Volume L4 Number 1, -Winter/Spring 1993
Jo u r nal of the Conductors'Guild
Table of Contents
COMMENTARY
THE OPERA OMNIA OF GIAOCHINO ROSSINI by Patricia B. Brauner
FANNY MENDELSSOHN HENSEL'S SUNDAY MUSICALES by Meg Freeman \(halen
THE CONDUCTOR AS A COMPOSITIONAL RESOURCE (PART II) 20 by Zae Munn
THE CHAMBER ORCHESTRA: AN ANNOTATED BIBLIOGRAPHY 28 by John Jay Hilfiger
SCORES AND PARTS: Gustav Mahler, Symphony No. 9 (Pan II) JJ by James Burton & Philip Gottling
BOOKS IN REVIE\T 47
Heinrich Schenker,Beetltozten's Ninth Symphony reviewed by Peter Gibeau
Mark Lammers, Nordic Instrumental Musicfor Collegesand Universities reviewed by John Jay Hilfiger
Barry Millington and Stewart Spencer, eds.,lVagner in Performance reviewed by Baird Hastings
Diane PeacockJezic,'W'ornen Composers: The Lost Tradition Found,2nd edition reviewed by Judy Ann Voois
Mary Jane Phillips-Matz, Verdi, A Biography reviewed by Henry Bloch
Pierluigi Petrobellt, Music in the Tbeatre reviewed by Henry Bloch
LETTERS TO THE EDITOR 62
I CONDUCTORS' GUILD, fNC. tournal of tbe Conductors'Guild
Room Editor Voois 'West103South High Street, 5 Jacques Chester,PA 19382 Tel & Fax: 6L0/430-6010 AssociateEditor DavidDaniels
Band/\TindEnsembleEditor HarlanD.Parker Officers Editor-at-large . JonathanSternberg President LarryNewland President-Elect .....AdrianGnam Vice President...... BarbaraSchubert Assistant Editors Secretary Charles Bontrager Interim Treasurer Paul Kirby StephenHeyde JohnJayHilfiger PastPresident...... MichaelCharry Louis Menchaca JonMitchell John Noble Moye JohnStrickler
Board of Directors Contributing Authors Henry Bloch Glenn Block Victoria Bond John Canarina Henry Bloch Patricia B. Brauner CatherineComet MargeryDeutsch JamesBurton Peter Gibeau Robert Emile JoAnn Falletta Philip Gottling Baird Hastings Robert Fitzpatrick Lauren Green John Jay Hilfiger ZaeMunn 'Whalen JosephHenry DonaldR. Hunsberger Brian Newbould Meg Freeman 'Wes Kenney Kenneth Keisler J,rdy Ann Voois John Koshak Manuel Prestamo JamesSetapen Robert Spano JonathanSternberg Paul Vermel Production Staff John \flelsh Richard\Woitach Burton Tipser Executive Secretarv Jndy Ann Voois Production Linco Printing Co., Inc.
Advisory Council The publication date of the present issue of the CharlesAnsbacher SergiuComissiona JounNer oF THECoi.roucrons'Gurlo is Fall, 1994;con- HaroldFarberman Lukas Foss sequentlytbe publication date and the issuedate do not Margaret Hillis SamuelJones coincide. Daniel Lewis Maurice Peress DonaldPortnoy Gunther Schuller Effectiae Volume 13, theJounNer oF rHE CoNouc- Evan\flhallon Tons' GuIro has beenpublisbed semi-annually, the tuo issuesbeing numbered 1 and 2; the seasonalreferences remain uncbanged, as is the journal's lengtb. 'Vinners Theodore Thomas Award The ICG's editors and staff, in evaluating material acceptedfor publication, uill determine appropriate Maurice Abravanel Leon Barzin credit for such contributions. LeonardBernstein FrederickFennell Max Rudolf Robert Shaw Library of CongressNo. 82-644733 Sir Georg Solti Copyright @1994 hy the Conductors' Guild, Inc, All rights reseraed. ISSN# 0734,1032 Commentary
It was not many years ago that the ratio of male some well-deservednotoriety for her own accom- to female members in the Conductors' Guild was plishments. Meg Freeman Whalen's penetrating aboutnine-to-one. It currently standsat five-to-one. survey of Fanny's prolific musical activities,pro- Given thesepercentages, it is not surprisingthat past duced despitethe limitations createdby her gender, issuesof the JCG containedarticles and other mate- parentaldirectives, and the socialand culturaltradi- rial authoredprimarily by men. The presentissue is tions of early- and mid-nineteenth-centuryGermany, a welcome departurefrom that circumstance. With is engrossing.Ms. Whalen and the otherssimilarly the aid of a little research,the editorial staff of the engagedshould be commendedfor recapturingvital JCG was able to confirm what our collectivememo- and relevantinformation for inclusioninto the music ries had suggested:this is the first issue in the fif- history books, filling an unfortunate long-standing teen-yearhistory of the JCG that containsfour en- void in the artisticawareness of the world. tries - includingthe three lead articles- written by PartII of Zae Munn's surveyof orchestralworks "composer-specified womenauthors. Although the secondarticle and book that use functionaldirectives" review feature women-relatedtopics and activities, given by the conductorconcludes her study. It cap- the remainingtwo entriesare gender-neutralin their turesand preserves the essenceof that compositional subjectmatter. This is all by way of saying that 1) era and hopefully will prompt investigationand per- the JCG has and will continue to welcome articles formanceof the surveyedworks. producedby anyone on conducting-relatedsubjects Giventhis country'scurrent proliferation of clas- of any description; and 2) tclward the end of the sical- and chamber-sizeorchestras, John Jay "Call presentissue a for Articles" pagecan be found Hilfiger's annotatedbibliography on the medium is offering detailson the format in which articlesshould timely and useful. Conductorsinterested in or ac- be submitted. It is hoped that the significant pres- tively engagedwith chamberorchestras should de- ence of women-authoredarticles in this issue will rive professionalinsights and information from the prompt other women, members and non-members cited booksand articles. "Books alike, to give considerationto this journal when An expanded in Review" sectionstarts searchingfor a forum for their articles. with Peter Gibeau's lengthy and highly informative Patricia Brauner's fascinatingdescription of the descriptionof Heinrich Schenker'sBeethoven's Ninth on-going researchoperation dedicated to the music Symphony,recently published for the first time in of Gioachino Rossini occurring in Italy and at the English. The reader is urged to have the score on University of Chicago leads the presentissue. It hand when reading this entry (as well as the book concludeswith a most informativeand valuabletable itself). Dr. Gibeauis a Schenkerspecialist, and the detailing the works of Rossini currently availablein level of detailedinformation he offerspresents a crys- researched-editionvocal and full scores,as well as tallineview of the book's contents,bias and histori- performancematerials. Publicationssoon to be re- cal relevance. The balanceof the reviews address leasedare also indicated. recentlypublished books on Wagner,Verdi, women Harold Schonberg,in his 1967book, The Great composersand Nordic instrumentalmusic. "In Conductors,beganChapter X with: Germanythe In the field of publishing, one consrantmust be first dominating podium force was that perfect musi- attentionto mattersof copyright. For example,in " cian, Felix Mendelssohn. Nearly thirty years after the presentissue copies of sketchesdrawn by Wilhelm that publication and one-and-a-halfcenturies after her Henseland in the possessionof Meg FreemanWhalen death, Felix's sister Fanny is finally emerging from were not reproduced within her article becauseof the shadowsof her prodigious sibling and gaining continuedon page 63
JCG Vol. 14, No. l The operd omnia of GioachinoRossini
by Patri cia B. Brauner
includingthat The critical edition of Rossini'sworks, pub- to a collaborator. Seccorecitative, 'Italiana in Algeri, Il Turco lishedby the FondazioneRossini of Pesaro,Italy, of suchstandards as I was normally is a performing edition supportedby extensive in ltalia andIl barbiere di Siviglia, be composedby scholarlycommentary. The editorial committee so treated,but even arias might Cagli, Patricia a collaborator. Such is the case for the short comprisesPhilip Gossett,Bruno "Ls for Haly Brauner and Paolo Fabbri. Gossett.director of arias tn L'Italiana in Algeri , "Oh. come il the edition, is noted internationallyfor his work femmine d'Italia," and Lindoro, second-actfi- on Rossini, Verdi, and Donizetti, and is profes- cor di giubilo," and for the entire casesRossini sor of music and deanof the humanitiesdivision nale of Il Turco in ltalia. In some for a Roman re- of the University of Chicago. Cagli, musicolo- later substitutedhis own work: Luca gist, author and impresario, is artistic director vival of La Cenerentolain 1823,he replaced "Vasto teatro C il of the FondazioneRossini and of the Accademia Agolini's arra for Alidoro, "Li nell'arcano Nazionaledi SantaCecilia in Rome. Brauner is mondo," with his own del ciel " revived in a musicologistwho directs the American opera- profondo. Most of the operaswere revisions tions for the edition at the University of Chi- other cities after their first runs, and the mu- cago,and Fabbri a professorat the University of customarilywere madeto accommodate new Ferrarawho haspublished extensively on Rossini sical requirementsof the new theater and involved in sources. The project was begun by Cagli, cast. Although Rossinihimself was new Gossett, and Alberto Zedda, a conductor who preparingsome revivals and might compose was re- had alreadyprepared an edition of Il barbiere di pieces, occasionally an authentic arra is prob- Siviglia. Their goal was to presentthe music of placedby that of a collaborator. This of Rossini strippedof the accretionsgarnered dur- ably the situation in the Milanese revival role ing its now nearly two hundredyears of perfor- Tancrediin Decemberof 1813' where the for a mancetradition,l along with information about of the squire Roggiero, originally written and the the work's history and its use in the modernthe- mezzo-soprano,was assumedby a tenor, not ater. mezzo aria was replaced by one that seems Why not, in this age of facsimile and photo- to be by Rossini. Suchrevivals are discussedin copy, perform from Rossini's autographs? Al- the historical introduction to the critical edition though for most of his thirty-nine operasthe au- and the relevant music is presentedin appendi- tograph scores exist largely rntact,Zproblems ces. The rediscoveredtragic finale of Tancredi,3 (only arisefrom the natureof a Rossinianopera score written for a revival at Ferrara in 1813 a made that require the intervention of an editor. The month after the premiere in Venice) was presentphysical condition of the autographof- available in the critical edition, and, owing as ten no longer reflects the work's initial content much to Marilyn Horne as to contemporarytaste, and order. SometimesRossini, pressedfor time it hasreplaced the original happy ending in most when composinga new opera, assignedportions productions.
