger,Acton Ostling,Jr., level,encourage[s] musical independence both of Frank Battistiand Keith Brion. individualsand sections." Throughout thevolume, the originalpublica- Eventhough this text is limited to GradesI - tion date of eacharticle appears in theupper left- III, it is a usefulreference for anyoneworking handcorner of the title page. This smalldetail with youngbands, whether as guest conductor or affords the readera splendidopportunity to de- music director seekingrecommendations for velop a historical perspectiveon how and why qualityliterature. According to the publisher,a 41 companiontext comprisingGrades IV - VI will the contentsof which are listed by grade level. In "the be published shortly. the introduction he explains, second cate- gory, Concert Program Material, is devoted to 5. Garofalo,Robert J. Guidesto Band Mas- literature that is of primary value on concert terworks (publishedin two formats: Teacher programsrather than assubjects for seriousstudy, Manualand StudentManual). Ft. Lauderdale, detailed rehearsalor festivalperformances." "Concert FL:Meredith Music Publications, 1992. In the Music" section Kreines fur- nishes two lists for each grade level: the first is "instructional "preferred" This guide provides units fbr designated music; the secondpro- "good teaching"six band pieces. In the preface,the vides alternatives to the works listed "was "preferred" author statesthat it written primarily for above." In the section,each compo- secondaryschool band directors, . . . [but] maybe sition is described in detail; from time to time usedas a referencetextbook by collegeand uni- opinions about the work also appear. The "alter- versityprofessors who teach coursesin instru- natives" section gives only a brief description of mental musicpedagogy and curriculum." The each composition. The compositions appearing masterworksappearing in the text are: Overture in each grade-level are alphabetrzed by com- for Bandby FelixMendelssohn, Trauersinfonieby poser, and entries include composer,title, pub- Richard Wagner,First Suite in E-flat andSecond lisher and approximate time. Suitein F by GustavHolst, ChesterOverture and The works listed in the "Concert Program GeorgeWashington Bidge by William Schuman. Material" section are listed by categoryof music Inbothpublished formats, Garofalo provides: (e.g. Waltzes, Latin-Style, Dance, Rhapsodies, Listening Assignments,Practice Assignments, etc.); the selectionsin each categoryare alpha- and CreativeProjects. He also furnishesa six- betized accordingto title. There are no musical weekoutline designed to allowstudy of a compo- descriptionsor timings of the compositions.For sitionfrom sightreading to performanceas well as each work, however, Kreines does identify the a four-yearrotational plan to facilitatestudy and composer,publisher and grade level. performance of the six compositions. fhe TeacherGuide includes: Learning Goals, Intro- 7. Prescilbed Music Lisf, For Music Compe- duction,Resources, and Performance Notes. The tition in School Years Beginning1991, 1992, StudentGuide provides: Learning Goals, Assign- 1993,1994. Austin, TX: University Interscholas- ments,Historical Notes, Glossaryof Musical ticLeague, 1991 . Terms,Home PracticeGuide, Important Infor- mation,and a ComparativeOrchestration Guide. Another state music list that deservesmen- tion. This referenceincludes not only works for 6. Kreines,Joseph. Mus icfor ConcertBand. band, but for orchestraand chorusas well. The Tampa,FL: Florida Music Service, 1989. band list containsfive gradelevels, and the grade- level requirements for the state of Texas are "Performance Music for ConcertBand provides another outlined in the section titled Re- gradedlisting of literature. The gradelevels are: quirementsfor Band." The entriesin eachgrade Easy(Grades I &2), MediumEasy (3), Medium level are ordered alphabetically by composer. (4), Medium Advanced(5), and Advanced(6). Publisher information is also furnished; if the Kreines divides the text into two categories: composition is out of print, &n editorial bullet ConcertMusic and ConcertProgram Material, appearsnext to the listing. 42 Despitethe absenceof musicaldescriptions, VI. Marches,The Original Band Music the list is relativelycurrent and includes contem- VII. Yesterday'sBand Music: Some Sources "standards." porarypieces as well assome of the andRepositories VIII. Researchon AmericanBand Subjects 8. Rehrig,William H., ed. Paul E. Bierley. The IX. The HeritageSeries of LP Records Heritage Encyclopedia of Band Music, Com- posersandTheir Music, Vols. l& ll. Westerville. The encyclopedia'sclosing section is a Title OH: IntegrityPress, 1991. Indexwhichlists all surveyedcompositions alpha- beticallyby title. The basicgoals of the encyclopediaare out- The Heitage Encyclopediaof Band Music rs "Publisher's lined in the Introduction." They perhaps one of the most valuable reference "an include: attemptto documentall editionsof guides for the contemporarywind ensemblef all music ever published (and some unpub- band conductor. The set has over 1,000total "an lished)for concertand military bands,"and pages. Obviously,there are works and com- attempt to provide biographiesof composers posersthat, for one reasonor another,are not whosemusic has been used by bands,whether listed;nevertheless, this encyclopedia provides a the music wascomposed for the bandor not." mostcomprehensive listing of bandcompositions The publisher also contributesa somewhat writtenprior to its publicationdate of 1991. "band," amusingdetinition of describingit as"a group of brass,woodwind, and percussionin- 9. Smith,Norman E., and Albert Stoutamire, struments, with the proportionsthereof not eds. BandMusic Nofes, rev. ed. LakeCharles, rigidly defined(despite numerous efforts to en- LA: ProgramNote Press,1g7g; reprint, Lake couragestandard izatron) ." Charles,LA: ProgramNote Press, 1989. Entries are alphabeticalby composer;each entrycontains a brief biographyof the composer, Band Music Notesis a compilationof over birth and death dates(where applicable),rhe 600 compositionslisted alphabeticallyby com- referenceor referencesfor the biography,and a poser. A brief biographyof each composer list of known works. When available, a representedin the volume is provided; a composition'spublisher and date of the most selectecdlist of a composer'soutput appears recentedition is listed. The composersfound in with a program-notetype of entry for each VolumeI havenames that beginwith A through work. Additional information provided in- N; thosewhose names begin with O through Z cludes:arranger (where applicable),publisher appearin VolumeII, whichalso includes a Bibli- (abbreviationkeyed to a master list found ographyand nine appendices,titled: elsewhere),grade level (1 - 6), timing, and a recording(when available). The list of composi- I. An Overviewof Band MusicIn America tionsfor a givencomposer is rarelycomprehen- II. AmericanBand Music: A Brief Historyof sive,but the program-notedescriptions of the PublishingPractices worksthat are listed are informative and helpful. III. A Glossaryof Publishers The Appendicesinclude: Contributors IV. The BandJournals, Backbone of the Individualsand Organrzations, Key to Publishers, Repertoire Keyto RecordCompanies, and an Index of Titles, V. UsingForeign Band Music with American Grade of Difficulty, PerformanceTime and Bands RecordAvailability. 43 10. Smith, Norman E. March Music Nofes. to create,justify, or supportany factions." Lake Charles,LA. Program Note Press, 1986. This repertoirelist hasthree sections:Wind Ensemble/Band,Instrumental Solo and Wind A companion text to Band Music Notes, Ensemble/Band, and Voice and Wind En- March Music Notes shares the Band Music Notes semble/Band. Each sectionlists the composi- format. As the title suggests,this text lists tionsalphabetically by composer,and each entry marchesalphabetically by composer. A compre- includes:composer, title, instrumentationand hensive biography of each composer is a wel- availability(publisher). The instrumentationis come feature of this work. Each composition listed numericallyin the following order: flute, entry includes: an extensive musical descrip- oboe, clarinet, bassoon,horn, trumpet, trom- tion, publisher and date of publication, grade bone,tuba, timpani and percussion.Doublings level,performance time, and a recording (where areindicated by parentheses.Sa:rophones as well available). as non-sopranoclarinets are includedby voice, "band" "wind In the introduction, Smith summarizes the andfor largerworks, the words or - purpose of the book, describingit as a reference ensemble"appears. For example,2 (pic) 2 2 2 text for directorsand membersof bands,program at szu

M Scores& Parts

Sy-phony No. 6 in B minor, Op. 53 by Dimitri Shosrakovich

compiled by Glenn Block

Thefollowing errata list comparesthe orches- tral scoreof the Moscowstate publishers19g0 66/.2 edition that appearsin volume 3 of Dmitri ...Str: + ffi (?) lQ/,1-tO EH,Ci:-+'t.itts 1t; shostakovich'scollected works with the orches- 66/L2-I4 EH, pCl: + trilli, iies(?) 92/5 traparts as reprinted by Kalmus Music. The score ...... Vln 2, Va: + cresc. 92/.7,1...... Vln t: + (?) correctionsare f variants or omissionsin the ??17,,_4 t & Z:'+'accenr (?) Tpt -f Moscowstate edition that conductors maywish to \0q/.5,1...... CBsn: (?) consider."Probable" \0?/e,1 . Hns 3 ai +: + X errata,based on editorial I03/2-5,1...... Tri, Tamb: + iccents assessments,are indicatedby a questionmark. I03/9-L2,1...... Tri, Tamb: + accents Readers \04/,I,1...... Winds: + accent(?) may own or have accessto other pub_ rc!/.1,1 ...... Hns: + espress.(i)' lishedscores of this symphony.They include L05/.5,2...... Tri.: + aiin.1tl the 109/2 Booseyand Hawkes Vc, DB: s/r *li. ". edition,and the second print- L22/9,1...... Hns | &): + accenr ing of the MoscowState publishers edition I?2/.n,1,3...... Cl: + accents(?) of I23/I 1968,originally published & 3, | ...... Fl, Ob,Cl: + itorr. in lg4l. 123/1,1 ...... BCI: + accent I24/1,1 ...... Fl,Ob, Cl: + accent *******{€** 126/1-2,3 Cl: + stacc. I?7/.2,1...... Fl,Ob: + stacc.(?) ...... Ym,Tbn,Tuba:'+stacc.(?) Score !30/.1,,1 \ / Corrections \30/.!& 8, 1 ...... Bl.r, Hns: + accent(?) ...... ,l?0/.5,,1 Picc,Fl, Ob,Cl: + siacc.(?)\ / l?0/.5,4...... Bsn,Hns: + trO !?t/},l .. 11..,FI,Ob,"EH,'Cl: + stacc.(?) 13L/6,3...... Cl: + stacc.(?) I?/.3, PCI: + trills,accidentals, as in EH L32/5,1...... picc, Fl, Ob,'pCl, Cl: + stocc.(?\ I2/5, | & 3 PCl.: + flarsto trill: - frornb.2 \ / 13/3,1...... Fl: 13?/.5,4...... Wws: + stacc.(?) + pp (?\ ...... Hns, 27/6-7 .Vln 1i 1 iie \1?/5,4 Tbn:+ tr O 133/1,1 ...... picc, Fl, pcl,-tli: (?\ 32/6,3...... Vla:+ slur(?) stacc.\ / 133/1,4...... Hns, Tbn: + (?) 3!fi MM s/r d.q.n.= L04 ff r?3/7,4...... g_b,EH, pcl;"Ci:'+ tr"itiri.1Z7 9/.3 ,.. . Vla, Vc: + tresc.(?) I33/8,1...... Q) 4:7/10,1 ...... Hp: + (?) gg,pct,Cl, Tpr: + ff 1,34/1,1...... Tri: + (?) 47/1J ...9p' + lrebie clef(?) ff 4:9/9 ...... Percmargin: s/r T-no Parts 6!/9 ...... Bsns:+ aicent1t; Corrections 65fl .....C1:+ trill (?) 65/9-Il pCl: EH, + lrills (?) NorE: All parts should correct Mvt. I time 65fi2-14 pCl: signature EH, + trills;l ties(?) to be 4f 4, and M't. II metronome 66/2 marking to reaJdotted .....Winds:+ff(?) quarter note.