2 JCG vol 14, No. I Rossinicomposed on music paperin oblong Vienna. The last piece of the puzzle was set in format that rarely had more than sixteenstaves. place with the identification of a chorus that is In a number with all musical forces involved, referred to in the sources, but not actually the horns, trumpets, trombonesand percussion present,as one from Maometto II, thus permit- regularly are indicatedin the main score as " in ting a reconstructionof the entire work. That Fine," that is, written as a separatespartitino , the referenceserving to identify the missingcho- "little or score," appendedto the main score. rus is found in a performing part underscores Since the spartitini were not used by conductors the value of secondarysources. (who would employ the main score)but only by Nor shouldwe underestimatethe importance the copyists who prepared the parts, they fre- of non-musical sources for understandinga quentlybecame lost. The missingbrass and per- Rossini opera. They can preserveinformation cussionparts must be recoveredfrom manuscript not indicatedby the score. Librettos printed for copies or early printed editions of the score, if the original and subsequentproductions help to indeedthey are presentthere. Even thesesources establishthe different versionsof an opera,espe- are suspect. The score of Ricciardo e Zoraide cially when the autographis disturbedor incom- "Scena publishedby Ratti, Cencettiin 1828and reprinted plete. The music of the ed Aria Zomrra" in fascimile by Garlandahas a spartitino, but from Ricciardo e Zoraide is known only from study of the incompleteautograph spartitino and secondarysources - two manuscriptcopies of the orchestralparts from archivesof the Teatro the score and the old Ricordi vocal score - but La Fenice suggestthat the Ratti, Cencetti the poetic text appears in the first libretto, spartitino is not derived from Rossini'soriginal. establishingthis number as part of the original In caseswhere there are no sourcesat all. the versionof the opera. The libretto from a Roman missing parts must be newly composed. revival of Otello shows that Rossini, acquiesc- Rossini sometimesphysically removedparts ing to the ecclesiasticalcensors, changedthe of his scoresto function in new capacitieselse- tragic ending to one in which Otello believes "Dall'oriente" where. The women'schorus from Desdemona'sprotestations of innocenceand they the first act of Ermione was used in a revision of live happily ever after, closing the opera with Maometto II tn 1823. Gernando's flashy aria the duet "Amor, possentenome" from Armida. from Armida apparently found its way into the Contemporarynewspaper reviews not only indi- possessionof a tenor amongRossini's circle of catethe audience'sreaction to a performancebut friends, perhaps to serve him as a showpiece may alsogive cluesabout what was actuallysung 'trunk arra.' The most complicatedstory is prob- or, as in the case of the overture to Il signor ably that of Il viaggio a Reims. Becausehe had Bruschino, how certain notation is to be inter- written the opera as an occasionalpiece for the preted. The autographscore has a peculiar no- coronationof CharlesX in 1825,Rossini had no tation that appearsto be four double-stemmed compunction about dismantling the score three half-notesin a 414 bar, but the only indication yearslater to reusemuch of the music rnLe Comte that Rossini intended the string players to beat Ory. The manuscriptscore of Viagglo was pre- their bows on their candleholderscomes from a sumedlost, but someportions of it were discov- review of the premiere. ered in the mid- 1970s in the library of the Although Rossini was a careful and remark- " " Conservatorio Santa Cecilia in Rome; sec- ably accuratecomposer, his scores reflect the ondary sourcesfor the missing sections,includ- circumstancesunder which he composed,often ing orchestralparts, were located in Paris and pressedfor time and normally writing for rehears-
JCG Vol. 14^No. l als at which he would be present, so that the pear as footnotes in the score itself, so even a detailedinformation a modern scoreholds could conductorwithout the time or inclinationto pour be forgone. He neededonly to suggestexpres- over the critical commentarycan make informed sive elementssuch as dynamics or articulation, decisions. or suchrhythmic precision as whethera pick-up Performability is a key element of the note is written as a sixteenthor a thirty-second. philosopy behind the edition. No opera volume For an editionto be usefulfor performance,these is printed before at least one production is hints have to be expandeCand discrepanciesre- mountedusing the provisory score. After a newly solved. For example,Rossini frequently mixed edited scoreis reviewed by Brauner and Gossett f, ff, and .s/, without any logic. Or he might for accuracy, musicality, and faithfulness to mark the beginningof a passagewith four staccati Rossini's apparentintentions, a vocal score is for the first violins. Although it is clear musi- derived from the full score, orchestralparts are cally that they are meant to apply beyond the preparedby CasaRicordi in Milan, and the pro- first measureand to other instruments,how far visory full scoreis photocopiedand bound. These should they be extended in the printed score? materialsbecome part of Ricordi's rental library. What if they are not presentwhen the theme is Editions of particular works are frequently pre- repeatedlater on or - worse yet - they are con- paredfor specificproductions : Ermione was ed- tradictedby a slur? Did Rossini forget what he ited for the Rossini Opera Festival of 1987, wrote at first, did he changehis mind about the Semiramidefor the Metropolitan Opera produc- articulation,did he meanthe repetitionto be dif- tion of 1990,and Armida for Tulsa Opera'ssea- ferent, or are both versionsequally valid inter- son opening on February 29, 1992 - Rossini's pretations? 200th birthday. The cantataIn onore di Pio IX The criteria for the edition define limits within was preparedfor a performanceunder Riccardo which Rossini's hints may be extendedor made Chailly in Rome in July, 1992,and anothercan- uniform without graphicdistinction on the page. tata, La riconoscenza,for Pesaro in August of Beyond these limits editorial intervention must that sameyear. Currently an edition of Matilde be signalled. The Rossiniedition restrictssuch di Shabran rs underway for the 1996 Festival. indicationsto the use of squarebrackets to show The editors,proofreaders, copyists and btnders editorially supplieddynamics, accidentals, text sometimeswork againstdeadlines as pressingas and articulations (with the exception of slurs, Rossini's,for althoughcomputer-edited music has which are dotted)that are not supportedby clear in certainways eased the task, copyistsmay still models in the autograph. The edition does not write out someparts, while conductor and sing- permit editorial enhancementssuch as bowing ers anxiously await music that may differ from indicationsor the integrationof notesomitted by the version they have learned or that they may Rossinibecause they were technicallyimpossible not know at all. Ricciardo e Zoraide, for ex- on instrumentsof the early nineteethcentury. ample,was not performedfor some 150 years. Editorial choices are based on the evidenceof The collaboration between the Fondazione the manuscriptand other sources,knowledge of Rossiniand the RossiniOpera Festival of Pesaro Rossini'sstyle, the contextof the passagein the hasbeen priceless with regard to performanceof whole piece and, ultimately, musical merit. If new editions. Beginningwith La donna del lago the scorereally offers alternatives,the commen- in 1981, Pesarois responsiblefor most of the tary presentsthe possibilities and discussesthe premieresof the operasnow availablein the criti- editor's preference. Significantoptions may ap- cal edition,5 and has encouragedthe editing of
4 JCG vol 14. No. ! the lesser-knownoperas, particularly the opere volume (ca. 7 by 9 inches)containing an analy- serie from Rossini'sNeapolitan period (1815- sis of all the sourcesfor the edition and the criti- 1822). The Festival, in cooperation with the cal notes. In the notes are detailed the errors, FondazioneRossini, provides an opportunityeach contradictionsand ambiguitiesof the sources,the summerfor editors of editions in progressto at- rationale for editorial choices that fall outside tend rehearsalsand to consult with the editr:rial the generalcriteria, and possiblealternate read- committee, so that each August a villa by the ings. Here too is found such material as vocal Adriatic becomesa study center,with work pro- variationsby composersother than Rossini.The ceedingon different phasesof the edition. Con- languageof the edition is ltalian. The vocal ductorsand performershave suggestions for cor- scores,destined for a wider market. are pub- recting the score or improving its usability, and lished with commentaryin either ltalian or En- their responseshave often led to insights that glish. and vocal scoresof comic operasare pro- refine an editor's judgement. Errors that may vided with singingEnglish translations. escapethe proofreader's eye do not escapethe Occasionallya small-scalework, suchas the eat. sceniccantata Le nozzedi Teti, e di Peleo or the The publication of the printed scores is an collection Album franEais/Morceaux reserves expensiveand time-consuming project, and there from the P€ch,lsde vieillesse,includes the score may be several years between preparation for and the critical apparatusin a single volume, performance and preparation for printrng - La while a lengthywork may require additionalvol- donna del lago waited from 1981 until 1990. urnes. La donna del lago, for example.collslsts Until this year the editionhas published one work of four volumes: two volumes of the principai annually, but the adoption of computer-setmu- scoreand appendices,the critical commentary, sic has made it possibleto plan two volumesfor and an additionalvolume in score format with a 1994 and subsequentyears. Before publication nineteenth-centuryorchestration of the music for the provisory score is reassessed,the critical stageband. (In his autographRossini wrote the commentaryrefined, and the historical introduc- band part only as a melody line; this orchestra- tion brought up-to-date. When a volume is pub- tion probably derives from the original produc- lished, Ricordi's performing material is madeto tion.) The monumentalGuillaume Tell consists conform with any changesfrom the provisory of four volumesfor the scoreand musicalappen- score. Ultimately the committee gives its per- dices and two volumes of critical commentary, missionto print - alwayswith the feeling that it the secondof which gives the texts of the earli- should be gone over just once more. est versionof the libretto, of the 1831 ltalian The Rossini volumes are published in full translationby Luigi Balocchi(much closer to the scorein a 9 by 12.5inch format,printed on acid- French than is the standard Italian version by free paper, sewn and hardbound with a cloth Calisto tsassi)and - most valuablein terms of cover. Each score containsprefatory material stagingthis opera- the text of the original 1829 giving the criteria of the edition, a history of the Parisianmise-en-scine by Salom6. opera, and discussionsof the main sourcesand What valuedoes a critical edition havefor a generalproblems for the particular work. Ap- conductor? Most obviously, many of Rossini's pendicescontain supplementarymusical material, operaswere essentiallyunknown until the Rossini such as numbersRossini composedfor revivals revival beganin the mid-twentiethcentury. Until and variationshe wrote for specificsingers. The now they have been available only in vocal score is accompaniedby a separatepaperbound scores,if at all. Yet even thosethat enjoyeda
JCG Vol. 14, No. l accumulatedencrusta- relativelycontinuous performance history existed in the world, and his music before it was es- in versions that often are far from any known to tions of performing traditions new styles. Today the composerhimself. A pastrcheof II Turco m sentially abandonedfor and the popular- Itatia was publishedand widely distributedafter Rossiniis being rediscovered, part to the work of the its performanceat the Th6AtreItalien in Paris in ity of his music is due in the composer's 1820. Consistingof numbersfrom La Ceneren- editors who have tried to reveal musicians who have tola, L'Italiana in Algeri, and Ciro in Babilonia, own vision, in part to the Rossiniexpected' The as well as an aria not by Rossiniat all, it con- learnedto perform the way apparatus,the fusedcritics for decades. II barbiere di Siviglia editorialjudgements, the scholarly in order to put was known in corrupt versionsfrom the end of tediousproofreading is not done The stressand the nineteenthcentury. Guillaume Tell is the another heavy book on a shelf. is rewarded most striking case:the operawas much revised anxietyof preparinga critical edition in the both during rehearsalsand during the first per- when Rossini'soperas come alive formances. However, the orchestralscore pub- theater. G in 1829 was engravedbe- lished by Troupenas t<{<{
.lCG Vol 11, No. I RossiniCritical Edition (Fondazione Rossini Pesaro)
Vol. Works Performing Published Published (Seriousoperas shown in material (available full score vocal score boldface;semi-serious are fbr rental from G. (with Critical (comic operasinclude underlined,the restare comic) Ricordi,American Commentary singingEnglish t/ agentBoosey & in ltalian) translations;Critical Hawkes) Commentaryin English or ltalian)
6 La scaladi seta Yes yes rn preparatron 8 L'occasionet-a il ladro VES summer1994 9 II sisnorBruschino ves yes 1994 0 Tancredi ves ves yes L'ltalianain Aleeri ves yes yes 1 IlTwco in italia yes ves r 995 9 Otello VCS tate1994 2l La sazza ladra yes Ves VCS 22 ,{rmida yes 26 Ricciardo e Zoraide VCS 27 Ermione yes l 995 29 La donna del lago yes VCS rn preparanon i0 Biancae Falliero ves 3l MaomettoII yes Matildedi Shabran 1996
JJ Zelmira yes 34 Semiramide VCS i5 ll viaegio a Reims VES 1996 i9 GuillaumeTell ves VES
l/ Incidentalmusic and cantatas
EdiooColoneo yes yes Le nozzedi Teti. e di Peieo VES VCS Cantatain onoredi FrancescoI VES ''Giunone" VCS "Cmaggio umiliato" VES La riconoscenza YES Cantatain onoredi Pio IX yes r995
fit/ Sacredmusic
Messadi eloria yes
VIV P6chesde vieillesse
I A lbum italianoiMusiqueanodyne n.a. t995 n.a. ) A lbum trangais/Morceaux n.a. yes n.a. rdservds 1 Oueiquesriens pour album n.a. yes n.a.
JCG VoL 14, No. I Fanny MendelssohnFlensel's Sund^y Musicales
by Meg Freeman Vhalen
Thefollowing article originally appeared in precedingand during World War II. While Felix Volume 2, Issue I (February 1994) o/ WourN Mendelssohn'sreputation re-emerged in the mid- or NorB QulnrrRly, Tnr MncEzlNEoF HIsronI- dle of this century,Fanny Hensel's did not. cAL ANDCoNrBrrrpoRARy Worrrnn ComposERS. It It is most fortunatethat Fanny Hensel is finally appears here in an expandedand edited version receivingattention as a musicianin her own right. with the kind permission of the author and Her contributionsto music history are significant. WONQ publisher, Jonathan Yordy. An excellentpianist. Henselcomposed nearly 500 works,3including approximately 300 Lieder, 100 pianopieces, choral works, chambermusic, organ works, and an orchestraloverture. In addition, "she Twenty-five years ago Fanny Mendelssohn was a centralfigure in the musicallife in Ber- "without " Henselwas called a doubt, the most im- lin, creatinga music salonwhere her Sundayper- " portant woman composer of the nineteenth cen- formancesbecame somethingapproaching a pub- tury."' Yet, it is only in the lastdecade that Fanny lic event of great reputation, attendedby friends, Henselhas emerged from almostcomplete anonym- other musicians,and even royalty."o Far from ity. Nearly a century and a half after her death. domesticget-togethers, these concerts often had an her own identity as pianist and composeris finally audienceof more than one hundred guests, and gainingindependence from that of her brother, Felix usually includedworks with full choir and orches- "Sunday " Mendelssohn.Recent publications and recordings tra. Throughher musicales, Henselwas of her works, a small but increasingnumber of the first to introduce to Berlin society numerous articles,and Marcia Citron's 1987 edition of works of J.S. Bach, G. F'. Handel,and C. W. Fanny's lettersto Felix all contributeto the grow- Gltick, amongothers^) ing recognitionof and interestin Fanny Hensel's Paradoxically,much of the recentliterature fo- musicaltalents. cuseson the restrictionsplaced on Hensel'sgender Fanny MendelssohnHensel remained unknorvn and class. Theselimitations were very real, and as a pianist and composerfor severalreasons.2 such analysesand presentationshave been neces- First, she was a woman, and women composers sary. There are, however, seriousflaws in prima- are only now beginningto receiverecognition for rily portrayingFanny Hensel as the victim of a male- their contributions.Second, she was the sisterof dominatedsociety. Certainly, shewas restrictedfrom Felix Mendelssohn,and thus had usually been stud- publishingmost of her works becauseof her gen- ied only in relation to him. Third. Hensel pub- der; she gave almost no public piano recitals be- lishedonly a smallpercentage of her compositions. causeshe was from a genteelbourgeois family.6 Finally, becausethe Mendelssohnfamily was Jew- Ironically, though, it is the very exclusionfrom ish (although assimilated),much information on the traditionalpublic realm that inducedHensel to Henselwas submergedduring the anti-semiticyears expandher privale musical activities into the larger
8 JCG vol It, No. l sceneof Berlin's cultural life. Preventedby pater- Fanny Mendelssohn (1 nal directivefrom pursuinga public career,Hensel Hensel's 805-I 547) successas a musician optedto transform her domesticmusic-making into and saloni/re can be attributed in large part to eventsthat were both private and public, creatinga her outstanding unique type of musical performance. musicaland general education. Fanny'spar- ents, Abraham and Lea In her lifetime Hensel developedquite a rep- Mendelssohn,were very well educated (Abraham utation as a pianist and composer, and from her was the son of the renowned philosopher printed lettersand diary entries,she appears to have Moses Mendelssohn)and presided beenpleased with her musicalaccomplishments and over the educa- tion of their children. her life as a whole. Henry Raynor'sdescription of four Their elaborate and often strenuousstudies Schubert'scareer could alsoapply to that of Fanny included lessons Hensel: in mathematics, literature, art, music, and severalancient and modern langunges. Fanny becamecompetent From any worldly point of view, no career in French, Italian and En- glish, in addition to her wasever so unsuccessfulas Schubert's,but native German. Becausethey demonstrated to write of him as a neglectedgenius is unusual tal- ent, Fanny and Felix were given hardly accurate. His songsand piano mu- special mu- sical instruction. sic were known to a rather influential circle Lea Mendelssohntaught piano to both children of friends in the minor aristocracy and the in their early years. upperbourgeoisie of Vienna.' In 1816, the family went to Paris, where Fanny and Felix studied piano with Marie Bigot. Upon their return Becauseboth she and her brother traveledex- to Berlin, both chil- dren began pianist tensively, Hensel'scompositions were performed lessonswith and composer Ludwig Berger. andbecame known in Weimar, I-e,ipzig,Dtisseldorf, In 1819Fanny London, Munich, and Rome, as well as through- and Felix began composi- tion and theory studies out Berlin. Her widestacclaim, however, came as with Carl Friedrich Zelter, leader a result of her Sundaymusicales. The musicales, of the Berlin Singakademie. They entered the Singakademie held in the Mendelssohnhome from I8Z2 until thefollowing year. Fanny sang alto in Hensel'sdeath in 1847, grew out of the Jewish the choir and ofien performed solopiano works salon tradition passeddown to Hensel from her for the academy's Friday recital series. maternal grandmother, several aunts, and her Abraham Mendelssohn mother. The music salonbecame not only the cen- believed that ter of Hensel'smusical women should not have careers outside the career,but a centerfor music 's home. Therefore, after I 82I Fanny performancein Berlin as well. Musicianswho lived , musi- cal education did not parallel in Berlin participatedregularly in the performances; Felix's, who beganpreparations a career profes- musiciansvisiting Berlin attendedthe salon gath- for as a sional musician. While erings and often performed in them. Felix travelledto play Goethe, Cherubini, and The successof the music salonand the richness for later Queen Victoria, Fanny remained in Berlin. of Hensel'smusical career stemmedin large part Her musical and intellectual developmentnever from her thorough musical and cultural education, waned, however, as she abundant her activeinvolvement in the Berlin musicalscene, focused energy on her many compositions and the and her talentfor coordinatingmusical events. As Sundaymusicales. director, primary pianist, and conductor, Hensel
JCG Vol. 14, No. I combining was ableto control the quality of the salonperfor- salonsbecame socially heterogeneous, (but mances. The presentstudy of the repertoireand membersof the bourgeoisie,the intellectual they participatingperformers, albeit cursory, clearly poorer)class, and the nobility. Most notably, gentilesand Jews. demonstratesthat Henselhad regular contactwith succeededin bringing together gath- music and musiciansof the highestcaliber' If she Another interesting feature of the salon public and not sharethe statusof a professionalmusician erings is that they functioned as both did to with the musical elite of her day, she did achieve privateevents. While the Biedermeier/Victorian salonieres notoriety and a unique starurethrough the Sunday imageof women was a domesticimag e, public realm musicales. Her Sonntagsmusiken should not be extendedthe domesticsphere into the perceivedas a substitutefor a successfulmusi- with socially diverse gatherings. This aspectof in music cal career; rather, they should be recognizedas the salonevents was especiallyimportant differ- the manifestation of an active and productive salons,where music occupieda new space houses musical life. ent from the court halls, churches,and opera Although remarkably different from traditional of the past; different, too, from the public concert nine- salons,Hensel's Sunday musicales did have their halls and private middle-classhomes of the roots in the Jewish salons of the eighteenthand teenth century. Music salons such as Hensel's in the eariy nineteenthcenturies. During this period, Sundaymusicales were certainly not public and cultural salonsexisted in most major cities of Eu- commercial sense:no tickets were bought were rope- Berlin, London,Paris, Vienna.8 In all cit- musicianswere usually unpaid. Yet, they " ies the salonswere a rare opporrunityfor female very different from a small circle of friends and power."e They were led by highly cultured, family gathered for music-making in the living wealthy women and attendedby other membersof room. Although taking place in Hensel'shome. the fashionable,wealthy class. Of course, intel- her musicaleshad largeaudiences that includednot lectualsfrom other socialclasses did participatein only friends but uninvited strangersas well- In thesesocial/cultural gatherings, but it was only in this manner,the socialheterogeneity was comple- Berlin's salonsthat a true interactionamong social mentedby the peculiar private/public quality of classesexisted. This degreeof socialdiversity made the audiences. the salonsof Berlin unique. Nearly all of Hensel's female relatives of the The immigrationof wealthyJewish families into precedingtwo generationswere part of this un- Berlin in the eighteenthcentury provided the op- usual salon tradition. In addition to her paternal portunity for the social and religious integration aunts, saloni\res Henriette Mendelssohnand that developedin its salons. EducatedJewish DorotheaMendelssohn Schlegel, were her mater- womenwere considered culturally stimulatingand, nal grandmotherand great-aunts,as well as her grand- unlike gentilemembers of the bourgeoisie,did not mother. The Itzig sisters,Babette (Hensel's posea threatto the lessprosperous members of the mother), Sara, Fanny and Caecilia (for both of nobility. Jews,because of manyanti-semitic laws' whom Henselwas named)all begansalons, Babette could not buy large tracts of land and hencecould and Sara in Berlin, and Fanny and Caecilia in "They not raisethemselves to the level of nobility. The Vienna. passedon by their example the aristocracy,therefore, encouraged the Jewsto be- distinguishedsalon tradition to Fanny Hensel."11 "For comerich in order to keep the gentilebourgeoisie most of her life, Fanny Hensel followed the " 12 from gaining enoughwealth to penetratethe noble pattern set by the Itzig women. Most influen- class. Thus, wealthyJewish families were not only tial were Fanny and Sara ltzig's salons, both of tolerated in Berlin, but encouraged,and Jewish which were music salons.
10 JCG vol 14,l''/o. I Fanny ltzig, later Fanny von Arnstein, was a Fanny, also immensely talented, played pianist; shealso becamea friend and supporterof fugues and passacagliasby memory with Beethoven. She gave large musical soir6es in admirableaccuracy: I believeshe can justly "an Vienna and organrzedbenefit concertswhich even- be called excellentmusician" (" ein guter tually led to the founding of the Gesellschaftder Musiker").t8 Musikfreunde.13Although Fanny Henseldid not visit her aunt in Vienna, she was well aware of Also attractedby Lea's engaging salon circle, thosemusical soirdesthrough letters and through Paganiniwas a frequentvisitor to the Mendelssohn Fanny von Arnstein's frequentvisits to Berlin.la home during his visit to Berlin; on May 6, L829, Even more dominantwas Saraltzig,later [rvy, Fanny accompaniedhim in a domestic,after-din- whosemusic salon was the longest-runningsalon ner perfor*un...t9 in Berlin (from the 1780sto 1854). SaraLevy was In 1830, Hensel becamethe principal accom- a studentof Wilhelm FriedmannBach and had per- panist and solo pianist for the Sundaymusicales, formed for both Haydn and Mozart, two of her and in 1831,she took over their direction,calling most famousvisitors. Shewas a friend and patron them the New Sunday Musicales (Neue Son- of C.P.E. Bach, played the harpsichordfor the ntagsmusiken).IJnder her direction, the saloncon- Berlin Singakademie,and probably arrangedfor certsbecame events of greatrenown, presentingto Felix and Fanny to study compositionwith Carl Berlin the works of Bach, Gltick, and new com- Friedrich Zelter.rs posers such as Spohr and, of course, Felix and True to her heritage,Fanny's mother Lea was Fanny. In his book, Modern GermnnMusic , Henry also a distinguishedsaloniere and in 1822 began Chorleywrites of Hensel: the Sundaymusicales that would becomethe touch- stonefor Hensel'smusical activities. Thesemusi- Her morning music will be spokenof and cales were started primarily to further the recollectedwith cordial regret by all who Mendelssohnchildren's musicaleducation. retracethe story of art in Berlin during the first half of this [nineteenth]centu ry .20 Here Felix's compositionswere performed, the children got accustomedto play before Hensel only gave two public piano performances an audience,and had an opporfunityof hear- in her lifetime: Felix's G minor concerto(1838) ing otherpeople's judgment. Even then all andhis PianoTrio, Op. 49 ( 184l) ." Yet her obitu- "known musicians of distinction passing through ary statedthat shewas as an excellentpia- Berlin requestedto be admitted to these nrst."2z This reputation spread solely from her 16 musicalentertainments. Sundayconcerts and private performancesgiven duringher travelsto suchcities as lripzig, Munich, It was at Lea's salonin 1823that Kalkbrenner Florenceand Rome. heard Fanny perform and then played one of Under Hensel's leadership,the Sundaymusic- Fanny'spieces. Later he wrote to Felix of Fanny's making continued in the Mendelssohn home at "beautiful talent for compositionand playing."tt lnipziger Strasse3, where the large salonhad space Moschelesheard Fanny perform when he came to for severalhundred people.?3 After her marriage Berlin rn1824, and in 1826,joined Fannyto play a to Wilhelm Hensel, Fanny and her husbandlived four-hand arrangementof Felix's A Midsummer in a garden house on the Mendelssohnproperty Night's Dream for one of the salongatherings. In until her deathin 1847. his diary, Moscheleswrote:
JCG Vol. 14. No. I 1l Wilhelm adoredhis wife and knew that she In generalI'm making a greatdeal of music neededan active musical life in order to this winter and am extremely happy with survive. It wasthe essenceof who shewas, it. My Sundaymusicales are still brilliant.28 it was not just on the s,.rrface.24 "exactly A diary entry on July 3, 1834, statesthat Armed with this insight, Wilhelm joined Fanny's 100 peoplewere present" (including the Mayor of efforts wholeheartedly. In 1831, when Fanny be- Berlin) for a Sunday concert-performanceof "Everything gan to direct her Sunday concerts, Wilhelm de- Gluck's lphigeniein Tauris: wasvery cided to work full time in their home where he had beautiful and successful.even more beautiful than createdan art studiofor himself and his pupils. A Orpheuslast year." The next Sunday, she found talentedartist, he sketchedportraits of all the im- a warm reception for her Overture for Orches- portant participants and audiencemembers at the tra, performedby the players from the Konigstadt salon performances. His forty-sevenvolumes of Theater.29 "Recently nearly one thousandsketches provide the best record Early in 1834,Fanny wrote to Felix, of thosepresent at theseextraordinary events, and I've been rehearsingand performing a great deal "30 include such personalitiesas Paganini, Gounod, of music. Rehearsalsusually took placeon Fri- Liszt, Clara Wieck and Robert Schumann.E. T. A. day prior to the Sundayperformance. In her let- Hoffmann, Hegel, Heine, Humbolt, JacobGrimm, ter to Felix of December27 , 1.834,Fanny wrote, and BettinaBrentano von Arnim.25 " " todayI playedyour new pieces(Op. 38) for my Sundaypublic, and the public was extremely "public" [The Sundaymusicales] . . . beganto be a delighted."3t lH.rrrel's use of the word regular institution, and to show at once a lPublicumlto describeher audienceis in itself very tendencyto becomeextensive. From revealing of the nature of the salon gatheringsas smallbeginnings, a holiday, or the meeting well as her perceptionof thosegatherings.) Where- ". of a few intimate friends on a Sundaymorn- as in March of 1835 Fanny possessed the ing, by-and-byarose regular concerts. with nicestchoir of ten sopranos,two altos, one tenor "t' choraland solo-singing,trios, andquartets, and five basses, by Juneof 1837she could boast of the bestBerlin musicians,and before an to Felix, "Yesterday,I held a brilliant rehearsalof Sr. audiencethat filled all the rooms. For many Paul in the garden hall, with a chorus of forry that "33 yearsit was the correctthing in the musical will swell to aboutfifty next Sunday. Indeed,her circlesof Berlin - and alas,the unmusical son Sebastianwrote that in the summer of 1837, aswell! - to haveaccess to the matinees.26 . . . the Sundaymusic in particular assumed The Sonntagsmusiken were a great inspiration larger and larger proportions, both as re- to Henselas a composer. In the first few months gardsthe performers,the audience,and the of her directorship, she wrote and performed two characterof the music. In fact, the whole cantatas.In Novemberof 1831,she composed an thing outgrewits original aspectof a friendly Oratorium for eight-voicechoir and full orchestra, gathering,for many of the visitors were to- including three trombones and timpani. Two tal strang.rr.3o monthslater shecomposed a dramatic scene,,Hero und Leander, for soprano and full orchestra(first By the spring of 1844,Hensel could justifiably sung by Pauline Deck er).27 In a letter to Felix describesuch musicales as concerts; the March 10th datedDecember 1, 1833,Fanny wrote: presentationhad an audienceof nearly 200, includ-
12 JCG vott4. No.l MusiciansParticipating in the SundayMusicales
RegularParticipants
KarlBader (1789-1870) tenorat BerlinCourt Opera FerdinandDavid (181 0-1 873) violinist,composer, music critic PaulineDecker (1811-1882) operaand oratorio singer (soprano) EduardDevrient (1801-1877) singer,actor, stage director, theater manager, author LuiseDavid Dulcken (181 1-1850) pianist LeopoldGanz (1810-1869) violinist;concertmaster in Berlin royal orchestra in 1836 MoritzGanz (1806-1868) cellist;principal with Berlin royal orchestra in 1836 AdolphBernhard Marx (1795-1866) musiccritic, theorist, composer; editor of AmZ 1824-1830 EduardRietz (1e02-1 832) violinist,conductor, singer; founder of PhilharmonicSociety JuliusRietz (1812-1877) cellist,conductor, composer; successor to Felixin Di.isseldorf CarlFriedrich Zelter (1758-1832) composer,conductor, teacher; dlr. of Singakademie1800-1832 Professionalmusicians from the KonigstadtOrchestra
SpecialParticioants
HeinrichBehr (1821-1897) 1843-46 basssinger LouisFrangois Philippe Drouet (1 792-1873) 1839 flutist,composer KarlEckert (1820-1879) 1841 violinist,pianist, conductor WilhelmErnst (1814-1865) 1841 violinist C. F.Gounod* (1818-1893) 1843 composer FranzHauser (1794-1870) 1835-36 baritone FerdinandHiller (1811-1885) 1843 conductor,composer, pianist JosephJoachim (1831-1907) 1843-44 violinist Robertvon Keudell (1824-1903) 1846 violinist CharlesPhilippe La Font (1781-1839) 1834 violinist JennyLind (1820-1887) 1844,45,46 soprano FranzLiszt" (1811-1886) 1841,44 pianist,composer, conductor lgnazMoscheles (179a-1870) 1826,35 pianist,composer, conductor ClaraNovello (1818-1908) 1838 soprano GiudittaPasta (1797-1865) 1841 soprano ClaraWieck Schumann* (1819-1896) 1846 pianist,composer RobertSchumann. (1 81 0-1856) 1846 pianist,composer, music critic HenriVieuxtemps (1820-1881) 1837 violinist,composer * in attendanceonly
SelectedWorks Performed in SundayMusicales
1831 Lobegesang(cantata) FannyHensel Hlob(cantata) Hensel Oratorium Hensel "O dassrbh tausend Zungen hefte" (atia for soprano) Hensel 1832 Heround Leander(dramatic scene) Hensel 1833 KlavierConcerto in D Minor J.S.Bach
.JCG Vol. 14, No. I 13 PianoTrio in G major,K. 496 or K. 564 W.A. Mozart Aria from lphigenieen Aulide C.W Gluck Selectionsfrom Orfeo ed Euridice C W. Gluck TripleConcerto, Op. 56 Ludwigvan Beethoven PianoConcerto No. 4 in G major,Op. 58 Beethoven PianoTrio in E-flatmajor, Op 1 or Op 70 Beethoven "Archduke" PianoTrio in B-flatmajor, Op. 97 Beethoven Duet from Fidelio Beethoven PianoQuintet, Op. 130 LouisSpohr PianoConcerto in G minor,OP. 25 FelixMendelssohn "Die 1834 Spinnerinn"(lied) Hensel "Heimkehl' (lied) Hensel Overturefor Orchesfra Hensel Sonatain A-flatmajor, Op. 26 Beethoven PianoConcerto in D minor,K. 466 Mozart Queenof the Nightaria from Die Zauberfl1te Mozart Liederohne Worte,Op. 38 Mendelssohn 1835 CantataB!\ru 8 J S Bach CantataB\ A/ 105 J S Bach CantataB\ ru 106 J.S Bach CantataB\ A/ 139 J S Bach 1836 DiabelliVariations, Op. 120 Beethoven 1837 SarnfPaul(oratorio) Mendelssohn PianoTrio in D major,Op. 70 Beethoven Variations Charles-Augustde Beriot 1838 scenesfrom La Clemenzadi Tito Mozart scenesfrom Don Giovanni Mozart
(August 1839to December 1840,no musicales- trip to ltaly)
1841 ViolinConcerto in D major Beethoven Psalm114 Mendelssohn Lobegesang,Op.52 Mendelssohn SixGerman Songs for clarinetand piano,Op. 103 Spohr
(Januaryto October 1843,few musicales- Lea'sdeath, domestic responstbflities)
1843 CelloSonata, Op. 45 Mendelssohn A Midsummer'sNight Dream, arr. for two pianos Mendelssohn 1844 PianoQuintet, Op. 87 JohnannNepomuk Hummel Die ErsteWalpurgisnachf, Op. 60 Mendelssohn
(Januaryto August 1845,no musicales- secondtrip to ltaly)
1846 StringQuartet in B-flatmajor, Op 130 Beethoven The Ruinsof Athens Beethoven Gartenlieder,Op 3 (sixSATB songs) Hensel 1847 Comala NielsGade PianoTrio in D minor,Op. 11 Hensel ing FranzLiszt andeight princesses.The program I've alsosought out Marx's scoreand want was asfollows: PianoQuintet, Op. 87 by Hummel to point out a few places that I like very (Fanny at the piano); Variations for violin by much. For example,in number2 I like the FerdinandDavid (performedby JosephJoachim); closeof the first sectionin its presentform "Lass die Schmerzendieser Erde" by Karl Eckert with the many €'s, although I find it too (sungby PaulineDecker); a duet from Fidelio: and long. But you should have heard how it Felix's choralwork, Die ersteWalpurgisnacht (con- soundedas it appearedin the original manu- ducted by Fanny, with soloists Pauline Decker, script; there the bassesand tenors sangto- AugusteLoewe, Karl Bader,and an unnamed bass).35 getherforte on the e. I told him that they The salon'ssuccess resulted primarily from Hensel's wouldn't be ableto singbecause they would "Wende ability to attract the finest musiciansand to program be laughing . . . I don't like dich quality compositionssuch as thoselisted in the ac- Herr" at all, and told him so, and saidthat companyingtable (pp. l3-14).36 in generalI object strenuouslyto six-part Henselinteracted with all of the musicianslisted men's vocal pieces. Everything lies much in the secondtable, but severaldeserve more than too closetogether for the harmoniesto have a simplelisting. Adolf BernhardMarx was an im- enough space, and the resultant sound is portant figure in the musical life of eighteenth-cen- murky and rattlirrg.oo tury Berlin. Also a studentof Zelter, Marx was music critic and editor of the Allgemeine In 1839, the Henselsleft Berlin for a year's musikalischeZeitung. In 1830 he becamea pro- voyage in ltaly. While living six months in fessor at Berlin University and in 1850 helpedto Rome,Fanny met CharlesFranEois Gounod, who found the Berliner Musikschule. He was an inno- had won the Prix de Rome. They becameclose vativemusic theorist and composedvocal and cho- friends and influencedeach others' musical de- ral works.37 velopment" Gounod describedHensel in his au- Marx was a close friend of the entire tobiography: Mendelssohnfamily; details of his personaland professionallife are describedin Fanny'sletters to Madame Hensel was a musician beyond Felix.38 Although Marx was the professionalmu- comparison,a remarkablepianist, and a sic critic, Fannyoften critiquedhis music, evaluat- woman of superior mind; small and thin in ing his compositionsand advisingchanges. A let- personbut with an energy that showeditself "com- ter from Fannyto Felix illustratesher role as in her deepeyes and in her fiery glance. She position consultant": was gifted with rare ability as a compor.r.ot