45 Abbreviations Key

INsrnucrroNs Wooownns : Ww PnncussroN : Perc

Should read : s/r Flute : Fl BassDrum : BD Add : (+) Piccolo : Picc Cymbal : Cy Delete : (-) Clarinet : Cl Snare Drum : SD Bar number : Bar Piccolo Clarinet : PCI Tambourine : Tamb measure(s): m. BassClarinet : BCI Timpani : Tmp Oboe : Ob Triangle : Tri English Horn : EH Xylophone : Xy Bassoon: Bsn Violin : Vln Hnnp : Hp Contra Bassoon: CBsn Viola : Va Cello : Vc DvNnnnrcs NorBs Double Bass = DB eighth note : e.n. crescendo = cresc. : quaner note : Bnnss Br decrescendo = decresc. Q.n. dotted quarternote : d.q.n. diminuendo : dim. French Horn : Hn half note : h.n. espressivo: espress. Trumpet: Tpt natural sign : nat. staccato : stacc. Trombone = Tbn whole note : wh.n. subito : sub. Tuba : Tu

reh.#/bar. beat. . .actionneeded reh.# /bar. beat. . .actionneeded

Violin 1 .s/rf + cresc.sign (?) l/3, L-2 + cresc.sign + cresc.sign (?) 3/1...... + e.n.rest to end of bar 4/2,1.-2 + trill 5/L,4 ...s/rmf Violin 2 12/t,1...... + ff and sharpto trill 12/2,L ...... + sharp tq trill 6/4 continue slur from beats L-3 * + comma after b.3 16/4 ...... meter t/t / o re13...... 26/10 ... + tie toReh'. #27 t9/3,4 ...... s/r C nat. + nat. sign 29/I...... top s/r B 4 19/9, 1 ...... top: 29 5, 4 ...... Zndnote s/r C" 3t/t, L ...... + p cresc. / - 43/ 5, 2 ...... + f andmarcato 44/ 5,1 ...... accent +f 57/L,1...... + accent 46I 6,l- ...,...... '.'J! 57/12, L ...... + accent 47/r-s bottom: sf r C* 51/13,1 ...... + sffi 53I t, L ...... s/r p 64/L,1...... + ffi 5l l13,1 ...... i ttntbottom s/r Ab 65/7...... + trilluntil Lst beat of m.8 59/ 5,2 ...... + accent 70/1...... + arco 64I tt, 1 ...... botto.m: + accent 87/3,3...... + accent 80/ t, 1 ...... s/r BD 87/4,1...... + accent erl4-s + stacc.to all notes 8114,3...... * accent r001t4,3...... s/r C 89/6,3 ...... + cresc. t02/4, 1 ...... + accent 90/2,L...... + f r05l].l.,1...... +p 90/1I,1...... + stacc. r1,5/2, 4 ...... + CTCSC, 90/L2,6...... + p t22l5, 1 ...... + accent 9'1./3,3 ...... + stacc. t22/9, 4 ...... + stacc. 9L/5...... begrnslur on 2ndbeat r22/t0,4 ...... + stacc. g1.'f 8, 2 ...... s/r"Eb L26/ 6, 4 ...... + accentto B ll2/ 5, 1...... + stacp. t26I 6,3 ...... + stacc. n3:h', z ...... s/r c# (t) r29/ 4,4 ...... + cresc.sign and stacc. II3 12,4 ...... + cresc. (?) t29/ 5,t ...... + cresc.sign and stacc. ll7 /4,1...... + accent r3014 + cresc. sign Il7 I 4,3 ...... + accent r30/8 + cresc. sign lI7 /8,1"...... * accent L31./8, 2 ...... + accent ll7 /16,1...... + accent r3L/8,3 ...... + S|ACC. I25/3, 4 ...... * marcato r32I t, 1 ...... + accant M reh.#/bar. beat. . .actionneeded reh.#/bar. beat. . .actionneeded

Viola tts/3,1, + CTCSC. tt9/1,1 + accent I4/l-2 . continue tie L23/1,,1, +ff 15/6 ...... continuetie to Reh. #16. m.3 r23 r-3 + accents L6/4...... = /r2, + Moderato 66 t25/1,4 + q.n. rest l8/5...... 2nd note s/r Bb r30 I + accent 19 /3, /3,3 ...... + slur t30/7,1. + accent 26/9,1...... + sharpto trill r3r/8, I + stacc. 29/10 ... + slur over bar t31./9,2 + accent 3r/2,1...... + f t32/3, I + accent 39/t,1...... + p r32/3,2 + accent 40/3, L...... + cresc.(?) T32/4,I + accent 44/5,3 ...... + flar 132/8,r + accent 46/6,1...... + f 133/4,r + accent 66/2,1...... + ffi L33/7,4 +ff 78/1,-4 . continue slur 92/6,1...... * marcato Double Bass 94/2,1...... s/r pp 97/7, L ...... * accent 2/2,3-4 + cresc. sign 97/8,1 ...... * accent 26/4-s continue tie 99/r, L...... + ff 28/r...... s/r pp ll5/3, L...... + cresc. 63/7, 3 ...... + accent I22/7-8,1 ...... * accent 64/2,1 ...... bottom: * accent 122 / L4,1 ...... * accent 66/2, 1 ...... +ffi L23/ l, 3 ...... * accent 78/1,, 1 ...... + e.n.rest 123/2, 3 ...... + accent. 80/7,1 ...... + e.n.rest Bz:/B:,3-4...... s/r B, _c#,D#,8 85/ 1,,L ...... +p 133/8,1 ...... sfr A* 89/'1,, 1 ...... + Qrco 9t/ r, 1 ...... +p Cello r04/8 s/r h.n.,then q.n. rje/2 s/r wh. n. 1,5/1,2...... + stacc.16th note tt5/3, 1 ...... + cresc.(?) 22/2-4,1 ...... + flar to trill 1t5/5, 1 ...... +f 23/6,1...... + flat ro rrill 1.16/ t2, 4 ...... +p 24/1,1 ...... + flar to trill t23/ t, 4 ...... + stacc. 24/4,4...... + flat to trill r23/2, 4 ...... + stacc. 30/2,L...... bottom note s/r G t23/L2,1...... + accent 31/L,1...... + espress. L3t/8, 1 ...... +ff(?) 3l/2,1,-2 ...... + slur r3r/8, 1 ...... + accent 31, 2...... /2, + p morendo r3r/8, 3 ...... + accen[ 31,/3,1...... - dim. 132/4, 1 ...... + accent 32/4,1...... + con sord. andp t32/8,1 ...... + accent 37/5,1 ...... + f r33/ 4,1 ...... + accent 37'/1,3 s7i Cb r33/8, 1 ...... +ff 4A/3,1...... + uesc. 46/6,1...... + f Piccolo 50/9,L ...... + tenuto 63/7,3...... * accent 36/6, 3 ...... + flattoB 65/1,,3 ...... + accent 38/3,1 ...... - accent 65/2, 2...... + accent 38/5,1 ...... - accent 65/9, 2 ...... + ffi 46/3,1 ...... + cresc. 66/2,1...... + fff 48/r,1 ...... + flattoA 83/3,4...... + q.n. rest 4e/1 ...... + slur over all notes 83/4,4...... + q.n. rest 52/8,2 ...... + flattoA 85/L,1...... + p 66/2 + trill 90/6,4...... + q.n. rest 72/1,5,'1,-2 + stacc.to all notes 90/I0,1 ...... + stacc. 90/3,3...... + stacc. 9L/1,,1...... + p 9318-r0,3 + SIACC. 102/2, 1 ...... * accent 93/ 12,3 ...... + stacc. I02/3,1 ...... + accent 94/7,2 ...... + stacc. I04/7,1 ...... * accent q5/5 ) + stacc. 4l reh.#/bar. beat. . .actionneeded reh.#/bar. beat. . .action needed