Marx is publishing two pieces for men's In the spring of 1843, Gounod cameto Berlin and chorus that contain some very nice music stayedat the Hensels'home for approximatelythree [Op. 4, Two Motets]. I've given him my weeks. Fanny wrote in her diary: opinion many times on weaknessesand pit- falls, and he's revisedalmost everything in Gounod spent much of his time here and line with my suggestions.3e was kindly receivedby the whole family, but he has seenliterally nothing of Berlin, In a later letter, Fanny reveals the extent of her exceptour house,our garden,and our fam- involvementwith Marx's compositionalprocess : ily, and heardnothing but what I haveplayed
JCG Vol. 14, No. I 15 him. his gifts are pre-eminent,hrs Fanny Henselwas an artist in the most ex- musicalperception being most acureand his alted senseof the word; in her the happiest judgmentcorrect to a degree.. . . His pres- gifts of nature always went hand in hand ence was a great incitement to me, for I with the most carefulcultivation of rare tal- played and talked about nothing but music ents. Just as she shoneas a gifted and ac- during the many hours I spent alone with complishedpianist, so do the works only him. We talked, too, about his own recentlypublished under her own nametes- future. and I think I was not wrong in put- tify to that heartfeltdepth of feeling, which, ting oratorio before him as likely to take preciselyrn this sphere,is fundamentalto a the first place in music in France. He en- lofty and noblecreation.*' tered so fully into my views that he set to "Judith" work at onceupon the libretto: is Judgingfrom citations found in extant letters the subjecthe has chosrn.o' and diary entries. Fanny Hensel was pleasedwith her many accomplishments,and her own words "a Severalother musicianswere great incite- reveal her wit, good humor, intelligence, and a ment" to Hensei, including Clara Schumannand generalsatisfaction with her life . Her.ioiede vivre Robert von Keudell. Hensel heard Clara Schu- is evidentin lettersfrom eachstage of her life. In mann play in Berlin and Leipzig on severalocca- 1830, shortly after the birth of her son, Hensel "f sionsand was quite impressedwith her musician- wrote, am thoroughlyenjoying life. "48 Evalu- 42. ship.-' The feelingmust have been mutual; in 1846, ating someof her own compositionsin 1836, she Clara programmedsome of Fanny's pieceson a wrotethat while someof her piecesbored her, many "pleased public recital in Leipzig.oo of her sacredchoral works me so much Finally, von Keudell's visit to Berlin in 1846 that. asfoolish as it may sound,I felt exuberant.'49 proved to be the imperus for Hensel's final cre- The year of her first voyage to ltaly was one her ativesurge. In her diary. shewrore: happiest. A diary enrry on April 23, L840delights " in the atmosphereof admiration and homage" that With regard to music-making, Keudell is existedfor her in Rome.50Hensel elaborates with the foundationsupporting my continuedac- a descriptionof a particularly pleasantevening: tivity, as Gounod was earlier. He looks with the greatestof interestat anything new In the evening I played a good deal, fin- I write, and makesme aware of my short- ishing with Bach's concerto, and all the comings. As a rule he's right.as peopie went quite mad about it. although they had heardit so often, and pressedabout Henselsuffered a fatal stroke on May 14,,1847 , me shakingand kissingmy hand.51 while conductinga rehearsalof Felix's Die erste Walpurgisnachtfor her next musicale. The obitu- Hensel began to publish collectionsof her ariesconfirm her prominent and respectedreputa- pieces in 1846 and therefrom received stimula- "an tion. One praisedher as excellentmusician tion and inspiration for future work. She wrote who was laudablyknown in broad circles through on August 14th: her publicationsof spirited and imaginativesong "46 compositions. Another article was even more I am furthermore incessantlydiligent and complimentary: feel that I succeedin many things, and that,
16 JCG vot 14.No. I combined with the wonderful, most mag- can do a great deal towardsbringing about nificent surnmer,makes me so inwardly and such a result by letting him be heard be- outwardly content. .s2 forehand; for he never plays without de- lighting his audience. I beg you to give In a letter to Felix during the sameperiod, Fanny him this opportunity_,_and in general to do "I stated, am in a jolly mood and want to live life all you can for him.') "53 to its fullest. Another diarv entry testifiesto the depth of her joy' At thesesimultaneously public and private con- certs,musicians, politicians, aristocrats, writers, What havewe done to deservebeing among scientistsand artists gatheredtogether to perform the few happy ones in the world? My in- or listento a wealthof diversecompositions. To most heart is at any rate full of thankful- what extentthe programming indicatesHensel's ness,and when in the morning after break- taste, the public's taste, or Hensel's influence fasting with Wilhelm, we each go to our on the public'staste, is of course.still unclear. own work with a pleasantday to look back Yet, the choiceof repertoireis a sourceof inter- upon and anotherto look forward to, I am est to performers and musicologistsalike and is quite overcomewith my own happiness.sa worthy of further study.56 Finally, her role assaloniire providesa new pro- Of course,Hensel was not naive, and her life file of Fanny Hensel. Her competenceand ver- did includefrustrations and sadness.Some adversity satilityas a composer,pianist, conductor and co- stemmedfrom the restrictionsplaced upon her gen- ordinator,combined with her interactionwith the der by society in general, and upon her musical major figures in Germanculture establishher as careerby her father and Felix, in particular. Yet, one of the foremost musicians and one of the it was preciselybecause of her gender,her social most fascinatingwomen of the first half class,and her ethnic backgroundthat Henselwas of the nineteenthcentury. ableto createsuch a successfuland unique musical careerthrough her Sundaymusicales. Building on {c rF {< rF ,F {< ,F {€ the heritageof her wealthy Jewishaunts and grand- mother, sheexpanded her salonbeyond the scope Meg Freeman Whalen is a pianist and teaches and impact of its predecessors. at QueensCollege in Charlotte, North Carolina. A century and a half after her death, Fanny Hensel'ssalon shouldbe assessedfor its impor- {c*t JCG Vol. 14. No. I 17 18 ' The mostcomprehensive lists of FannyHensel's compo- Sirota,p. 65. "Verzeichnrs sitions are by Rudolph Elvers: der Musik- 1e p. 65. Autographenvon Fanny Hensel in dem Mendelssohn-Arkiv Sirota, zu Berlin," MendelssohnStudien, l, 1972,pp. 169-174: 20 Cited in Judith Radell's preface to Fanny Hensel's and Weitere Quellen zu den Werken von Fanny Hensel," Two Piano Sonatas(Bryn Mawr, PA: Hildegard Publish- MendelssohnStudien, 2, 1975, pp. 215-220. "The rng, tr p. 2. More accessibleare the lists by Victoria Sirota, 992), " Life andWorks of FannyMendelssohn, D.M.A. disserta- 21 Both performancesoccurred in Berlin at dilettantecon- tion, BostonUniversity, 1981,pp. 301-329(an alphabetical "Fanny certsgiven for charity. The performanceof Felix's piano listing categorlzedby genre); and Carol Quin, concertoon February 19, 1838 is describedin Fanny's MendelssohnHensel: Her Contributions to Nineteenth- letter to Felix datedFebruary 21, 1838 in Marcia Citron, CenturyMusical Life," D.M.A. dissertation,University ed. and trans., The Letters of Fanny Hensel to Felix of Kentucky,1981, pp . 266-277(a chronologicallisting). Mendelssolrn(New York: Pendragon,1987), pp.258-259. The trio was performed on March 4, 1841. A reference 4 p.249. Sirota, to the concertis in Fanny's letter to Felix datedMarch2, 1841in Citron. Letters.p. 306. 5 K.uut*urst, p. 662. 22 Quin.p.232. 6 "The " S.. Nancy Reich, Power of Class:Fanny Hensel, 23 "The SebastianHensel describes the salon: centrepart rn Mendelssohnand His World, ed. Larry Todd (Princeton: of the house, and its most invaluable and beautiful por- PrincetonUniversity Press, 1991) for a discussionof the tion, consistedin a very spacioushall, too large to be influenceof social classon Fanny's musical career. called a drawing-room. There was spacein it for several t hundredpeople, and it had on the garden side a moveable H.*y Raynor, Music and SocietySince 1815(New York: glasswall, interruptedby pillars, so that the hall could be TaplingerPublishing, 1978), p. lJ. changedinto an open portico. The walls and ceiling (a 8 flat cupola) were covered with fantasticfresco-paintings. Rll informationdefining Jewish salons in Berlin is from " This was the real sceneof the Sundaymatinees. (Hensel, Deborah Hertz, Jewish High Societyin OId RegimeBerlin VoI. l,p. I22J (New Haven:Yale UniversityPress, 1988),pp. tr-47. un- lessotherwise notated" 24 Sirota,pp. 117-i18. 9 H"rtr, p. 8. 2s The sketchbooksare in the PreussischerKulturbesitz to in Berlin. Wilhelm Henselwas an acclaimedartist in his Fo, a completeanalysis of the socialheterogeneity and day. He painted, among other works, finished portraits the public/privatequalities of the Berlin salons,see Hertz, of Felix and of Prince Albert of Eneland. See Hensel. pp. 15-19. Vol. tr, pp. 95-106and 249-250. I I Quin, p. 248. 26 Hensel,Vol. I, p. 251. 12 Reich,p. 90. t' Fo, commentarieson theseworks, seeSirota, pp. 61, 13 70 and71. Reich,p. 90. " t4 p. 119. For more information of Fanny von Arnstein's salon, Citron, Letters, "Fanny seeHilde Spiel's essay, von Arnstein" rn Affairs 2e Sirota,p. 81. of the Mind: The Salon in Europe and America from the lSth to the 20th Century, ed. Peter Quennell (Washing- 30 citron, Letters,p. ton: New RepublicBooks, 1980). rzt. 31 15 Citron, Letters,p. 166. Hertz,p. 103;Reich, pp. 89-90;Sirota, p.2. " 16 Cit.on, Letters,p. 179. SebastianHensel , TheMendelssohn Family 1729-1847, trans. Karl Klingemann,2nd ed. (New York: Harper and " Cit.on Letters, p. 239. Brothers,1882), Vol. 1, p. 118. , 34 17 Hensel,vol . 2, p. 36. Sirota,p. 65. 18 JCG vot 14.No. I 3s Letter from Fanny to Rebecca, 18 March 1844, in Schumanns'visit in the winter of 1846 (Quin, p. 26$. Quin, p. 263. 44 Quin, p.264. Uncertainas to which pieces. 36 These lists have been compiled from referencesmade 4s by Fanny Hensel in letters and diary entries that exist in Citron, Letters,p. 353; diary entry from July 1846. the works listed in the bibliography. Archival research will enlarge the lists and add to the current body infor- ou of Obituury in theAltgemeine musikalischeZeitung; cited mation. Individual works are listed only once, indicating in Quin, p. 232. the year of their first performance. Many works were programmedrepeatedly during the sixteen-yearspan. o' Diu PreussischeZeitung, May 1841: cited in Reich, 37 p.97. Th, Norton/Grove Concise Encyclopedia of Music, ed,. StanleySadie (New York: W. p. 48 W. Norton, 1988), 468. Letter to Felix in Citron, Letters,p. 106. 38 SeeCitron, Letters, pp. 12,29, 43, 48-49, oe 33, 35, 53, L"tt", to Felix, 4 February 1836, in Citron, Letters, 70, 80, 82,97 103-107,l2g, , 135,L4l-l4l , r52, 169and p. 200. 203 " 50 3e Hensel,Vol .2, p. 101. Citron, Letters,2T February1834, p. 128. sl o0citron, Diary entry, 2May 1840, cited in Hensel, Vol. 2, Letters,4 pp. June1834, 14l-142. p. 104. 4r CharlesGounod, An Autobiography,trans. AnnetteE. s2 Diary enrry, cited in Sirota,p. 123. Crocker (Chicago,1895); cited in Reich,p. 96. Gounod "M. continues: and Mme. Hensel s3 came to the Academy Citron, Letters,p. 360. on Sundayevenings. She used to place herself at the pi- ano with the good grace and simplicity of those s4 who make Spnng. 1846,cited in Hensel"Vol .2, p. 334. music becausethey love it, and thanks to her fine talent and prodigiousmemory, I was 55 brought to the knowledge Hensel,Vol . 2, p. 48. of a massof the chefsd'oeuvres of Germanmusic of which I was completelyignorant at that time. . . ." s6 Preliminary studiesof the repertoire performed at other 42 salonscontemporary with Hensel's salon indicatethat the Hensel,Vol . 