98/ L3,3 ...... * accent 93/8-9,3 + stacc. 102/3,1...... - accent 93/12,3 ...... *accent 108/ 12,1- ...... + stacc. l0'4/8',3 ...... + accent, note is Cb 120/10-[ + cresc. sign 120/10-11 +cresc. sign I20/Il-12 + bar line 120/12 + decresc.sign 120/12 .+ dim.sign I22/ ll, 3 ...... * accent I2I/10, 2 ...... + stacc. 122/13,1 ...... * accent 126:ft,3...... Lstnote is A# 126/3,1 ...... * accent 123/7,2-4...... + stacc. to all e.n. r28/7,2-4...... + stacc.to all e.n. r29/ 4,4 ...... + / and cresc. sign Flute L t29/5, 1 ...... + stacc. t30/ 1,,1 ...... + stacc. 24/ L,4 ...... s / r dottede.n. t30/ 5,1 ...... + stacc. 25/3, 2...... + ppp r3r/t, 1 ...... + stacc. 37/8,3...... + stacc. r3T/8,4 ...... + accent,- stacc. 5l /2, 3 ...... - accent t32/5, L ...... + stacc. 5l/7,1 ...... - note, + rest t33/ t, 1 ...... + stacc. 6L/7,1...... + f f68/4 ...s/r D nat. Oboe 1 l6/7, 2...... + tenuto 77112,1 ...... + p t/3,5 + flattoB 87/3, 4 ...... + stacc. 46/3, 1 ...... + cresc. 90/3,3...... + stacc. 66/2, 1 ...... + ff(?) 9318,3 ...... + stacc. 93/1.t, 1.-4 ...... + stacc. 9319,3 ...... + stacc. 100/t4,3...... s/r C 94/7,2 ...... + stncc. I22/ 11,,3 ...... * accent 98I 15,1 ...... - accent r22/15,L ...... * accent I02/4, 3 ...... s/r C nat. r23/ t, 3 ...... + accent 1,04/8, 3 ...... 2nd notes/r CD t23/3, 1 ...... * accent I04/I0, 1 ...... + accent t23/4, 2 ...... + accent I05/ 4, 1 ...... * acqent r23/ 4,4 ...... * accent I07/2,1 ...... s/r Eo r23/5, 2 ...... + accent 107/4,4...... + stacc. r23/ 5,4 ...... + accent I07/5,3...... + stacc. t23/ 6,2 ...... - accent II7 /4,4...... + stacc. L23/7, 1 ...... + accent lI7 /11,4 ...... + stacc. L23/7, 3 ...... + accent 120/9,L...... + accent t23/t2,3...... +f(?) I20/I0-ll + cresc.sign r24/ L,1 ...... - accent I20/L2 .+ decresc.sign 126/2, 1 ...... + accent 122/ 15,1 ...... + accent 126/2,2 ...... + accent I23/1, 3 ...... + accent 126/2, 3 ...... + stacc. I23/ I1,,3 ...... * accent 126/3,3-4...... + stacc.to all e.n. 127/2,3...... + stlcc. r28/7, 3 ...... - slur, + stacc. I21/4,1 ...... + accent r28/7, 3 ...... 2nd note sf r Anat., 4th note s/r F# I28/ 5, 3 ...... + accent r30/ 5,1 "...... + stacc. 123/7 ...+ stacc.to all e.n. t3r/t, 1 ...... + stacc. 130/8 ... + f andcresc. sign, as in 130/4 t32/5, 1 ...... + st%cc. I3l /8,,2 ...... * accent t32/5, 4 ...... + stacc.(?) r31.I 8, 4 ...... + accenr L33/ 1., 1 ...... + stacc. I3317, 1 ...... - accent 133/7, 4 ...... +ff(?) I3417, 4 ...... * accent r34/rr-r2 * accents

Flute 2 Oboe2

2/3,3 ...+ accent M/3,1 ...... + cresc. 1313,1...... + pp (?) 60/ 4,3 ...... * accent 2612,1...... + trill 60/9, 1 ...... + accent 26/5,1...... + flat to trill 66/2, 1 ...... +ff(?) 61.11,1...... + ff 931tL,1-4...... + st^cc.to q.n. 65/9,1 ...... s/r A nat. 93/ 12,3 ...... f accent 90/3, 3 ...... + stacc. rzt/9, 2 ...... +ff 48 reh.#/bar. beat. . .actionneeded reh.#/bar, beat. . .actionneeded

I22/ ll, 3 ...... * accent fiS/5,1 ...... + stacc. 122/ 14,1 ...... + accent LI8/5,2 ...... + stacc. I22/ 16,2 ...... * accent II8/6,2 ...... + stacc. L23/ L, 1 ...... + stacc. TI8/8,2 ...... + stacc. 123/ l, 3 ...... + accent 120/2,1 ...... + stacc. I23/3, 1 ...... + stncc. 122/II, L ...... + accent r23/L2,3...... +tr Q) I22/II,3 ...... * accent 126/2,L...... + accent 122/13,1 ...... * accent I27/5,4...... + stacc. 122/L5,4 ...... * accent I28/ 4, 2 ...... + stacc. 123/1,1 ...... + stacc. (?) I29/5,3...... + stacc. I23/3,1 ...... + stacc. (?) L29/5, 4 ...... * stacc. I23/6,2 ...... + stacc. I30/5, 1 ...... + stacc. 124/2,1 ...... *accent l3'1,/1,L + ...... stacc. l2l /4,1 ...... * accsnt 131,/7, 2 ...... * accent I21/4,4 ...... + stacc. l3l/8, 2 ...... + accent l?3/1, L ...... *accent I32/ l, 1 ...... * accent I?3/2,1 ...... +accent I32/5, L ...... + stacc. 128/5,3 ...... *accent I32/5,4...... + stacc. I?3/6,1 ...... +accent 133/1,,1...... + stacc. l?3/7,2-4 ...... + stacc. 133/7, 4 ...... + ff (?) I29/4,4 ...... + cresc. L29/5,1 ...... + stacc. English Horn I30/5,1 ...... + stacc. l3I/1,1 ...... ,...... + stacc. 65/12-13 + tie l3l/6-8,2 ...... + accent 66/2,L...... + ff L3I/6-8/ 3 ...... + stacc. 66/7,1...... + flat to trill I3l/6-8/ 4 ...... + stacc. 66/r4-L5 + tie (?) 132/5,L ...... + stacc. 127/4, L ...... + accent I32/5,4 ...... + stacc. 123/6,4...... + f andcresc. sign 133/1,1 ...... + stacc. L29/5, 1 ...... + stacc. I33/I,4 ...... + stacc. I30/8, L-4 ...... + cresc. sign 133/7,4 ...... + ff (?) l3l /2, 1 ...... - accent - I3L/ 5, L ...... accent Clarinet 2 I3l/8, 2 ...... + accent I32/5,4 ...... + stacc. 13/2-3 + tie r33/7,4...... + tr Q) L9/3,2 ...... + cresc. 2I/4,1 ...... + f Clarinet 1 2I/7,1 ...... + p ?3/1,1 ...... + pp 2/3,1. ...+ ff and cresc.sign 35/3,1 ...... + accent 13/2-3 . + tie 46/3,1 ...... + cresc. 18/I, L-3 ...... + dim. sign 6l/7,1 ...... ".....+ accent 2r/4,1...... + f 65/7, t-3 + trill (?) 2I/4, 4 ...... + dim. sign 66/2,1 ...... + ff 2117,1...... + p 6617,1...... + flat to trill ?3 1, 1 ...... s/rJp / '/n 90/3,3 ...... + stacc. 33/2...... * meter 90/4,1 ...... + stacc. 36/5-6 .- slur- 93/9,3 ...... + stacc. 54/11,,1 ...... + dim. 95/5,2 ...... + stacc. 6l/7, 1 ...... + accent 102/6,1 ...... - accent 66/2,1...... + ff ll8/5,2 ...... + stacc. 66/7,1...... + flat to trill 122/11,1 ...... + accent 69/1-3 .- long slur 122/II,3 ...... * accent 88/6, 3 ...... + stacc. I22/13,1 ...... + accent 9013,3...... + stacc. 122/15,4...... + accent 90/ 4,,1 ...... + stacc. I23/I,1 ...... + stacc. 93/9,3...... + stacc. 723/2,1 ...... + stacc. 94/4, 4 ...... + stctcc. 123/3,1 ...... + stacc. - I02/ 6, 1 ...... accent 123/6,2 ...... + stacc. I04/8,3 ...... * accent 1.2412,1...... + accent 49 reh.#/bar. beat. . .actionneeded reh.#/bar. beat. . .actionneeded

126/ l, 3 ...... + stacc. t3t/8,2 + accent L26/2, 3 ...... + stacc. l3t/8,3 + stacc. I27/4,4...... + stacc. t32/t, I + stacc. I28/ L, 1 ...... "...... * accent t32/5, I + stacc. L?3/1,2 + t32/5,4 + SIACC...... stacc. '1, I?3/2, 1 ...... * accent l33lL, + stacc. I?3/3, 2 ...... + stacc. t33lt,4 + stacc. 128/7,2-4...... + stacc. t33/7,,4 ...... +ff(?) 129/5, 1 ...... + stacc. t33/8,I + stacc. I30/5, 1 ...... + stacc. 131,/1,1 ...... + stocc. Bass Clarinet 131,/ 6, 2 ...... + accent I3l/7, 2...... + accent 13/2-3 - tie 131,/ 8, 2 ...... + accent 13/3,, 3 ...... + dim. I3l./6,3-4 ...... + stacc. 19/9, 1 ...... s/r pp l3l/8,3-4 ...... + stacc. 28/t, 1 ...... s/r pp L32/5,1 ...... + stacc. 2813-4 + decresc.sisn 132/5,4...... + stacc. 4617,1 ...... s/r G# I33/1, 1 ...... + stacc. 45/9, 1 ...... * accent I33/L, 4 ...... + stncc. 50/10, 1 ...... + tenuto 133/7,4 ...... + f andcresc. 50/11,, 2 ...... s/r C# I33/8, 1...... + stacc 55/4, L ...... + stacc. 56/ t5, 1 ...... * accent Clarinet 3/Piccolo Clarinet 5816, 1,...... * accent 5917, 4 ...... * accent I2/3...... + trill to eachnote 66/2, 1 ...... +ff 12/3,1...... + sharp 105/5,t-3 - accents 12/3,2...... + f r05/ 1,1,1 ...... +p t2/3,5...... + f t23/ 1.,1 ...... + accent(?) 12/5,1...... + flatto trill (?) t23/ 1.,2 ...... + accent(?) 12/5,2...... -flat from trill (?) r33/8, 1 ...... +ff 12/5,3...... + flat to trill (?) 13/I, L ...... + dim. Bassoon1 1912,4 ...... + tenuto to 16thnote 34/L,1 ...... + "solo" t/5,4 * accents 46/3,1-...... + cresc. t9/7,1 ...... + dim. - 65/9-11,1...... + trill (?) 56 I 5-6.. !..! i...... r r.. r accents,+ tenuto 65/L2-14,1...... + trill (?) + bar line after 3rd beat 66/2,1...... + ff (?) 5619,1 ...... + cresc. sign 66/12-15 + tie (?) 59/r,1...... + accents 76/r,1...... + p 59/2,1...... + accents 123/1,L ...... + stacc.,- accent 62/8, 1 ...... + accent I23/ l, 3 ...... + accent 65/8, 1 ...... + accent 123/3,L...... + stacc. 65/9, 2 ...... +fff 123/6, 2 ...... + accent 66/2,1 ...... +ff(?) 123/ 6, 3 ...... + accent 9012,2...... + accent 123/1,1...... + accent 9013,3...... + stacc. 123/7,3...... + accent 9318,3...... + accent I24/1, 1 ...... + accent 95/6,1...... + accent(?) - I24/ l, 3 ...... stacc. 99/2,3 ...... 2nd note s/r G 126/2,L...... + accent 9914,3 ...... 2nd note slr G 126/3,1...... + accent and triplet r03/ 1,1 ...... +ffi 127/4,4...... + stncc. 1r5/8, 1 ...... * accent I27/5,4...... + stacc. tt8l6,3-4 ...... + stacc. I?3/ l, 1 ...... + accent tr8l1,1 ...... + accent I29/5, 1 ...... + stacc. rt9ll, 1 ...... + accent 130/4,2...... + nat. sign to G r2218, 3 ...... * accents I30/5, 1 ...... + stacc. t22/9, 3 ...... + accents I3l/1,1 ...... + stacc. 122113,3...... + accents l3l/5, 1 ...... + cresc. 123/ 6, 1 ...... + accent t3t/7,4...... + ff r2311, 3 ...... + accent 50 reh.#/bar. beat. . .actionneeded reh.#/bar. beat. . .action needed

I23/9, 1 ...... + accent Horn 1 130/ 4, 1 ...... + accent 130/8, 1 ...... * accent 13/4,1 ...... + accent 133/8,1...... + ff 28/8,l-4 ...... + uesc.sign 23/8,5-6 + dim. sifi, Bassoon 2 29/1.,1...... s/rppp 3l/2,4 ...... + pp 6/4,3 ... + cresc. 66/2,1...... +tr Q) 7/1...... + / 66/L0,L ...... + accent 59/3, 2...... + ff 92/I,1 ...... + stacc. 62/8, 1 ...... + accent 98/3,1 ...... * accent 63/9, 5 ...... + accent I04/1, L ...... + cresc.sign and accent 64/3, 3 ...... * accent 11,5/3,1&3 ...... + stacc. 6!/.9,1 ...... + accent (?) Il5/4,1 ...... + stacc. 65/2, 2...... + accent lI5/4,3 ...... + stacc. 66/2,1...... + tr Q) fiS/5,1 ...... sfr mf, + stacc. 90/2, 2 ...... + accent IT5/5,3 ...... + stacc. 90/3,3 ...... + stocc. 122/7,1 ...... * accent 92/5, 1 ...... + stacc. 122/9,L ...... + accent 92/5, 3...... * stacc. 123/3,3 ...... + f 92/6,1 ...... + .... stacc. I23/7,3 ...... + f 92/6,3...... + stacc. 130/1,1 ...... + stacc. 93/9-1,1,3...... + stacc. 130/2,1 ...... * accents 95/6,1...... * accent 130/3,1 ...... * accents 99/2, 3 ...... Zndnote s/r G 130/4,1 ...... + accents 99/4,3...... 2nd note s/r G 130/8,1 ...... * accents 100/4,1 ...... * accent 132/4,L ...... * accents Il5 /5, 1 ...... + stacc. 132/8,L ...... + accents lI8/6,3-4 ...... + stacc. 132/8,I-4 ...... + cresc.sign LIg/ l, 1 ...... * accent 133/4,1 ...... + accent 123/6, 1 ...... * accents I34/6,1 ...... + accent L23/ 6, 3 ...... + accents 130/ 4, 1 ...... * accents Horn 2 130/8, 1 ...... + accents I32/2, 3 ...... * accent 2/2-3 ... double Hn t L32/4, 1 ...... + accents 38/I-2 + bar line I32/8, 1 ...... * accents 58/1,,1...... * accent I33 4, 1 / ...... + accent 66/2,1...... + ff 133/8,L...... + ff 66/I0,1 ...... + accent 99/6,1 ...... + accent Contrabassoon L04/I,1 ...... * accent t05/3,2 ...... - dim. l/4,1, ...-tr II5/3-5,1 ...... + stacc. 57/9,1 ...... + accent lI5/3-5,3 + stacc. 58/ 1,,1 ...... * accents I22/9,1 ...... + accent 58/ 1.,3 ...... * accents 122/I0,1 ...... + accent 58/2,L...... * accents t23/3,3 ...... + f 58/2, 3 ...... + accents 123/6,1 ...... * accent 65/8,1...... + accent I25/2,2 ...... + stacc. 66/2,L...... + ff (?) I25/2,4 ...... + stacc. 86/1.,L ...... + stacc. 125/5,4 ...... * stacc. 105/fl, I...... + p 125/5,6 ...... + stacc. I23/l, L...... * accent l?3/1,4 ...... + stacc. 132/2,1, ...... + accents I30/1,1 ...... + stacc. (?) I32/2, 2 ...... * accents L30/5-6 + bar line I32/ 6, 1 ...... * accents 130/2-4,1...... * accents I32/6, 2 ...... * accents I30/8,1 ...... * accents I32/ 4, 1 ...... + accents 132/4,1 ...... * accents 132/8, 1 ...... * accents 132/8,1 ...... + accents 133/4,L...... + accent 134/3,1 ...... + accents I33/8,1 ...... + ff 134/8,1 ...... * accents 51 reh.#/bar. beat. . .action needed reh.#/bar, beat. . .actionneeded

Horn 3 Trumpet 2

L3/2,3...... + dim. 16/3, 3 ...... s/r dotted e.n. 19/7,1" ...... + dim. 49/ 5,3 ...... + accents 38/5, L...... + accent 49/6, 3 ...... + accents 49/3,1 ...... + accent 60/9,1 ...... + accent 58/1,L...... * accent 66/2, 1 ...... +ff(?) 59/5, L ...... + cresc. 104/1,,1 ...... * accent 65/1, 1 ...... + accent t04/t4,2 + sharp 66/2,1...... + accent r05/3, L-3 * accents 99/4, 1...... + accent t33/8, 1 ...... + stacc.(?) 102/9,1...... + ff 104/1,1...... + espress.and accent Trumpet 3 130/2-4,1...... * accents 130/ 4, 1 ...... * accents 60/7,r-3 * accentsto all notes I30/8, 1 ...... * accents 63/t0,l-2 + cresc. sign L3l/8, 2 ...... + accent 63/t0, 3 ...... * accent 132/2, 1 ...... + accents 66/2,1 ...... +trQ) 132/ 4, 1 ...... * accents I32/8, 1 ...... * accents Trombone I I33/1,4...... + ff 47/7, t-3 * accentsto all notes Horn 4 66/2, 1 ...... +ff(?) r04/1,,I + accent(?) 2/2-3 ...double Hn 3 132/4,I * accent 13/3,3-4 ...... + cresc. sign 132/8,r * accent 58/1,1 ...... + accent r32/5,4 +ff(?) 66/2,1...... + ff 133/1.,4 +trQ) 102/9,1...... + ff r33/8,2 * accent 103/L,1...... + ff I04/ 1,,1 ...... + accent Trombone2 104/ 14,1 ...... + accents 104/14,2...... * accents 47/1, t-3 * accentsto all notes 122/3,1...... * accent 65/2, 2 ...... +f I23/3, 3 ...... * accents 66/2, 1 ...... + ff(?) I23/3, 4 ...... * accents 66/ t2,,L ...... + accents 123/ 6, 1 ...... * accent 66/t3, 1 ...... + accents 130/1,L ...... + stacc. t04/t, 1 ...... * accent 130/2-4, L ...... * accents r05/\ 1.-3 * accents 130/8, 1 ...... * accents t30/t, 1 ...... + stacc. 132/2, 1 ...... + accents r32/ 4,1 ...... + accents 132/4,1 ...... + accents 132/8,1 ...... * accents 132/8,1 ...... * accents t32/5, 4 ...... +ff(?) r32/5,4...... + ff (?) 133/ t, 4 ...... +ff(?) 133/1,1...... + ff (?) t33/8, 2 ...... + accent Trumpet 1 Trombone3

3/4,4 ...+ dim. 12/4-9 .-dim.pocoapoco 4716, 1 ...... + ff T3/1,1 ...... + dim. 6012, L ...... * accents 63/8,1 ...... * accent 60/8,1 ...... * accents 64/4,1 ...... + accent 6l/I, 1...... * accents 66/2,1...... +tr Q) 6l/2, 1 ...... * accents 1041'1,1 ...... + accpnt(?) 63/I0, 3 ...... + accent 105/2,2...... sfr En 66/2,1...... + ff (?) I05/9,1 ...... + pp 92/7,4...... + accent (?) I30/1,,1...... + stacc. (?) 1041L,1...... * accent, espress., and cresc. sign I32/4,1 ...... * accents 116I10,L...... + dim. I32/8,1 ...... + accents I3313, 1 ...... + accent 133/4,1 ...... + accent 13318, 1 ...... + stacc. (?) 133/8,1...... + ff 52 reh.#/bar, beat. . .actionneeded reh.#/bar. beat.. .actionneeded

134/ 5, 1 ...... + accents Bass Drum I34/ 6, 1 ...... + accents 66/I,1 ...... s/r ff Tuba I3a/\ 1 ...... +f

63/6, 1...... + accents Military Drum/Triangle 63/8, 1...... + accents 64/6,3...... + accent 47/I,2-3 - decresc.sign 66/2,1...... +ff (?) l0?/.?-4,1 ...... + accents(?) 66/8,1...... + accent 103/8-11,1 ...... + accents(?) 100/1,1 ...... + accent 134/6,1 ...... - accent 104/1,1 ...... + accent I05/5, 1 ...... + dim. Tam-Tam T25/2,3...... + stacc. L?0/.L,1 ...... + stacc.(?) 26/10 . - ppp 132/8, 1 ...... + accenr 133/ 4, 1 ...... + accent Xylophone I33/8, 1...... + ff 65/9,1 ...... - tremolo Timpani

27/L,1 ...... - trillo Harp 66/9, 1 ...... + cresc. 81,7, 1...... + / ... coperti 23/t,1 ...... s/r 8r/9, 1...... f ...+ p 26/5,1 ...... _ p 103/.2-4,1...... + accents (?) 47/LI,1 ...... L.H.: - trebleclef I03/8-II,1 ...... + accents(?)