2, pp. 185-186. "popular" music was often more (e.9., variations on "serious" 43 Rossinropera tunes, etc.) than the music Hensel Fanny heardClara Schumannin Berlin in the spring of programmed. SeeWilliam Weber, Music and the Middle 1837(Citron, Letters,p. 235), in Leipzig in February1843 Class (New York: Holmes and Meier Publishers,Inc., (Hensel,Vol. 2, p. 185), and again in Berlin during the 1975), especiallyChapters 3 and 4. JCG Vol. 14, No. I 19 The Conductor as a Compositional Resource (Part II) by Zae Munn In Mixtur, by Karlheinz Stockhausen,the con- Thefoltowing article is based onThe Con- amount of control over the ductor as a Compositional Resource: a Catego- ductor has a substantial 'moments' - the rization and Demonstration of Composer-Speci- ordering of a series of twenty or in reverse, and fied Functions of the Conductor, a 1985doctoral order may be played forward 'moments' And, sub- dissertationsubmitted to the University of lllinois certain are interchangeable. by the com- the DMA in ComPosition. ject to detailedadjustments specified for 'moments' poser. some may be played si- x{<**t<*: multaneously. The conductoralso choosesa stan- dard durational unit which applies to all twenty 'moments,' pacing and over- IWOLVING TIIE CONDUCTOR IN MAKING thus determiningthe TTTECOMPOSER'S DECISIONS all duration of the entire work. Further. the conductormakes decisionsabout instrumental Composershave traditionally determinedsuch the instrumentationof four of the five guidelinesprovided things as instrumentation,order of sectionsand en- groupsin Mixtur, using general ". conductor must trances,durations, and dynamics. But they may by Stockhausen. And the the con- determinewhich instrument is to play (choosing prefer to assignsome of thesedecisions to 1 versions)" at ductor, asking that they be made in advanceof a different instruments for different performanceor even as a performance is in eachappearance of SOLO in the score. Mundi, ex- progress. Sometimesthese responsibilities are so Barney Childs, tn Supposes:Imago re- extensivethe conductor may be seen as a partner tends the conductor's decision-making providing a detailedlist with the composer in controlling and shaping an sponsibilitieseven further, prior to entire composition. of decisionsto be made by the conductor performance. All playersand the conductoruse a Mo-page verbal score in twelve sections. There area number of blanks in the score to be filled in Two compositionscan be cited that exemplify with conductordecisions, as for instance: ways in which composershave conductorsmake "When again more decisionsprior to performance. These decisions finished, read it aloud of affect structure, instrumentation, durations, tem- softly. Continuere-reading a total -* of certain events. times in all. . . pos, and number of repetitions "".) t you how many. In both cases',the composersclearly are interested Conductorwill tell in assigninga numberof their traditionalrespoirsi- instrumentation bilities to the conductor, thus openingup the com- The conductor determinesthe "The regular in- positionalprocess to influencesother than their own. of this piece for concert band: 20 JCG vol 14,No. I strumentationof your band may be augmentedby percussion. . . are cuedby the conductorat will - "' as many as you wish. Childs lists the minimum in the order indicated in the boxed and numbered "a instrumentationas flute, oboe, clarinet, alto saxo- figures. phone,bassoon, horn and percussion. On several occasionstn Almost I2 , John The conductor,prior to performance,also de- Downey asks the conductor to determineentrance terminesthe duration, ranging from ten minutes to order and duration. At one point in the score,he severalhours. This includesa specificdetermina- writes in a note to the conductor: tion of the length of eachsection. Other conductor determinationsinclude tempos, duration of silences, These strands in the strings may enter in and number of breaths and of repetitions of small any order - preferably have them come in events. In Supposes,the conductor'simprint may one at a time - keep repeatingstrands . be so great as to create a completely unique ver- culminationoccurs with all stringsbowing sion, nearly extinguishingthe composer'srole as furiously - cutoff for completion.) primary creator. The conductorchooses specific entrance order and Makins DecisionsDurins Performance the duration between entrances. Once in, the stringsplay without the conductor'sdirection and When composersask conductorsto make de- within repeat signs until the conductor directs cisionsduring performancerather than prior to per- them to stop. formance,they are not 3ustrelinquishing some of Edwin London, tn ChristmasMusic, has the their traditionalcomposing responsibilities. They conductor determine dynamics. ChristmasMusic are also incorporatinga certainunpredictable, un- is essentiallya score of verbal descriptionswith "con- rehearsedquality into their compositionswhich is 'suggestive'timings. From 1:13to 1:38the at odds with the traditional ideal of rehearsingall ductor beginsto play with choral texturesand dy- aspectsof a compositionin advanceof its perfor- namicsfor about 25 seconds."5 The chorusfol- mance. The conductor is doubly challengedto be lows the conductor's indications using sung and " involved in making compositionaldecisions and to conversationalmaterial selectedfrom Christmas give up some of the safety and comfort of a stan- songs and subject matter,"7 at this point dard rehearsalapproach. The following examples unsynchronized. London offers some sarnpledy- show the wide range of decisionsa conductor may namic shapesfor inspiration, but the corrductoris be askedto make in the course of a performance. essentiallyunlimited in the determinationof dy- The secondmovement of Gunther Schuller's namics,within a loosely limited duration" American Triptych has an expandedmeasure, the A number of compositionsexist in which the duration of which is determinedby the conductor; conductor's spontaneouscontrol is extensiveand the only limitation is that it be at least thirty sec- continuousenough to shapeand structurean entire onds long. Approximate durational controls are composition. Ladislav KupkovrE'sDioe, for or- given for individual events within this expanded chestrawith conducting, is an excellentexample. measure,but may be maintainedby individual play- This is a sixty-pagescore, with an additionaltwenty ers or sectionleaders. Winds and strings repeat pagesof instructions. The scoreitself is madeup their material until cued to go on. Schuller'sex- largely of verbaldescriptions, diagrams, and sample "systematic, pandedmeasure also featuresthe conductor'scon- solutionswhich function as guidesto "s trol over the placementin time of specifically or- goal-orientedimprovisation. Kupkovi6discusses "The dered brass and percussioncues: brass and the conductor'srole in somedetail: JCG Vol. 14. No. I 2l . . . what you will very much need, is . . . right hand cue, the left hand the ability to form the orchestral sound as the baker forms the dough. You must hold expressesthe interval of the tone-alternation. it is a rising sway over the entire happening in the or- If the finger points upwards descending chestra,and at the sametime you must give interval, if it points down it is a from a minor the orchestramembers freedom, so that each interval. The interval can be to the one, through initiative and active participa- secondto a perfect fourth, according in the left tion, can give life to the thoughts of the number of fingers stretchedout score. Moreover you must possesscompo- hand.lo sitional intuition.e In the following samplesolution, provided by points upward The job of the conductor in this work is noth- KupkoviE, the conductor's left hand to play an ing short of vast: not only do the decisions and with one finger, so players are alerted points responsibilitiesof the conductorchange with each ascendingminor second. Then the conductor of the sixty-two "Actions" in Dioe, but alsothe meaning of any given con- ducting gesture changes frorn Ac- tion to Action, since the number of dif- @ \^t, I ferent directives to 4 be given far out- numbers the avail- 18,sample solution for conductor(c. 1970by ability of meaning- FIGURE l. KopkoviE, Dioe, Action l;niversalEdition (London), Ltd., London,all rightsreserved. Used by permissionof ful conducting ges- EuropeanAmerican Music DistributorsCorporation, sole U.S. agent for UniversalEdition). tures. For instance, the hand movements playersrespond of the conductor on the vertical axis may, depend- downward with two fingers and the forth. ing on the context, be linked to pitch, dynamics, by playing a descendingmajor second,and so tempo, density, or entrancesand cut-offs, to name In Action 48 the conductor'sright hand moves just a few. I will discusstwo of theseActions to on the vertical axis to indicate ascending or de- players illustrate the change in meaning of right and left scendingchromatic runs or glissandi. The hand gestures,and to suggestthe incrediblerange interpret the whole compassof the vertical motion "the pro- of improvisationalactivities required of the con- as the range of their own instrument, so is ductor in the work. portionality of the hand motions by the director propor- In Action 18, which involvestone-alternations understoodby the player as an individual " I I re- within a cluster, the conductorgives aperiodiccues tionality. With the left hand the conductor to the entire orchestrawith the right hand. At each questsstaccato or legato articulations: cue, playersmove to a new starting pitch, within horizontally the limits provided for each instrument in cluster If he wants legato he holds it with the fin- T2, glen in the score'sappendix. Preceding each stretchedout to the orchestra 22 JCG vol 14,l,{o. I gers together, for staccato,the small finger 18 indicatesintervals and whetherthey shouldas- and thumb are stretchedout toward the or- cend or descend,while in Action 48 it indicates chestra, the other three fingers curled un- articulation. In just thesetwo Actions, the impro- der the palm of the hand, the palm of the visationalresponsibilities of the conductorinvolve hand vertical. The articulation can also be showing the timing of cues, interval content, changed in the course of a scalar or instrumentalrange, directionality, and articulation. 12 glissandomotion. Kupkovid is sincerelycommitted to ongoing, con- trolled improvisationin performanceand to its abil- "plastic" KupkoviE gives the following sample solution, ity to createa soundwhich would not be which begins with the conductor's left hand re- possible with written-out parts. The result is a questinga staccato articulation (the little hand ap- continuousnessand changeabilityof the conductor's pears to have only small finger and thumb out- performanceresponsibilities as extensiveas any in stretched) and the right hand indicating a de- the literature. scendingglissando or chromatic run. Then a legato Composersare clearly interestedin decreasing their own direct and immediate control 4 when they involve a t- the conductor in making com- t\ t\ \ positionaldecisions. t\ But this is also a t\/ kind of increased e\ l+ f\-\-E /"..",control for the com- 3-===t-3 Et'-t otwo 20" poser as well: it is an added option in FIGURE 2. KopkoviE,Dioe,Action 48, secondsystem of samplesolution for conductor the composer'sbag (c. 1970by UniversalEdition (London), Ltd., all rightsreserved. Used by permissionof of tricks, which may EuropeanAmerican Music DistributorsCorp., sole U.S. agent for UniversalEdition). be chosen if the composersees fit to articulation (the fingers appearto be outstretched)is do so for either aestheticor practicalreasons. indicatedto play a rising and falling glissandofigure. 'sample Keep in mind that such solutions' are LIMITING TIIE CONDUCTOR'S ROLE just that - sampleswhich are simply suggestions about how the conductor might proceed. They are Why limit the conductor's role? Composers not intended to function as a score. Remember, vary in their intentions. Some wish to avoid the the conductor is supposedto improvise all this! authoritarian implications of a central, controlling The meaning of the conductor's left and right figure, particularly in the context of chamber nru- hand gesturesdiffers in the two Actions described sic. Some purposely associatethe absenceof a above. The right hand in Action 18 gives cues, conductor'scontrol with chaotic-soundingmusic. presumably on the vertical axis, to changepitch, Others are simply concernedwith the negative or while in Action 48 it moves on the vertical axis to overpoweringimpact of visual elementson aural ele- control both the direction and the range of chro- ments. And there is a good deal of variety as well matic runs and g/issandi. The left hand in Action in the extentto which composerslimit the role. JCG Vol. 14, No. I 23 'concerto' Thea Musgrave'sSpace Play, a for ther with each other nor with the conductor's " nine players, is intendedto be performed without beat."15 The conductor'srole is suspendedtem- " 13 "...the a conductor. Musgrave requeststhat porarily in relationto thosethree players but main- players shareout the function of conductor as they tainedin relation to the rest of the ensemble. in turns lead the rest of the group."14 Sheassures Composersmay admit the necessityof the that a single performer does not take over the conductor'srole, while wishing to suppressthe vi- conductor'srole by assigningdirectorial tasks to sual impact of the conductor. In Bass Trombone, particularplayers at specificpoints, with the horn, Bass Clarinet, Harp, William Hibbard diagramsa placedin the centerof a prescribedspatial arrange- seating arrangementfor the three players which ment, especiallyresponsible for giving cues. With limits their eye contact. They play in a triangular a group as large as nine, rehearsalsand perfor- configuration, all facing forward, towards the au- mancesmight proceed more efficiently and accu- dience: rately with a conductor. By prohibiting a conduc- tor and then delineatingan exchangeof leadership roleswithin the ensemble,Musgrave has optedin- steadfor the specialaural, andperhaps visual, quali- tiespossible only in an unconducted,chamber music Harp settting. In contrastto Musgrave'sprohibition of a con- FIGURE 3. Hibbard, BassTrombone, Bass Clarinel, ductor throughout her composition. Sylvano Harp. Computer drawn excerpt from notes Bussottiforbids the conductor's activities in only (c. 1973by the composer.used by permission). one section within his Mit einem gewissen sprechendenAusdruck. The conductor gives only Hibbard does not include a conductor in the dia- "Because a generaldownbeat at scorepage L6, at which point gram, but requestsone in the notes: of the performersplay independentlyfrom eachother the difficulty of making ensemblethrough eye con- and the conductor moves to join the pianist and tact and maintaining a fixed tempo throughout, a - " 16 temporarilybecomes a performer. This actionmay conductoris essential preferablyseated. It is serveto increasethe performers' musicaleffect of the physicalarrangement of Hibbard's playersthat uproar and lack of authority more than would sim- makesthe conductora necessity. Nevertheless,he ply the cessationof conductinggestures. Not only limits the conducting functions to time-keeperand does the figurehead of authority stop functioning coordinatoronly, and suppressesthe visual impact in the role, but alsophysically disappears from the of theseby seatingthe conductor. locationwhere that role is performed. Thus we see that some composershave felt Composersmay also limit the conductor'srole wary of or too limited by the powerful relation- by suspendingthe conductor'sauthority in relation ship betweentraditional conductinggestures and to selectedparts, while simultaneouslymaintain- the musical responseto them. Musgrave elimi- ing it in relation to other parts. Gilbert Amy, in natedthe conductor for the entirety of SpacePloy, Seven Sites,calls for simultaneousconducted and Bussottieliminated the conductor's involvement unconductedparts for four pages of his score. for a specificsection of his piece, Amy suspended During this time, three of fourteenperformers play the role in relation to only specific parts, and independentlyof the conductedensemble, at three Hibbard seatedhis conductor in order to sup- distinct tempos. They are told in the score that pressthe visual impact of the role, while grant- "there should be no attempt to play in phase,nei- ing its necessity. 24 JCG vol 14,No. I DISSOCIATING THE CONDUCTOR FROM A fore they are heard. The performancenotes ex- "the TRADITIONAL RELATIONSHIP TO SOI.IND plain that conductorshould conduct the un- heardmaterial as if it were sounding.'20 Mean- Composersmay further undermine or negate while, the performers drone on a single held the cause and effect relationship between con- pitch. Munn's conductorends the pieceas Kam's ductor and sound,using two generalapproaches: did, by conductingsilence. traditional conducting gestures,originally in- Sound activity need not be suppressedinto tendedto elicit sound, may be dissociatedfrom silenceor a drone in order to disengageit from their relationship to sound; and the conductor its responseto conducting gestures. Murray may perform theatrical actions, rather than tradi- Schaferreverses the traditional causeand effect tional conductinggestures, which were never in- relationshipbetween gesture and sound in one tendedto elicit a reaction in sound. section of his Minimusic, a seriesof exercises "Go in improvisationand ear training: to the front ConductingGestures Dissociated from Sound and conductthe group, now wildly, now peace- fully. The conducting should be in total con- In sectionsof Dennis Kam's Go, the con- trast to the sounds being produced by the 17 t ,r2l ductor performs "independentmetric patterns" players. with traditional gestures. Kam shows the pat- As the conductor conducts, the performers "in 'conductor' terns the special line"l8 in the proceedalong their own paths, through various score, and designsGo so that the conductorper- sections,at their own speeds. So, the soundin forms several of these sectionswhile the three no way respondsto the conductor's gestures- instrumentalistsremain silent and simply watch. it rs the sound which elicits the conductor'sre- One such sectionends the piece, and the instru- sponses,intentionally contrasting with what is "watch " 19 mentalists conductorto end. heard. Schaferhas reversedthe functional re- lationshipbetween gesture and active sound,and has abandonedsympathetic response in favor of J =54-esJ=120-1aq contrastingresponse. Cond. Another way composersmay disengagecon- ducting gesturesand sound is to have the two FIGURE 4. Kam, Go. Computer-drawnexcerpt of elementsoccur simultaneously,but without ei- score,p. 2, last system (c. 1974by Smith Publi- ther sympatheticor contradictory reactions to cations,Baltimore, Maryland, usedby permission). eachother. Christian Wolff designedhis Septet so that the conductor'sgestures may or may not Kam's nonfunctional relationship between elicit a player'sresponse at any given time. The conducting gesturesand sound has a somewhat conductorand players proceedas directedwith- comic effect, but comedy need not be a com- out synchronizationuntil notations in the play- poser's only intent. In my own choral composi- ers' partsdirect them to synchronizein someway tion And Dawns Tangled in Darkness, the con- with the conductor'sgestures. It is entirelypos- ductor has more explicit material to conduct. sible that a player's atternptto take a cue from "Conductor Numerous Solos" appear early on the conductorwill be foiled becausean appropri- and consistof completequotations of parts which ate one is not availableat that point in time. For will actually be heard later in the work-thus instance,a notationmight direct a player to seek they are seen,via the conductor'sgestures, be- a dvnamic indication from the conductor. who JCG Vol. 14, No. I 25 with the per- might at that point be in the midst of indicating a tions. The conductor is in league presentingthe ac- beat pattern. In such a situation Wolff directs cussionistand the pianist in "play is directedto the player to as far.,awayas possiblefrom tions. Well into the piece, this trio ""- " and carry off the last loudnessheard. . . . push the piano from the stage the percussion and amplification equipment, com- TheatricalActions Dissociatedfrom Sound stoolsand standsso that they leavethe stage "25 pletely empty. While the trio performs these performing Conductinggestures with no sound activity, tasks, severalother players continue gestureswhich contradict sound, and gestures on stage. Once the trio emptiesthe stage,they whistling. which are generallyunsynchronized with sound remain in the wings, where they begin their representradical alternativesto the more tradi- Gradually the others link themselvesand The tional relationshipin which conductinggestures instrumentstogether and also leavethe stage. are inde- elicit a sympathetic,sounded response. But compos- actionsinvolved in emptying the stage con- ers may expand even further upon this disengage- pendentof the soundactivity on stage. The ges- ment by requestingtheatrical actions by the con- ductor castsaside his/her standarddemeanor, on an ductor rather than traditional conducting gestures. tures, and associatedauthority, and takes Luc Ferrari, in Soci&e il, has the conductor entirely new and nondirectiverole, as he/sheliter- "clears perform theatricalactions drawn from the role's ally the way" for the endingof the piece. traditional authority, but then directs the per- Composersmay dissociateboth conducting formers to challengethat authority. In the score,, gesturesand theatrical actionsby the conductor "false to an event termed a ending" occurs with from a traditional, functional relationshrp what soundslike a traditional closing cadence; sound. The two approachesare distinct in that "The at that moment, conductor puts down the one cultivates conventionalgestures, while the baton, the public reacts,the conductorturns and other cultivatesmore unique actionsby the con- "23 bows. Only then doesthe true ending occur: ductor. They are alike in their embraceof rela- - . the pianist gives the start of page 51. The tionships between sound and the visible as- orchestra attacks, the conductor turns to face pect of conducting which are radical alter- "24 them, shapesthe chord and stopsthem. The nativesto the traditional relationship" conductor'sbehavior at the false ending is tra- ditionally associatedwith the endsof pieces,and CONCLUSIONAND IMPLICATIONS FOR the successof the subsequentevent dependson CONDUCTORS the audience'straditional reading of that behav- ior. The performers' actionsfollowing the audi- In compositionsthat use the conductor as a given ence'sapplause clearly challengethe conductor's compositionalresource, composershave authority as well as the audience'sresponse to conductorsspecific instructions and have created that authority. The sudden,unexpected orches- a lively, often idiosyncratic inventory of con- tra sound compels a quick, physical response ductor directives. The role of the conductor in from the conductor(a reversalof traditionalroles) suchcompositions is usually unorthodoxand fre- in order for him/her to regain at leastthe appear- quently unique, with conductors facing the chal- anceof authority. lenge of doing much more than they are used to Vinko Globokar, in Vendrele Vent, dispenses doing, or the challengeof doing far less. altogetherwith referencesto the conductor'stra- Composersobviously benefit from the option - ditional authoritywhen he calls for theatricalac- of extendingor limiting the conductor's role 26 JCG vol 14,I''lo. I clearly, the more specific their directives, the compositionsinclude works for orchestra, band, more compositionalcontrol they can exert. But choir, chamber ensemble,and solo instruments. conductorsmight justifiably questionthe longev- * t< {< ,l€ :fi ,l€ rl€ rfi ity of thesecommunications: will the conductor ENDNOTES use these techniques enough in future per- I formancesto justify spending the time learning Karlheinz Stockhausen,Mixtur (London: Universal Edi- tion, 1966),"Explanations of the scoreof Mixtur," p. 13. them for the present performance? In the current. -) more conservativemusical climate, suchtechniques Barney Childs, Supposes:Imago Mundi. (Media, PA: occur lessfrequently in new compositionsthan they MediaPress, 1971), score p. 1. "a "Conductor." did in the 60sand 70s. It seemsinevitable, though, Childs, Supposes:Imago Mundi, notesto that the innovations will have an impact. Again " Gunther Schuller,American Tripryclz(New York: As- and again we see in compositionthat even thor- sociatedMusic Publishers,1966), p. iv. oughgoing,rigorously conceivednew approaches " Downey,Almost Twelve(n.p., n.d., composed - techniques,minimalism, indeterminacy - John serial 197ll 1974),score, p. 8. find their way into later compositions as just one 6 of severalapproaches undertaken in a singlepiece. Ed*in London, ChristmasMusic (Newton Centre,MA: GunMarMusic. 1981),score, p. 1. Probably this will happenas weil with thesecon- 'l' ducting innovations. London, ChristmasMusic. p. 1. 'R Suchspeculation aside, though, there is now a Ladislav KupkovtE,Dioe (London: Universal Edition, "Remarks sort of conducting performancepractice which is 1970), p. 6, on the Realizationof Controlled " appropriatefor suchmusic of the 60s and 70s, and Improvisation. This and all succeedingquotations from Dioe have been translatedby the writer with the assis- responsibleconductors must facilitate accurateand tanceof StevenWhiting. meaningful performancesby adjusting and devel- q.,- Kupkovil, Dioe, "Points for the Conductor,"p. 1. oping appropriateand applicable conducting skills. 10 And there are implicit and attractive challengesto Kupkovid,Dioe, p.27. conductorsin such scores:to be versatile.highly 11 Kupkovid. Dioe. p. 56. skilled, able to developnew skills as required, all 1a' L the while fully committed to their role as respon- Kupkovid, Dioe. p. 56. ^"l? sible executorsof the unique nature of each TheaMusgrave, Space Play (BoroughGreen, England: "Composer's composition. Novello and Co., 1975), Notes." Extract permission Ltd. The role of the conductor has been and continues from printed scoreby of Novello and Co., 14 "Composer's to be inextricably bound up with the needsof the Musgrave.Space Play, Notes." composerand the realizatronofcompositions. That l5 Gilbert Amy, SevenSites (Vienna: Universal Edition, the conductor'srole may now be a compositional 1978),"Notes" for p. 11" consideration is a creative extensionof tu Wiiliurn Hibbard, BassTrombone, BassClarinet, Harp this ongoing interdependence. (William Hibbard, 1973), notes. "1'7 Dennis Kam, Go (Baltimore, Maryland: Smith Publi- "Instructions." he Munn teachescomposition and theory at cations, 1974), 18 "Instructions." SaintMary's Collegein Notre Dame, Indiana. She DennisKam. Go. has directed the Bowdoin College CommunityOr- lq'- DennisKam. Go. p. 2. chestra, the Saint Cloud State UniversiQ Orchestra, u"tn and the SaintMary's CollegeWind Ensemble. Her Zae Munn, And Dawns Tangledin Darkness(n.p., n.d., "Performance composed1983), Notes." JCG Vol. 14. No. t 27 2r note, p. 50 (my translation)' Murray Schafer,Minimusic (London: Universal Edi- tion Moeck, 1963), tion, 1972), directions for 22" t^ Lur Ferrari, SocieteII, p. 50 (my translation)' " Chrir,ianWolff , Septet(New York: C.F. Peters,1964), 25 " " Vinko Globokar, Vendre le Vent (Frankfurt: Henry Notations, P. 2. Litolff's Verlag/C. F. Peters, 1978),p.46 (my transla- 23 Luc Ferrari. SocieteII (Celle, West Germany: E The Chamber Orchestra: An Annotated BibliograPhY by John |ay Flilfiger INrnotucrIoN relevantand specific references. Sourcesof in- formation on the symphony orchestra are, for The proliferation of chamberorchestras is a the most part, ignored in favor of items that fo- twentieth-centuryphenomenon which has accel- cus on the chamberorchestra. The bibliography erated during the last two decades. Dozens of offered here is not intended to be comprehen- these small orchestrashave sprung up all over sive, but rather a collection of publications North America and Europe. In somecases, the thought to be useful to conductorswith an inter- forces of economicswere responsible:creating est in the small orchestra. Most of the citations a small ensembleto provide orchestralconcerts are of works in Englishpublished since ca. 1950. may be a realisticoption where supportof a sym- A few items falling outside these bounds have phonic-srzedensemble is not feasible. Other been included when they seemedof particular groupsspecialize in early music, much of which importance. The entries have been arrangedinto is more appropriatelyperformed by chamber or- categoriesto facilitate the rapid location of in- chestras.In yet other instances,a conductorhad formation; but, since many of the sourcesover- found it expedientto found his/her own chamber lap categories,a thoroughsearch for specificdata orchestrawhen the only other option was to com- may occasionallyrequire scanningseveral cate- pete, againststaggering odds, for the podium of gories. a larger, establishedensemble. Whatever the reasonsfor their existence, GBNnnnl chamber orchestras are now numerous enough "Chamber to commandattention. Indeed, the 1993 Conduc- Louis Fleury, Orchestra," irl Cob- tors' Guild MembershipDirectory lists well over bett's Cyctopedic Survey of Chamber Music , a hundred members who reportedly conduct Walter Wilson Cobbett, ed. (London: Oxford chamberorchestras. Even so, the chamberor- University Press, 1929), pp . 