Cymbal *****t<****** 134/5,1 ...... * accent Dr. Glenn Block is the Director Tambourine of Orchestras at lllinois state university and Music Director of I34/6,1 - ...... accent the Youth Symphony of Kansas City (KS).

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53 Arts Medicine Centers ResourceList

Theseclinics and individualsprovide artsmedi- Dr. BarbaraPollack, Clinical Psychologist cine information and services. This list was 1945I\y Street compiled with the help of the Centerfor Safety Denver,co 80220 in the Arts and the Intemational Afts Medicine 303/32r-6Dr Association (AMA). Illinois *********t! Medical Program for Performing Artists California Attn: Alice Brandfonbrenner The RehabilitationInstitute of Chicago SoutheruCalifornia Arts MedicineProgram 345East Superior Street, Room l'129 3413West Pacihc Avenue, Suite 204 Chicago,IL 60611 Burbank,CA 91505 312I908-ARTS(2787) 8r8/953-4430 Division of Performing Arts Medicine The ChiropracticR€source Center EvanbrookOrthopedic and SportsMedicine Assoc. Ltd. Attn: Bary Carlin 1.144Wilmette Avenue 1.453Eleventh Street Wilmette,IL 60091 SantaMonica, CA 902101 708/853-9'100 3L0/393-8286 Indiana Performing Artists Health Program Attn: Peter Ostwald Performing Arts Medicin€ Program SanFralcisco Medical Center, University of California IndianaUniversity School of Medicine 400Parnassus Avenue, 5th Floor 541Clinical Drive SanFrancisco, CA 94143 Indianapolis, IN u16202 4L5/476-765 3r7/274-4225

Performing Arts Medicine Program Kentucky GlendaleAdventist Medical Center 1509Wilson Terrace Arts'in'Medicine Program Glendale,CA 912)6 The GenesisCenter, Department of Psychiatry 313/,109-8076 Universityof LouisvilleSchool of Medicine Louisville, KY 40292 Colorado 502/588-7353

HealthSciences Center Massachus€tts Attn: Stuart Schneck Universityof Colorado Musical MedicineClinic NeurologyDept/Box B 1.83 MassGeneral Hospital 4200East 9 Avenus 1 Hawthorne Place,Suite 105 Denver,CO 80262 Boston,MA 02114 3$/n0-7566 611/726-8657 5L Performing Arts Clinic performing Arts program Brighamand Women's Hospital JewishHospital 45 Francis Street 216 South Kingshighway,3rd Floor KB Boston,MA 02115 St. Louis,MO 63110 6r7/732-s771 3L4/454_STAR(7827)

Manland North Carolina

Performing Arts Medicine Program Arts Medicine program BennettInstitute for SportsMedicine & Rehabilitation Duke University Children'sHospital Cdtural ServicesMedical Center 3835Greenspring Avenue Box 3017 Baltimore, MD 2]^2ll-1398 Durham, NC 27710 410/69-mr5 gLs/684_2027

National Arts Medicine Center BowmanGray School of Medicine NRH RehabilitationCenter attn: David Goode 3 BethesdaMetro Center,Suite 950 MedicalCentre Boulevard Bethesda,MD 212ll-5356 Winston-Salem,NC 27157-1087 30r/654-9160 919/716_2011

Michiqan Newyork

Arts Health Interlock Center for Safety in th€ Arts WayneState University Attn: AngelaBabin UniversityHealth Center 5 BeekmanStreet, Suite 1030 4201St. Antoine, Suite4J Newyork, Ny 1003g Detroit, MI 313/ 543-44L0 NeurologicalConsultants of Central Newyork Arts Medicine p.O. Box 505 MedicalRehabilitation 5730Commons park 355Briarwood Circle Drive Dewitt, Ny 13214

313/998-7899 Mill€r H€alth Care Institute for performingArtists Minnesota St. Lukes/RooseveltHospital 425West 59th Street, Suite 64 Instrum€ntalArtists Hotline New york, Ny 10019 SisterKenney Institute Ztz/5n-6m0 800East 28th Street Minneapolis,MN 55,107 HarknessCenter for DanceInjuries 6L2/863-4481 Hospitalfor Joint Diseases 301East 17th Street Missouri New york, Ny 10003 2r2/598-6022 SimonHorrnstein 3655Vista Avenue C€nterfor OsteopathicMedicine St. Louis,MO 63110 4l East42nd Street, #200 3L4/776-8100 New york, Ny 10017 212/685-8113

55 Institute of Rehabilitative Medicine Philadelphia, PA 19104 New University, School of Medicine 21'5/525-3784 400 East 34th Street New York, NY 10016 Arts Medicine Center ZLZ/263-6105 Thomas Jefferson University Hospital lLth and Walnut Streets Performing Arts Center for Health Philadelphia, PA 19101 Mental Hygiene Clinic 2L51955-8300 Bellevue Hospital 400 East 30th Street Pennsylvania Pain Rehab Center New York. NY 10016 Bailiwick #!2 212/561-N73 Routes 3L3 and 6L1 Bypass Doylestown, PA L890L Performing Arts Health Network 21.5/348-5104 Radio City Station,P.O. Box 566 New York, NY 10101-0566 Medical Center for Performing Artists 2I2l2M-0557; Fax 2121399-3009 Suburban General Hospital 2705DeKalb Pike. Suite 105 Performing Arts Physical Therapy Norristown, PA I94OL Zl2lBroadway, #201. 215/279-1060 New York, NY 10023 212/769-1423 South Carolina

Blythedale Children's Hospital The Vitality Center Attn: Vasoma Challenor St. Francis Hospital Department of RehabilitativeMedicine L St. Francis Drive Valhalla, NY 10595 Greenville, SC 29601' 914/592-7555 803/25s-r843

Ohio Tennessee Center for Orthopedic Care 2123 Auburn Avenue, Suite 235 VanderbiltVoice Center Cincinnati, OH 45219 L50021"st Avenue South, #2700 5r3l65r-0094 Nashville,Tlli' 37212-3102 6rs 1343-SING(7467) ClevelandClinic Foundation Performing Artists Medical Center 9500 Euclid Avenue Texas Cleveland, OH 44195 216/44-5545 AustinRegional Clinic L301Wesr 38rh St., Suite 401 Clinic for the Performing Arts Austin,TX 78705 2651 Highland Avenue 5r21458-4276 Cincinnati, OH 45219 5r3128r-3224 SportsArts Center TIRR Institutefor Rehabilitationand Research Pennsylvania 1-333Moursand Avenue Houston,TX 71030-3N5 International Arts-Medicine Association 7131799-5000 3600Market Street 1-800-44REHAB 56 Washington Hamilton, ON L9C 7N4 416/574-5444 Clinic for Performing Artists PhysicalMedicine & Rehabilitation Section International Virginia Mason Medical Center 1100Ninth Avenue, p.O. Box 900 ISSTIP/London Coilegeof Music Seattle,WA 98111 Performing Arts Clinic 206/223-6600 London College of Music Greater Marlborough Street Canada London, England W1V

center for Human performance promotion and Heatth Music Medicine Clinic Sir William Osler Health Institute The Conservatory of Bari 565 Sanitorium Road Bari, Italy