263-265- One of chestrais often unappreciatedor misunderstood. the rare articles on the subject found in a stan- Standardreference books gloss over the medium dard referencework. Offers severaldefinitions, or excludeit entirely. The following bibliogra- discussesthe conditions responsiblefor interest phy was compiled to fill the gapsin readily avail- in small orchestrasearly in the twentieth cen- able information, by bringing together the most tury, and a personalview of the repertoire. 28 JCG vol 14,No. I Boyd Neel, " Small Orchestras: Musical Includesa history of the orchestralinked to so- Need," SaturdayNight, Feb. 19, 1955,pp. 7-8. cial conditions in France, Germany, England, Premise:that small orchestrasare economically Italy, and other countries;also provides orches- attractive and have accessto a large repertoire tra size (including many tables of particular or- of quality works. Even So, the Hart House chestras),conducting practices, conductors, in- Orchestrain Toronto faced great financial diffi- struments,scores. rehearsal practices, pitch stan- culties. dards,and seatingplans. "The Albert Rodewald, "Chamber OrchestrasEs- ShelleyDavis, Orchestraunder Clemens " tablish their Uniqueness, SymphonyNews , 29 5 , Wenzeslas:Music at a Late-Eighteenth-Century " Oct. 1978, pp . l5-I7 . Provides a definition of Court, Journal of the American Musical Instru- "chamber orchestra," the number of suchgroups, mentSociet.v, 1 , 1975 , pp. 86-LLz. A surveyof repertoire, programming practices,and venues. musical activity at the court of Clemens Wen- " '90s. Henri Temianka, "The ChamberSymphony, zeslas,Elector of Trier, in the 1780sand TheInstrumentalist, 29:6, Jan. 1975,pp. 32-33. Discussessize and constituttonof the orchestra. "chamber Offers a personal definition of sym- programming, and inventoriesof instruments. "Musicology phony," brief survey of repertoire, and advice Jon W. Finson, and the Riseof on administration, based on experienceas the IndependentOrchestra," tn The Orchestra: founder/director of California Chamber Svm- Origins and Transformations,Joan Peyser, ed. phony. (New York: CharlesScribner's Sons, 1986), pp. Heidi Waleson, "Finding a Voice for Ameri- 435-453. Premise:a resurgenceof interestin " can ChamberOrchestras, SymphonyMagazine. early music was partly responsiblefor the found- 37:6, Dec. 1986,pp. 14-16+ . Describesrecent ing of many independentchamber orchestras to interest in and development of new chamber or- perform baroqueand classicalliterature" chestras,conductors who specializein chamber George R. Hill , A Preliminary Checklistof orchestra,distinctions small orchestrashave drawn Researchon the Classic Symphonyand Concerto betweenthemselves and symphonyorchestras. to the Time of Beethoven (Excluding Haltdn and Mozart) (Hackensack.NJ: JosephBoonin, 1970). Hrsronv Featuresa bibliography of articles and books about early syrnphoniesand concertos,arranged "The Clive Brown, Orchestrain Beethoven's by country. " "The Vienna, Early Music, 16:1 , 1988, pp . 4-20. H. Earle Johnson, GermaniaMusical " Cites socialand musicalconditions of orchestras Society, The Musical Quarterly, 39:I , 1953, in early nineteenth-centuryVienna. Also size, pp.75-93. Focuseson immigrant orchestrasin seating,methods of direction, and performance nineteenth-centuryAmerica, especially the practices. "Germania" chamber orchestra and its success Adam Carse,, The Orchestra in the XVIIIIh in America, 1848-54;also includes personnel lists Century(Cambridge: W. Heffer and Sons, 1940; and repertoire. "The rpt. New York: Broude Brothers, 1969). Pro- Ortrum Landmarr, DresdenHofkapelle " vides size, seating, methods of direction, and During the Lifetime of JohannSebastian Bach, discussesscores and parts for works composed Early Music, 17:1, Feb. 1989,pp . 17-30. Pro- in the eightheenthcentury. vides a survey of personnelpractices, constitu- , The Orchestrafrom Beethovento tion and size, comparisonsto other orchestrasof Berlioz (Cambridge:W. Heffer and Sons,1948). the time, and repertoire. JCG Vol" t 4. No. t 29 Marc Pincherle, L'orchestre de chambre PRonu.Bs (Paris: Larousse,1948). Containsa brief his- tory of the orchestrawith emphasison the pre- Robert R. Craven, ed.. SymphorytOrches- Romanticorchestra and return of interestin small tras of the United States:Selected Profiles (New orchestrain the twentiethcentury. Also includes York: Greenwood,1986). Containsprofiles of a substantiallist of chamberorchestra repertoire over 130American orchestras, including several after 1880. Written in French. chamberorchestras: Los Angeles Chamber Or- Hans-JoachimSchulze, "Johann Sebastian chestra,Handel and Haydn Society, Saint Paul " Bach'sOrchestra: Some Unanswered Questions, Chamber Orchestra, Orchestra da Camera of Early Music, I7:I, Feb 1989,pp. 3-15. Sur- Long Island, Ohio ChamberOrchestra, Concerto veys orchestrasknown to Bach, describing Soloistsof Philadelphia,and Northwest Cham- makeupand size, and contemporaryideas about ber Orchestra. Articles includebibliography and desirableperforming forces. discography. "Twentieth-Century Bryan R. Simms, Com- , Symphony Orchestras of the posersReturn to the Small Ensemble," tn The World: SelectedProfiles (New York: Greenwood, Orchestra: Origins and Transformations, Joan 1987). Containsprofiles of I22 orchestrasout- Peyser,ed. (New York: CharlesScribner's Sons. side the U.S., including the following chamber 1986),pp. 455-477. Concentrateson the nine- orchestras: Prague Chamber Orchestra, teenth-centuryprecedents and circumstancesof Wtirttenburg Chamber Orchestra, Stuttgart the early-twentiethwhich brought about a prefer- ChamberOrchestra. I Musicr, Polish Chamber ence for small orchestras. Includes a detailed Orchestra,Basel Chamber Orchestra,Moscow survey of the literature. ChamberOrchestra, The Academy of St. Martin Charles Sanford Terry, Bach's Orchestra in the Fields,English Chamber Orchestra. Arti- (London: Oxford University Press, 1932). Pro- cles includebibliography and discography. vides general background information together John Duarte, " Ten Years of the Hanover " with a chapter on each instrument or family of Band, Gramophone, 68:2, July 1990, p . 196. instrumentswith explanationof how Bach used Presentsa conversationwith the orchestra'sar- it. Containsmany tables showing which works tistic director. CarolineBrown. use particular instruments. Meirion and SusreHarries, The Academyof Sr. Martin in the Fields (London: Michael Jo- MnN.q.cnMENT lNo OpnRATroN seph,1981). This is a history of the first twenty- oneyears of this well-knownchamber orchestra. Ellen K. Grolman, "Working with the Very Many picturesand discography. " "The SmallCollege-Community Orchestra, American JosephRobert Herbison, Orchestrada String Teacher,36:2, Spring 1986, pp. 36-37. Camera of Long Island: An Historical Docu- Describesprogramming, recruiting, marketing, mentaryof a Catalystfor Arts in Education, 1957- andrehearsing the FrostburgState College-Com- 1982," DMA dissertation, The University of "oral munity Orchestra. Arizona, 1984. An history" with emphasis "Why Heidi Waleson, a Chamber Orches- on educationalprogramming. tra?," SymphonyMagazine, 38:2, April/May Helmut Kallman, Giles Potvin and Kenneth 1987, pp. 6-9+. Surveys administrationand Winters, eds., Encyclopediaof Music in Canada, marketingof the chamberorchestra. 2nd ed. (Toronto: University of Toronto Press, L992). Includesarticles on the Manitoba Cham- 30 JCG vol 14, No.l ber Orchestra,McGill Chamber Orchestra, of the concertmaster,Schonberg, and orchestra Tafelmusik, AmadeusEnsemble, I Musici Mon- morale. "The treal, and the National Chamber Orchestra of William Zagorski, Orchestraof St. Canada. Some of the articles incltrdepictures, Luke's and MusicMasters:How to Succeedin bibliography and/or discography. the RecordBusiness by Really Trying ," Fanfare, "The Norman Lebrecht, Searchfor a Semi- 13: 1, 1989, pp. 30-54. Featuresan interview " Conductor, in The Maestro Myth (New York: with Jeffrey Nissim, head of MusicMasters CarolPublishing, 1991), pp. 272-285. Describes record label, and Michael Feldman, Artistic Di- the plight of the chamber orchestra conductor rector of the Orchestraof St. Luke's. It includes and profiles of someof the best-knownconduc- some of the orchestra'shistory and philosophy tors of small orchestrasin the early music move- of programming and performance. ment, including: Neville Marriner, Christopher Hogwood, John Elliot Gardiner, Nickolas RnpBnrolnn Harnoncourt,and Roger Norrington. "Sounds RaphaelMostel, Like ChamberMu- JosephBraunstern, Musica Aeterna: Program " sic, ChamberMusic, 6:2, Summer 1989, p. Notes for 1967-1971 (New York: Musica 20+. Profiles the twenty-six-memberOrpheus Aeterna,1968; rpt. New York: Da Capo, 1973), Chamber Orchestra,which performs without a 2 vols. Third volume: Program Notesfor 1971- conductor. 76 (New York: Musica Aeterna, 1978). Gives Boyd Neel, The Story of an Orchestra (Lon- programnotes for about500 compositions,many don: Vox Mundi, 1950). Gives a personalac- suitablefor small orchestra. count of the founding and early years of Eng- Barry S. Brook, ed., The Symphony1720- land's first chamber orchestra of the twentieth 1840: ReferenceVolume (New York: Garland, century, the Boyd Neel Orchestra. 1986). Lists the completetable of contentsof RichardSmith, "Image and Reality," Gramo- the 549 symphonicscores by 244 composerscon- phone,68:1,June 1990, p. 13. This conversa- tained in the sixty volumes of The Symphony tion with ChristopherHogwood coverssuch top- 1720-I 840, with thematic indexes. Consistsof ics as early vs. modern instrumentsand appropri- works mostly for small orchestra. For eachwork ate literature for chamber orchestra. it provides: composer,title and numberlng, " " Nicolas Soames, Youth and Music, incipit, titles of movements, instrumentation, Gramophone,68:12, May I99I, pp. 2000-2001. date, sourceof manuscript,modern edition score Profiles the ChamberOrchestra of Europe. and parts, recordings. "The JohnWiser, HanoverBand is Ten Years Victor Rangel-Ribeiro and Robert Markel, " Old, Fanfare, l4:4,, 1991, pp. 68-74. Profiles ChamberMusic: An International Guide to Works a "period-instruments"chamber orchestra. and Their Instrumentation(New York: Factson "Orpheus John Wiser, at Eighteen: A Con- File, 1993). Lists works for chamberensembles versationwith Four Membersof OrpheusCham- consistingof up to twenty instrumentalparts, in- ber Orchestrawith an AppendedDiscography," cluding many works appropriate for small or- Fanfare, l4:1, Sept.lOct. 1990,pp. 52-68. Con- chestra. Entries include composer, title, in- tains a conversationwith violinist Guillermo strumentation,year composed/published,key, Figueroa, cellist Eric Bartlett, hornist William duration and publisher. Purvis, and orchestrafounder and cellist Julian Cecilia D. Saltonstalland Henry Saltonstall, Fifer. Among the subjectscovered are the role A New Catalog of Music for Small Orchestra JCG Vol. 14, No. I 3l "On (Clifton, NJ: EuropeanAmerican Corporation, JamesWebster, the Absenceof Keyboard 1978). Updatesan earlier volume by the same Continuo in Haydn's Symphonies,"Early Mu- authors(1940) of uncataloguedmusic in the Li- sic, 18:4, Nov. 1990,pp . 599-608. Describesa brary of Congress. This edition is compiled project of ChristopherHogwood and the Acad- mostly from retail catalogsof 200 publishersfrom emy of Ancient Music to record the complete thirty countries.Over 6,300 entriesinclude: title, Haydn symphonies. Gives approximatesize of imprint, date,catalog price, instrumentation,du- the orchestrathat Haydn wrote for and justifi- " " ration (when available). Small orchestra is cationfor omissionof continuo. "The defined as an ensemblewith a minimum of ten John Wiser, Hanover Band's Haydn: parts, including minimum of three string parts Roy GoodmanGives the BasicRecipe ," Fanfare, and a wind sectionof from two to twelve parts. 15:5. L992,pp . 