Books in Review

Max Rudolf, The Grammar of Conducting: A only, or that Maestro Rudolf would not prove comprehensive Guide to Baton Technique and equalto the task,can be immediatelylaid to rest. Interpretation,3rd edition (New york: schirmer In a word, the Grammar'sthird edition is a winner. Books, 1993),496 pp.,500+ musical examples, For conductorsit is clearly one of the most signifi- drawings,indices, $40.00, ISBN: 0_02_TTZZZI_3 cant publishingevents of the decade. Prior to Rudolf s Grammer, Hermann Since its publication in 1950,Max Rudolfs scherch en'sHandbook of Conducting (1929) and The Grammar of Conducting has been widely sir Adrian Boult's Handbook (rgzr) were per- regarded as the ranking text on the subject, the hapsthe most important twentieth-centurybooks standardagainst which all subsequentconducting on conducting. Since Rudolfls first edition, textbookswere measured. The secondedition, Benjamin Grosbayne's Techniques of Modern which appearedthirty years later (19g0), was a orchestral Conducting (1973) and Frederick major revision of Rudolfs initial effort, greatly Prausnitz' score and podium (19g3) have com- expandedin scope and usefulness. News that manded respect. of the many conductingtexts schirmerwas planning a third editionwas greeted designedfor the college textbook market, Eliza- with equal parts of pleasure and amazement: beth Green's The Modern Conductor, now in pleasure that an already standard-settingbook its fourth edition (1987), continues to be one would receive,the publisherpromised, a careful of the best. Brock McElheran's conducting and thorough updating; and amazement that Techniquesis also of interest, though it lacks Rudolf, who recently celebratedhis ninety-first the comprehensivnessof the previously men- birthday,still possessedthe desireancl energy to tioned books. But, in the opinion of many (the undertake such a challengingproject. Any fears present writer included), Rudolf s Grammar of that the revisionswould be of a cosmeticnature Conducting,now graced with the subtitle. A 5l Comprehensive Guide to Baton Technique and wieldy and negative one. It is also gratifying to Interpretation, has towered over them all. note that almost all gender-relatedreferences in A significantfunction of the Grammar's third the text have been removed, starting with the edition is that it embracescontemporary conduct- opening sentenceof the Introduction. (The sec- "The ingpracticesevenas itpreserves our linkto the so- ond edition reads: conductor . . . must be called Golden Age of conducting. Rudolf is one able to convey his intentions to his players by "The of the last European-trained masterswhose craft meansof gestures;"the third edition reads: waspart of a legacybegun by Wagner and passed conductor . . must be able to convey musical on through Bi.ilow to Nikisch, Weingartner, intentions to players by means of gestures.") Strauss,Mahler, Walter, Szell, and many others Although one can find an occasional sentence in that extraordinary generation of conductors. where the masculinebias is retained(e.g.,p.427), Rudolfs thoughtful descriptions of the motions most instancesof patriarchal prose have been of conducting, along with carefully drawn dia- rewritten. This thoughtful detail is not simply grams of the basic beat patterns (prepared in an attempt to conform to political correctness. consultationwith Szell), help to codify, preserve, We have all learned -- or should have, by now -- and extend to future generations that great tra- that strength and authority have nothing to do dition. A thorough knowledge of the standard with gender. No matter how subliminal, every body of gestural language as developed and gender-basedhindrance to a woman's success refined by the great conductors is essentialfor as a conductor, assuming she has all the re- eachof us, regardlessof one'spersonal conduct- quisite talents of musicianship and personality, ing style. Thus, the importance of the Janus- must be removed. like aspect of Rudolfs book -- putting forth an While most of the material of the second important visual language that simultaneously edition hasbeen retainedin the third. Rudolf not draws from the past and looks to the future -- infrequently effects changes of wording or em- cannotbe underestimated. phasis,evidencing a refining and updating of his The third edition has been revisedin several thoughts. For example,in the secondedition we "One important ways. The presentationof somemate- find: would not use 1-beat for the 4th rial has been reordered. and now follows a movement of Beethoven's First Symphony,al- more pedagogically progressive arrangement. thoughthe metronome refersto the whole bar as The contents are divided into four major parts: the rhythmic unit." (p. 2a7) In the new edition (I) BasicTechniques;(II) Applications;(III) Exe- Rudolf makesthe samepoint by referring to the cution and Performance;and (IV) Interpretation Eighth insteadof the First, and he shareswith us and Style. Additionally, the text has been ex- some of his recent research regarding panded to include the results of scholarly Beethoven'smetronome markings,writing, research of the past decade, not the least of which is Rudolfs own series of articlespub- One would not use 1-beat for the 4th lished in this journal. movement of Beethoven's Eighth Sy-- A significantrefinement occursin the area of phony,although the metronome refersto terminology. What was previously referred to as the whole bar as the rhythmic unit "Non-Espressivo the Pattern" is now labeled, (Beethovenmarked it (o = 84,because "Neutral-Legato much more felicitously, the his metronomedid not provide a notchfor Pattern," thus a more accurate description has a pulsebeyond 150).(p. 129) replaced what previously was a somewhat un- 58 Sometimes, new thoughts are added. For ex- or classpianist's music "Use rack. It is handsomely ample, in the section of an extra beat" produced "starting and bound. Clearly, Schirmer has (in the chapter on after the count," sparedno expenseingiving this new edition its full p. 100)' the new edition adds an interesting and editorial support. The entire text hasbeen reset. helpful aside: the musical examples have been engraved, whether manually or by computer, and the layout Earlier in our century such extra beats of the text and examples is clear and easy to were hardly ever used. In fact, they were follow. Bravo! considered unprofessional, an expedient A particularly valuable addition appears as for amateur groups. In our days,how_ a new final chapter, in which Rudolf reminisces ever, even master conductors do not hesi- on his long and productive career as a conductor tate to make use of them [extra prepara_ and conductingpedagogue. It is alwaysinspiring tory beats] as a safety device to ensure to young conductors to sense how celebrated precise attacks. predecessorswent about the difficult task of building a career, and Rudotfs story is no ex- Another example: the second edition referred ception. It is also interesting to see the names to a twenty-minute change in pacing of parsifal "a of those from whom Rudolf learned, and to by famous conductor" at Bayreuth in the sensethe historical breadth of the legacy he is 1930s;the new edition namesthe name(p.360). passingon to us. A discussionof Weber, s Oberonoverture and It is an astonishingachievement to have cov_ its relation to the completeopera, togetherwith a ered, as Rudolf does in this book, the multitudi- thoughtful list of recommended reading, are nous aspectsof conducting-- musical,technical, someof the new entriesin the appendices, supple- artistic,theoretical, scholarly, physical, practical, menting what was already an invaluable treasure even psychological-- with such clarity and com_ store of practical advice. The new general index prehensiveness.To accomplishthis Rudolf has is a bit scanty, but considering the previous drawn from yearsof experienceas a major con- edition had no index at all, it is a decided im- ductor and eminent teacher,enriching the prose provement. (Both editions provide full indices with the keen insights of a fine mind and the of the musicalexamples.) elegant turns of phrase of an artful writer. The There are several interesting changesin the new edition retainsthe impeccableprofessional- editorial layout and format. All musical examples ism of its predecessorsand assuresthe rele- now give the measurenumbers from the scores vancy of this landmark study into the foresee- which they quote. And the musical examples able future. It is, quite simply , a necessary themselveshave an improved systemof number- acquisition for the library of every conductor ing, making it easier to find examplesreferenced who is seriousabout the art' in other parts of the text. Those who have used samuel Jones this text in the classroom,as I have, will readily appreciate the convenience of these changes,as Dr. Samuel lones is Professor of Composition well as a changein the overall dimensionsof the and conducting at the shepherd school of Music book. The new edition is approximately one inch at Rice University in Houston, Texas, and is a longer and wid er, a feature that allows it to lie past president of the Conductors, Guitd. openmore easilyon the studentconductor's stand *****x****

59 "orchesttal." Rich ard Ko shgar ian,Am erican Orc he s t r al M usic : whatever size as Works without A Perfoffnance Catalog (Metuchen, NJ & Lon- stringsthat frequently appear on orchestralpro- don: Scarecrow Press,,1992), 762 pp., 572.50, grams (suchas Copland' sFanfare for the Common ISBN: 0-8108-2632-1, Man) will not be found. The compiler handles a second problem -- "American" Sincethe large ASCAP and BMI catalogslast who is an composer -- flexibly, if appeared in the late 1970s, a void developed arbitrarily. He includes many composersborn in which has now more or lessbeen filled by a new other countrieswho spenta substantialamount of publication from Scarecrow-- a publisherthat can time in the United States: for example, Henry be counted upon to produce charmingly off-beat Brant, Ernst Krenek, Nicholas Slonimsky.Others music books such asthe recentMusicJor Threeor who are curiously absentinclude Erich Korngold More Pianists and The Keyed Bugle.' The new- and Kurt Weill, composerswho left their marks comer is Richard Koshgarian's bibliography, a on those two quintessentiallyAmerican institu- volume that is hefty in more ways than one: it tions, Hollywood and Broadway, respectively. weighs more than two pounds, costsmore than (Weill even became a United States citizen.) $70,and is a significantcontribution to the profes- Perhapsit was the contamination of the commer- sion. While the price may prevent it from occupy- cial that ruled them out, though of course both ing the bookshelvesof many struggling conduc- composedexcellent concert music aswell. "within tors, it is reassuringto know that it exists,and will The starting date for composersborn doubtlesssoon be found in the referencecollec- the last 100 years" is also not hard and fast. tions of most university or large city libraries. Although the copyright date onAmeican Orches- The work listsover 7,000orchestral pieces by tral Music is 1992,thebookwas conceivedin 1988 some 900 American composers,born within the and begun in earnest in 1989 as part of the last 100 years,more or less. Concertos,choral author's doctoral work at the University of Iowa. works,and vocal solosaccompanied by orchestra That would seem to put the earliest date for are included,as are piecesfor chamberorchestra composersincluded somewherebewteen 1888 and string orchestra. Operas,staged works, film and 1892. Actually, Koshgarian permits himself "unless scoresand ballets are not included, the to includecomposers born a fewyearsearlier than composerpersonally sanctioneda concert per- that -- a welcomeinclusiveness that will offendno formance of such a work." There are. however. one, even though one can question why he in- numerousoperatic arias listed. cludesl.ouis Gruenberg (born in 1884)and not Determining who and what should be in- Charles Tomlinson Griffes (born in the same cludedin sucha broad work is a taskfraught with year); why Wallingford Riegger and not Deems peril. Generally the bibliographer has a gut Taylor (both 1885). feelingof what to include,but then must develop Koshgarian'sreply is that he was motivated in criteria that fit the concept. Thus Koshgarian part, and especiallyin the earliestyears touched definedany work that involvesa stringsection of on, by a desire to include composerswhom he feels had been unjustly neglected. In fact, that very intention led him to draw the line after the 1 Readers of this journal will be alarmed by birth datesof suchparadigms of Americanism as Scarecrow'ssubversive 1988 title Conducting Gottschalk,MacDowell, Ivesand Ruggles.It is an Made Easy fo, Directors of Amateur Musical entirely reasonableposition, though perhaps it Organizations. would havebeen wiser to expressthis criterion in 60 the title or subtitle (suchas Ameican orchestral insidecorner of the page,where they are harder to Music:A PerformanceCatalogfor composers Born spot. since 1883).As it stands,a first-time usermay be Appendix A liststhe entire contents,classitied confoundednot to find Ives or MacDowell in a by duration (5' or less,6, to 10,,etc.), and subdi- book on Americanorchestral music. vided within each classificationby the size of the Another composerunaccountabry missing is orchestrarequired (large,medium, small,cham_ GeorgeGershwin, though he appearsto meetall ber orchestra,or string orchestra). Thus if one is the criteriagiven for inclusion.Richard Rodgers looking for, s&y, an American opener of five might alsohave been included; his slaughteron minutes or lessfor a chamber orchestraprogram, TenthAvenue andcarousel waltz are valid con- turn to p. 587 and -- voild! -- there are six candi- cert pieces.Koshgarian says he deliberately "small ex- dates. If you think the orchestra,,category cludedone of the most-performed of all Ameri- might also work, there are more like ninetv-six cancomposers: Leroy Anderson (a student,inter- possibilities. estinglyenough, of Enescuand piston). That Appendix B listsworks for various solo instru- shouldcause no alarmamong users, who probably ments with orchestra. where the number of will not be turningto thisbook for pops material. works is large (e.g. piano solos), Koshgarian The instrumentationis listed in a variant of subdivides them into useful smaller categories thecustomary formula understood by conductors. such as duration and sometimes even orchestra one potentialfor confusionis that the numbers size. For example, there are six piano concertos aren't separatedby spaces.Thus when symbols for medium orchestra that are more than thirty for auxiliary instruments are employed, the minutes long. All this subdividingis carried reader out in could easily misread Koshgarian,s a practical way "3*3 x2*3" "3 *3 *2 that is neither rigid nor pedantic. as x3.',Actually Koshgarian "3* The author clearlyunderstands what information intends 3* 2* 3" (i.e.he puts the symbolafter the program-builderneeds, and has constructed the number rather than in its more customary his book so that it can be found easily. A few positionbefore the number.) This is madeper- minutes spent leafing through these appendices fectly clear in the introduction,but still might will revealtheir logic better than my description. causea problemfor the casualuser who is accus- Koshgarian uses a similar organization for tomedto the morefamiliar method. Appendicesc (vocalsoloists, including narrator) Publishersare indicated by abbreviations, and and D (chorusesof varioustypes with orchestra). a key is given in Appendix E. Koshgarianhas As a bibliographer myself,I am well aware of includeda gooddeal of musicthat is unpublished, the enormity of the task Koshgarianundertook. and therefore Appendix F gives addresses of This is the sort of work that is never really com- about200 individual composers (including -- some, plete never perfect. The inclusionsand exclu- curiously,who do havepublishers). The listed sionsare alwaysgoing to trouble some and offend worksof eachcomposer are arranged chronologi- others. And of course,the moment sucha book is callywhere possible. This makesfor interesting offered for saleit is alreadyout of date. In spite browsing,but canbe annoying when searching for of all this, that Koshgarian has perseveredand a particulartitle amongthe worksof a prolific producedawork that fills a seriousgap is causefor composer-- Hovhaness,for instance,goes on for rejoicingand gratitude. eight-and-a-halfpages. Another minor irritation David Daniels is that the runningheads of composers'names (like the guidewords in a dictionary) are at the David Daniels is Music Director of the Wanen 61 the languages are: 1. International Phonetic Symphony and the Pontiac-Oakland Symphony Alphabet symbolsand Pronunciation; 2. Nouns, in Michigan, where he is also on the faculty of Pronouns and Prepositions;3. Verbs, Indicative Oakland University. He is currently at work on Mood, Prefixes and Summary (other verb forms a third edition of his Oncursrnnl Mustg also and verbs frequently encountered in musical published by Scarecrow Press. scores and vocal literature); 4. Adjectives and Adverbs; 5. Sentence Structure (prepositions, ********** conjunctions, and additional pronoun forms); 6. Word order in sentencestructure (interroga- Julie Yarbrough, Modent Languagesfor Musi- tive and relative pronouns); and 7. Additional cians(Stuyvesant, NY: PendragonPress, L993), Characteristics of Verbs (subjunctive and con- 499pp., $54.00, ISBN#: 0-945193-06-8 ditional moods). Of course, there are slight variations allowing for the idiosyncrasies of In the Foreword of Modern Languagesfor each language. Musicians,author Julie Yarbrough statesthat Also noteworthy are the exercisesat the end of the book is ". . . designedto make languages most sections. These include pronunciation, both practicaland applicablefor musiciansby alphabet, pitch names, opera titles, names of transformingthe symbolsand soundsof lan- musical instruments. cardinal and ordinal guagethrough relevant music terminology into numbers, times of day, daysof the week, months a functionalskill." Faithful to her description, of the year, and the seasons.In addition, nouns sheutilizes a comprehensiveapproach to basic in vocal literature, research questions,and sev- grammarin German,French, and Italian, with eral sets of translation exercisesare provided emphasison the benefit of theselanguages for for each language. musicians. Besidesits intended use as a classroomtext- Althoughthere is a completeexplanation of book, Modern Languages fo, Musicians will pronunciationfor each language,the thrust of serve as a fine one-volume reference book for the book emphasizesgrammatical structure with college teachers of basic foreign language a goal of reading and translatingmoderately grammar, and for those who teach vocal diction difficult texts. From this standpointthe book, in the classroomor private studio. It will assist which is really three manualsin one volume, in developing enough expertise to translate is encyclopedic. moderately difficult texts such as art song, IndeedGerman, French and Italian are the Lieder and opera texts for singers,coaches and mostfrequently used foreign languages, not only conductors. by operaand concert singers who regularlystudy As is often the case,the work couldhave been andsing foreign language texts, but by musicians more carefully proofread prior to publication; in all of the art's disciplines. The book could severalminor errors were present in my review readilybe used for an advancedhigh school class, copy. However, one error was repeated or, better still, as a college text for a course throughout the book: a misspellingof the word "principal" "principal concentratingon basicgrammar for music stu- as in parts of verbs" that "le" "a1." dentsor for thosewith a stronginterest in music. concludeswith instead of Certainly The organLzationof structural elements is such errors will be corrected in subsequent excellentlypresented. The divisionsfor eachof printings of the book. However, Modern Lan'

62 guages Musicians for should be a valuabreasset Wagner's Siegfied ldyil (p.214), would normally for English-speakingmusic students and teachers be performed by severalstring players per part. wishingto improvetheir fluencyin It three of the seemsthat the compilers world'sgreat languages. attempted to restrict their book to true chamber music by weeding RaymondFriday out most titles which imply orchestral perform- ,,symphony" ance, such as and ,,concerto.,, Dr. Raymond Fnday ,s professor of Vocal Hence, no Haydn Music at West (Jniversity or Mozart symphonies are Chester (pA). included, but many chamber orchestra works do appear, for ******{<**x instance Siegfried ldylt, Virgil Thompson's Four Saints (p. 205), and Wolf Ferrari' s Kammersymfonie victor Rangel-Ribeiro (p. 2ZI). and Robert Markel, The compilers chamber searched cataloguesof more Music: An Internationar Guide to than a hundred American and European publish- worlcollection, it does have some limitations. A morepublished lists of musicliterature. There number of obscureworks were included are now many such compilations simply available, becausethey happened includingones to be availablewhen the specializingin literature for or- research wasdone. The readerwill haveto decide chestra,chamber ensembles, chamber orchestra, exactly how bothersome the presence and so on. Even so, tinding of such the right work for works actually the next is. The more serious problem concert,among the bewilderingmass of is the compliers' omission of many woithwhile titles in print' can be a dauntingtast. A new works. Selectionssuch as book,giving a Schubert,sEine kreine differentset of choicesand ar- Trauermusik, available in several modern rangedin a cleverway, may be a welcome addi_ editions, some Mozart Divertimenti, tionalresource. The title underscores and nearly thebook,s all of Percy Grainger,s valueto chamber chamber music, to name musicplayers, but conductors a few, are missing.The probrem of thesemissing of chamberorchestras and wind ensembles will works by celebrated composers alsofind it useful. is pointed out simplyto alert potential Title usersthat this very good notwithstanding, the compilers of book should not become their only resource chamberMusic had to set for limits when-selecting chambermusic. worksfor inclusion.Rangel-Ribeiro andMarkel one of the elected book's greatest strengthsis its to bypassthe solo and duo literatureas format. Each page contains a grid designed well as compositionsfor groupsof identical to in- help the reader'seyes move smoothly struments,three violins aciossthe or four horns, for ex_ page from "chamber" left to right as well as from top to ample.Th"y did list works for combi- bottom. The names of listed nationsof up compositions,ar_ to twentyinstrumental parts. Thus, ranged alphabeticallyby composer,appear along a string sectionhaving first and secondviorin, the left sideof thepage. Across the top viola, cello, and bassparts of tf,. page countsas only five appear categories instruments, of information, such as year even though a work such as composed/published,k.y, duration, and specific

63 instruments.Numbers or letters areplaced on the Unquestionably, Chamber Music provides grid in appropriate spacesunder specific head- much useful information in a convenient for- ings. Thus, if a composition requires three trom- mat. Unfortunately, not all data is provided for "3" "trombone" bones,the number appearsin the eachwork cited. The first sectionof the book lists column on the line opposite the title. The works music composed before circa 1800. There are are listed by composer and title. For example, hundreds of entries in this section, but a du- moving down the left-hand side of the pageunder ration is given for only one work! In the second "Enesco, the entry, Georges" (p. 86), one would section,from circa 1800 to the present,very few find "Dixtuor, Op. 14." Reading from left to right, entries include both key and duration. When a one learns that the work was composed and/or work is available in many editions, a code for "various published(we are not told which) in 1906,is in the publishers" is given, but without a key of D, lasts26 minutes,calls for an ensembleof single publisher's name being listed. The use- 2 flutes, oboe, English horn, 2 clartnets,2 bas- fulness of the book would have been signifi- soons,andZhorns, and is availablefrom Editions cantly enhanced had a Publishers' Glossary Salabert. One can work in the opposite direction been included and cross-referencedto each aswell. The wind ensembleconductor could scan entry under copyright as well as many lesser- the pageto find a work havingclusters of numbers known works in the public domain. on the right side (the area listing wind instru- Despite a few lacunae, Chamber Music rs a ments)but is blank in the center of the page (the very helpful, well-organrzed reference tool. string area) to find, for instance, Max Reger's Anyone planning chamber music or chamber Wind Serena"de(p. 170) for pairs of flutes, oboes, orchestra concerts would likely benefit from clarinetsand bassoons,and four horns. A cham- perusal of this volume. Libraries with music ber orchestraconductor would look for clustersof collections,large or small,would be well-advised numbersin both the string and wind areasof the to place this book on the referenceshelf. pageto find sucha work as Milhaud's L'Homme John Jay Hilfiger et son d€sir (p. 150). One can also search for various keyboard instruments, guitar, harp, John Jay Hilfigens Assistant Professor of voice, percussion,and several others, including Music at the University "f Wisconsin Center - early instruments. With a little practice, works Fond du Lac and Music Director of the Fond having a specificinstrumentation can be located du Lac Chamber Orchestra. quite easily. If an unusual instrument, e.g. celesta or mandolin, is included in the score, ***X(****** a note giving the instrument's name appears after the title. A note also follows the title of a Humphrey Carpenter, Beniamin Bitten: A work which requiresa conductor,but suchnotes Biography(New York: CharlesScribner's Sons, are all-too-infrequent. Does the lack of any 7993),617 pp., photographs,indices, $30.00, indication to the contraryindicate that ensembles ISBN:0-684- 19569-0 p erform ing Siegfie d I dyll, Schonb e r g's Kammer - symphonie(p. 183), and many other composi- Throughoutthis book a multitudeof sources tions of orchestral proportions, can dispense makethe point that BenjaminBritten (1913-76), with conductors?!' despitebeing the subjectof publicscrutiny and

64 controversy throughout his life, was neverthe- tablished British composersof his day, such as less a private and enigmatic character. Hum- Vaughan Williams and Walton, are just that: phrey Carpenter, a highly regarded biographer tossedoff declarationsthat are frequently out of whoseprevious subjects include W.H. Auden and context and without explanation. J. R. R. Tolkien, meticulously set about inter- The secondhalf of the book,which represents viewing dozensof Britten's personal and profes- the period of Britten'smost prolific andsuccessful sional associates,culling information from nu- musical output, is far more satisfactoryfor the merous press notices and writings about the musicianfreader, including as it does several composer and his works, and, most importantly, excellent analysesof Britten's major works. Of sifting through volumes of Britten's personal specialinterest in this segmentis the fact that for diaries and correspondence. The challengewas manyof hismore celebratedworks, includ ingThe to assemble this wealth of information into a Rape of Lucretia, Peter Gimes , Billy Budd , Turn of readableprose which reveals to the reader-- in an the Screw, and Death in Venice, not only was -- interesting fashion a complete portrait of the Britten the composer,but an active participant in man, his life andworks. To alargepart,the author all aspectsof casting,rehearsals and the premiere succeedsadmirably in his task,but for the profes- performances as well. Three generous photo sional musician, more concerned with Britten's sectionsenhance the biographyby providing the musical corpus and professional milieu than reader with facesto accompanynames frequently lengthyspeculative analysis about his psyche,this mentioned in the text. exhaustivework may be less satisfyingthan one On the whole Benjamin Bitten: A Biography would hope. is a credit to Humphrey Carpenter's skills as a The book comprisesfour parts, four appendi- researcherand author. To gain a more well- ces, and two indices. Of particular interest to rounded perspectiveof Britten's personalityone musicians will be Appendix A, & chronological might do well to consult the diaries of the sub- list of Britten's compositions,and the second ject, housed in the Britten-PearsLibrary in Al- index, that of Britten's works as they appear deburgh,or the two-volumeset of selecteddiaries in the text. The first two parts devote much and letters of the composer edited by Donald attentionto the developmentof Britten's sexual- Mitchell (Britten's own choice for his personal ity, a topic which, in this reader's opinion, is biographer) and Philip Reed, publishedin lggl weightedtoo heavilyin the text. The second-hand by Faber and Faber. Conductors and perform- psychoanalysisand relentlesssearch for sexual ers of Britten's music can certainly profit by overtonesin the least significantof Britten's ac- making judicious use of the works' index, to tivities as a strugglingyoung composerin Lon- focus on those practical and pertinent pieces don negatesthe fact that Britten was at the time, of information that address the genesis of "momma's quite frankly, an immature, naive, Britten'sworks. boy," a socialand political neophytewho was no Judy Ann Voois matchfor the leftist,openly homosexual group of friends with whom he associatedat the time. ludy Ann Voois ,s Executive Secretary of Glimpsesof his musical influences,including an the Conductors' Guild, Inc., a woodwind in- adoration of Beethoven, Berg and Mahler, and strument instructor and freelance bassoonist in a strong dislike of Brahms and many of the es- Southeastern P ennsvlvania.

65 Letters to the Editor

To the Editor: Benda (1722-1795), and on several occasions consideredcomposing a melodrama himself. I am pleasedto offer some commentson the I agree with M. Marty about the graduated soundlyprovocative letter written by Jean-Pierre tempos in the G minor Allegro Interlude which Marty concerningmy brief guide to Thamos(Vol. beginsin triple time and later changesto duple -- 12,Nos. 1 &.2). Allegretto ( ) - 100),Andante, Piil andante,Piil First, an apology: as the author of Mozart: A adagio,Allegretto, Adagio -- and I observe them. Guide to Researcft(New York: Garland, 1989)I I believe M. Marty's negative judgment of was unable to include a reference to M. Marty's Gebler's text on a theme from Sturm und Drang comprehensive The Tempo Indications of Mozart may be extreme,because, if well-played,its con- (New Haven: Yale [Jniv. Press,1988). I did refer cise five acts might play effectively in a staged to his book prior to conductinga recent perform- version. ance of.Thamos, a work I first conducted in the My reference to the near Beethoven-like 1960s.Also, I reauditionedthe splendidrecorded orchestralsonorities (21210 12, 21213, timpani, performance of Dr. Bernhard Paumgartner,one strings)was deleted in the editorialprocess, which of my revered mentors. I agree that for the most alsoproduced shortened descriptions of the vari- part the temposI selectedare slowerthan those ous changing moods, perhaps causingthem to recordedby Dr. Paumgartnerand recommended appear overly simplistic. by Maestro Marty. Nevertheless,I do believe my I agreewith M. Marty's outline of Mozart's tempos reflect authenticity and logic. A number compositionof the Thamosmusic. (I includedthis of distinguished scholars have recommended information in the program notes of my recent "complete" brisk Mozart tempos and have offered useful performance, copies of which are guidelines. The reason theseguidelines cannot availableto anyinterested parties). I understand be etched in stone include the widely varied precedent for the use of K.161a as Overture is dramatic situationswhich theatre works embody, likely rather than proven; and I know that as M. Marty realizes. The musical elements do K.161a was also used in productionsof Pliim- not exist in a vacuum, especially if one takes icke'sLanassa. "spirit" into accountthe characterof various scenes. I acceptthe of M. Marty's comments, "letter" I am aware that the use of spokentext greatly but the which infusedmy recentperform- enhancesperformances of works suchasThamos,, ance of. Thamos in a church seating about 900 L'Arlesienne, Peer Gynt, Le Bourgeois Gentil- seemedto fulfill the work's destiny.Beyond that, homme, etc.,although I have some reservations a number of musicians and conductors have "narrators." "Guide" about using In ll l SMozartwrote of thankedme for the toward renderingan admiring Medea and Aiadne,, successfulmelo- appropriate performance, even if it is only a dramasby the Czechoslovakiancomposer Georg guide,not a blueprint.

66 As "'piano-borne' a matter of record, in addition to referring proved by making the second to Mozart's letters, and The Tempo Indications of movement of the Second Concerto,, by Mozart and its bibliography, I consulted writings Tchaikowsky. It would be more accurate to by Hans Albrecht, Harold Heckman, Alfred Orel, describe Siloti's well-intentioned, albeit mis- H.C. Robbins Landon, and Max Rudolf in his guided, effort to make the score more "reward- superbdiscussio n of Le nozzedi Figaro (JCG,Vol. i.tg" as a mutilation. 11,Nos.3&4). One of the more drastic alterations Sitoti When we note that Mozart liked fast but not initiallyproposedwasto shift placement "scrambling" the of the finales, let us remember that first movement cadenza,,to which Tchaikowsky "speed" "my can be suggestedby lightnessand stac- responded, . . . hair stood on end at your cAto, and that relative speed is probably more idea. ." Siloti's revised, sharply truncated important than actual speed. Thus, rather than version of the concertowas eventuallypublished, trying to bring Mozartto modern audiences,I try the mostegregious aspect of which is the butchery to bring modern audiencesto Mozart (and indeed of the unorthodox secondmovement. Tchaikow- make the samekind of effort for every composer skyoriginally conceivedthis expansivemovement whose works I conduct). For well over three in a large A-B-A form, a virtual triple concertofor decadesI have used various procedu res:stacca- piano, violin and cello. In eliminating about half /os, subtle rubatos, dynamic variations and con- of the music, Siloti evisceratedthe distinctive trasts, (particularly in repeats, and when indi- rolesof the soloviolin and cello,and reducedthe cated), etc. Sometimesmy approach has been movementto little more than a double statement modified by the acousticsof a particular hall. In of the main theme. The larger formal design of sum,I do agreethat certainMozart temposcan be the whole concerto was thereby skewed, absolute,while others must be determined and producing,among other anomalies,an odd and influenced "circumstances." by unsatisfyingsequence of movement lengths: a Yours faithfully, for full discussion of and gargantuan first, followed by a rather brief devotion to the Music of Mozart. and others. secondand third. Fortunately,most current performancesand Baird Hastings, Music Director/Conductor, recordingshave returned to Tchaikowsky'sorigi- Mozart, Festival Orchestra (lr{Y). nal score,reveling in its grandeurand large-scale sweep;Siloti's editorial methodology,like that of ********** so many otherswho honestlyintended to "help" To the Editor: a composer,is beingrelegated to the archivesand library shelves. Alexander Siloti was a truly "Lost In his otherwisesplendid article, in the distinguishedartist, but his work on this concerto Stars:A Forgotten Career in Conducting" (Vol. doesa disserviceto both editor and composer. 12, Nos. 3 & 4), Charles Barber unfortunately perpetuates the misconceptionthat the eminent Michael Boiskin, pianist, Danbury , Connecticut pianist and conductor, Alexander Siloti, im-

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