96-102. Featuresa conversa- See also the items by Pincherle and Simms tion with conductorRoy Goodmanabout his pe- "Historv" under above. riod-instrumentorchestra's recordings of Haydn's symphonies. PBnronrrANCEPRlcucn Neal Zaslaw, Mozart's Symphonies: Context, Performance Practice, Reception (Oxford: " Daniel J. Koury, Orchestral Performance Clarendon, 1989) . The chapter titled Perfor- Practices in the Nineteenth Century: Size, Pro- mancePractice" deals with many issuesrelevant portions and Seating(Anrr Arbor: UMI Research not only to Mozart's symphonies,but to all or- Press,1986). Actually coversmore groundthan chestralmusic of the period, including: sizeand the title suggests. Also includes:size, propor- balance,seating, non-notated parts. instruments, tions, and seatingin eighteenth-centuryorches- venues, instrumentalperformance techniques, tras; conductingpractices; orchestral instruments tempo, repeats,standards, leadership and inter- in the nineteenthcentury. Many tables and pretation. The book also includesmany charts, charts; drawings and photos showing seating tablesand pictures. "Toward patterns. _, the Revival of the Clas- " Marc Mostovoy, " The Modern Orchestraand sicalOrchestra, Proceedingsof the Royal Musi- " Period Performance Practice, Journal of the cal Association,103, 1976-77,pp. 158-I87. Dis- Conductors'Guild, 10:3-4, 1989, pp. 97- 11 1 . cussesinstruments and performancetechniques, The founder/conductorof the Concerto Soloists interpretiveperformance, seating placement, con- ChamberOrchestra of Philadelphiadiscusses so- cert room, performancestandards, repertory, per- lutionsto a numberof Baroqueand Classicalper- sonnel,balance. Includesseveral programs, large formance problems and the issue of performing table of size and compositionof many or- on modern or period instruments. chestrasbetween 177 4 and 1796. "Improvised John Spitzer and Neal Zaslaw, Ornamentationin Eighteenth-CenturyOrches- {< :F ,F {< >l€ ,F {< ,F tras," Journal of theAmerican Musicological So- ciety, 39'.3, 1986, pp. 524-577. Explains the Dr. JohnJay Hiffiger is AssociateProfessor circumstancesunder which improvisationwas ac- of Music at the Universityof WisconsinCenter - ceptableand what kind of improvisation it was Fond du Lac and MusicDirector of the Fond du likely to be. Lac ChamberOrchestra. 32 JCG vol 14. No.l Scores& Parts Sy-phony No. 9 by Gustav Mahler (partII) compiled by JamesBurton & philip Gottling The corrections and references to the Mahler barlbeat - action needed svup'oNv No. 9, published by (JniversalEdition, are from the Internationalen Gustav Mahler FLI-]'TE I GesellschafrSvrvtpHoNy No. g, Copyright 1969. MovnuBNr I Usedby permission. Reh.#4/1 ..- sempre 86-89 the trill continuationmarks which are ,F {< {< *c rF ,t< ,F ,t< too long in duration; see score 9012-3 ..... end the trill beforebeat 4 94-95 Measurenumbers are usedfor most references, molto cresc. l0I,l02l3 . * tr continuationmarks in eachm. sincethe printed rehearsalnumbers are sometimes *17013 ....."molto espress.,'is not in CES,but the very widely spaced(and non-existentin the last other Wws have it movement). A guide is included to simplify the 38912 ...... [breathmark not in eitherscore] - task of adding the measurenumbers into the score 422 .. pp dim. 43I .. move "Molto and parts" Someerrors consideredto exist in the rit.,, to abovethe Bb. from its original locationin the followine m. critical edition score(cES) or parts (cEp) are in- dicated by asterisksplaced before the listings. MovnnrnNr II orchestra players are advised that some of the 29,30 slur ro nore following the trill scoresthey may own or refer to in libraries may 204,20511 . changefp to ffp in each m. 2481I not be in agreementwith some of the alterations the flat sign over the trill 248 .. made in their parts. changeslur to includeonly the 3 e.n. 33311 ...... change pp top When a beat number is given, the implied 3&tr ...... + f unit of beat is consideredto be the most basic 38211 ...... + inv. mordent b possiblebeat unit (usually the quarter note) for 39811 ...... + abovetrill 516-519... + dim. the current meter signature,regardless of what unit the conductormight conduct.Some changes MovpurNr III which may be considered unnecessaryto mark 30ll . move dim. here, from prev. m. are enclosedin parentheses. 118.. confineslur to first 2 notesof m. 23212 ...... + h.n. C (3rd space)following the e.n. t<{<{ JCG Vol. 14, No. l 33 Abbreviations Key INsrnucrtoNs Viola : Va DyNalncs : dyn : Should read s/r Cello : Vc crescendo : cresc. : (+) Add Double Bass : DB decrescendo : decresc. : Delete (-) diminuendo : dim. : Bar Bar number Buss : Br espressivo: espress. : m. measure(s) French Horn : Hn StaCCAtO : STQCC. Trumpet : Tpt subito : sub. NorBs Trombone : Tbn : eighthnoteirest e.n./r. : Tu Pn,ncussloN: Perc - Tuba quarternote/rest q.n.lr BassDrum : BD note/rest: h.n./r. half WoonwINns : Ww Cymbal : Cy = wh.n./r whole note/rest Flute : Fl Snare Drum : SD : natural nat. Piccolo : Picc Tambourine : Tamb Clarinet : Cl Timpani : Tmp ScoRn: Sc PiccoloClarinet : PCI Triangle : Tri : score CES critical edition BassClarinet : BCI Xylophone : Xy : critical edition parts CEP Oboe : Ob EnglishHorn : EH PInNo : Pno : Srnrxcs Str Bassoon: Bsn Violin: Vln Contra Bassoon: CBsn Hnnp : Hp FLUTE III bar/beat -action needed MovnvrnNr I MovnrvrnNrIV none 86ll-2 ..... confinetrill to the G e8...... -ff FLUTE II MowueNr II MovnvrnNr I 14313 stacc. doL lTIlI ...... + cresc. l83l3Vz ....+ stacc.dotone.n. 23711-2 .... * slur 198/1 ...... move"Flott."here fromprev. m. 33314 stacc. dot 204,20511 . changefp to ffp tn both m. 35711-2 .... + dim. symbol 3< ...... + f *416-4L7 .. [CES consideredto be in error here, with 56611 ...... + Reh.#27 "p" & "espr" in reverseorder for Fls & Obs] MovnunNr III MovnrunNr II 30ll . move dim. here from prev. m. 25lI-2 .....- slur 13812 these2 e.n. from the slur 20411 ...... changefp toffp 23212-3 .... + h.n. C (3rd space);then q.r. 33311 ...... + p 368-369 ...- cresc. 3&tL ...... + 43411 ...... + accent f "' 5I7-5I9 ... * continuationdashes after dim. 65511-4 . . . . + 8uu" above,for entire m. 662-663 ... t stacc. dots on all q.n. MovrunNr III 3011. move dim.here, fromprevious m. MowrvrnNr IV 23212 ...... + C (3rd space)h.n., thenq.r. rr4l2 ...... + ff 63611 extraneousmark 642-643 ... - slur in eachm. FLUTE IV cgva""'" 655/bef.1...... + for entirem., includinggrace notes MoveunNr I 661-664 ... * stacc. dot to eachq.n. 98-107 ..... + tacet [only Fls 1,2,3 playf MovnprnNr IV none MovnunNr II 198/1 ...... moveFlott. here from prev. m. 34 JCG vol 14,No. l bar/beat -action needed bar/beat -action needed 204,20511 . changefp to ffp 472.. - stacc.dots & removeslur 350/1 ...... + f 53711,3...... + s/ 4m/3 ...... + s/acc.dots MovptrnNr IV MovnunNr III 14512 ...... movedim. herefrom beat3 9712. changeffto f 14513-4 ....- stacc.dots 23212-3 .... + C (3rd space)h.n. aftere.n. & e.r. - 347 .. the dim. in this m. only OBOE II 53711,3...... + s/ "' 655 . . + 8u4" for the entire m. MovntrnNr I 661-662 ... * stacc. dots on the q.n. 86... -pcresc. 8912. move cresc. here from prev. beat MovsMENr IV none 102.. lst note s/r Db 17213 ...... + moltocresc. PICCOLO l95ll espress. 33014 ...... changef to sf dim. sym. MowunNr I 356.. - dolce r87tr ...... + f MovBnrBNr II Mol'nrvrcNr II none 25ll ...... -tr 82ll-2 .....- slur Moyeivrnur III 137.. changelast note from G# to G nat. I84ll-4 .... + s/ccc.dots 204-20511 . changefp to ffp 262-263 ...- dim" *242,24311 o ...... ICESmissing overtrills] 661-662 ... + stacc. dots on the q.n. 242,24413 .- tenutomarks 493 .. changefp to sfp Movevrnrvr IV none 519t3 ...... + ff 55012-3 ....- the3 e.n. OBOE I 610lI-3 .... exrenddim. sym.through the m. MovslrnNr f MoveunNr III - 8114. dolce 12412 marc. 8611. -pcresc. 16212 ...... lst e.n.s/r B nat. 11614 dolce 2l4ll-2 .... * slur 16514 ...... -p 402-403 ... changeA#s to Ds (up a 4th) 17213 ...... + moltocresc. # 518-519... * slur 312/4 ...... C nar.sign with theC") 537ll,3 ...... + s/ 376/l-2 .... lst beat slrf dirn. sym.; 2ndbeat s/r 56812-3 .... + stacc.dots for 3 e.n. cresc. sym. 62112,4 ....- stacc.dots on 2 e.n. 416-417 ... reverseespr. nd p 648,64911-2...... - stacc. dots 434/4 ...... + pp Movnuexr IV MovpprnNr II 111,1l2ll-2...... + dim. sym.in eachm. 137.. changelast note from G# to G nat. Il4ll accent 16612-3 ....- stacc.dots 14513-4 ....- stacc.dots for 2 q.n. 204-205/l . changefp to ffp 23711 ...... * dim. OBOE III 24311 ...... movep herefrom previousbeat 573/l ...... + accent MovpivrnNr I 86ll-4 p cresc.; * cresc.at laste.n. MovrvrcNr III 8912. move cresc. here from prev. beat 22614 espress. 17213 ...... + moltocresc. 46lll-4 ....- stacc.dors l95ll espr. JCG Vol. 14, No.I 35 bar/beat - action needed bar/beat-action needed Reh.#16/3 . changef dolce to ff lgll4 ...... change G to Gb 19711-2 .... + s/ 19812 ...... + s/ MovrvrnNr II t1 137.. changelast note from G" to G nat. 2241I accent 204-205 ... changefp to ffp 28512 ...... change f toff 28512 ...... changeE nat.to F nat. 29013-4 .... - gliss 30611 ...... showslur cont. from prev. m. 31412 ...... 3rd & 4thnotes s/r E nat.& C# 311 .. - doublebar line & key sig. change 35813 ...... s/r D-C-D-C-D-C 343 .. changecresc. to espr. 395l4Vz .... + tenutoline to the E 42112-4 .... + dim. svm. 47612 s/acc. dots 48912 ...... + sfp MovnnnNr II 491,49212 . chqtee sfp to I37 .. changelast note frgm Bb to A nat. - fp 51013 ...... + abovetrill I4ll3Vz .... changeG nat.to Gb 22911-3 .... - stacc.dots MowrunNr III 260 .. last note s/r F# 10812-3 .... + s/ccc.dots 389tr ...... + ff 22614 espr. 40013 ...... +stacc.dots 23511 s/ccc. dots 46312 ...... + stacc.dots Reh.#36l1 .- espr. 48912 ...... changesf to sfp 53711,3...... + s/ 49012 ...... changefp to sfp 62112 stacc.dot on e.n. 517-519... + dashesafter dim. 65011 ...... + gracenote A (2nd space)bef. Fr 57911 ..... " changemp to p: changesolo to soli 6llll-2... .*dim.sym. MovnrvrcNrIV 14513,4 ....- stacc.dots from 2 q,.n. Mol'arrnNr III 613...... + sf BNGLISH HORN AND OBOE IV 4212. move e.n. C down an octave *5llI ...... + accent MovnurNr I 146l|-2 .... - slurto 2nd beat Reh.#614r/z...... + accentto e.n. 1,8114 ...... change A to A" *t8ll4 28gll ...... [parthas D nat.; scoreshave Ebbi ... . ( + stacc.dots for bothe.n.?) 29514 ...... + cresc.sym. l83ll-2 .... + B nat.h.n. - *31412 ..... 3rd 16thnore s/r CF [w/Vln 1] 275 .. espr. 31412 ...... 4th 16thnote s/r F nat. *28811..... (tenutoline missingin the scores) 35512 ...... change f toff 307ll ,2 . . . . move theff from lst to 2nd beat 3ffill ...... + hervortretend MowunNr II none 44511-2 ....+ stacc.dots *52711-2 .. (only the Cls havea slur) MowunNr III 64V3 ...... + ff 6ll .. - dot afterthe h.n. MowunNr IV MovnrvrnrvrIV 14313 ...... + sf r07t3 ...... + ff 113.. * accentsfor 2nd.3rd. 4th notes CLARINET II CLARINBT I MovnunNr I 8613. * cresc. MovBunNrI 87t3 ...... + ff Reh.#2ll ..+ pp 9ll3Vz tenutoline on C l9ll . - accent 156.. changepp to p, 8313. I cresc. Igll4 ...... change G to GD 8713...... + ff I91lI,2 ...... + s/ 36 JCG vol 14,l,{o. I bar/beat -action needed barlbeat - action needed 19813 ...... + s/ 23511,2.... clarify the dynamicsso thats/is on beat * 223.. espress. &p is on beat2 22411 accent 301/end .... shouldbe a singlebar line - 29013-4 .... g/iss 31412 ...... 3rd & 4thnotes sir E nat.& C# 31412 ...... 3rd & 4thnotes s/r E nat.& C# 31414 ...... lsr notes/r Eb 35813 ...... s/r D-C-D-C-D-C 35813 ...... s/r D-C-D-C-D-C 398 .. changelebhafter to belebter 4041I ...... + accenr MornunNr II I37 .. changelast note frqn Bb to A nat. MoveivrnNr II I4ll3Vz.... changeG nat. ro G" I37 .. changelast note from Bb to A nat. 198/1 ...... moveFlott. herefromprev. beat l4ll3Vz .... changeG nar. to Gb 229lIVz-3Vz stacc. dots l93ll ...... change f to sf 260.. lasrnote slr F# 229llVz-3Vz s/acc.dots 368 .. s/r sameas Cls | 8Lz 260 .. last note s/r F# 389...... + ff 29212 ...... -p 4ml3 ...... + stacc.dots 389t1 ...... + ff *40lll .....+ s/ 489-49012 . change to fp sfp 4X)12 ...... changefpto W 57911 ...... changemp to p: changesolo to soli 5791I ...... * p: changesolo to soli MovntrnNr III MovarrrnNr III 41I,3 f s/ccc.dots 41I,3 changetenuto lines to s/ccc. dots 613...... + s/ 4212. move e.n. C down an octave 4212. move e.n. C down an octave *5lll ...... + accent *51/l ...... + accent r20t2 ...... + f 6411. * accent 12612 ...... + stacc.dot - 146ll-2 .... slurto 2ndbeat 146ll-2 ... . - slurto 2nd bear l8ll4 ...... 2e.n. s/r A# & G# *l8ll4 . ... (* stacc.dots for bothe.n.?) *l8Il4 ..... ( * stacc.dots for bothe.n.?) l83ll-2 .... + B nat.h.n. l83ll-2 .... + B nat.h.n. *28811 ..... (tenutoline missingin the scores) 27412 ...... + sl 445/l-2 ....+ stacc.dots *28811 ..... (tenutoline missingin the scores) 45llI ...... + accent Reh.#36ll .- espr. - 426 .. stark MovnnnNr IV 44511,2.... * slacc.dots l43ll-2 .... * slur 478,479 ... changetenuto lines to stacc. dots 14512 ...... movedim. here. from next beat 48011 ...... changeff to sf 6491r,2.... * sfacc.dots E.FLAT CLARINET MovolrnNr IV MovBnrBNr I 62tr-3 + slur l87l4Vz .... checkfor legibilityof accidental t43tr-2 * slur 289tr ...... + J/ Reh.#15 ... on eachbeat, * low G 16thsiurred to CLARINET III low E nat. 16th, then e.r. , wldim. atZndbeat 370l4Vz .... - accidentalsign MovnrvrpNr I 413/3 ...... + sehr weichgeblasen 2514. * accenr 8613. t cresc. MovrunNr fI 8713...... + ff 10512,3 ....- stacc.dots l9ll4 ...... change G roGD 19711,2 ...... + s/ MownrnNr III 19813 ...... + s/ 190-191 ... connectthe 2 slursinto I -ffespress. 200.. 23413-4 ....s/r h.r. JCG Vol. 14. l,'lo.I 37 bar/beat-action needed bar/beat-action needed 534t3 - inv. mordent [or:add to Cls 1,2,3?7 237t2 ...... + ff &6tL +s/ 23714 ...... + dim.. . . 238l4Vz ....+ p MovnunNr IV none Reh.#l4ll,z .....- sf tt 31413 ...... Znd16th note s/r C" BASS CLARINET 35013 the extrae.r. 35813 ...... s/r B-A-B-A-B-A Movpunxr I 39412 ...... movecresc. here, from4thbeat 2614...... + p 80/3 . changeff to f 8613. * cresc. MovsN{BNr II l0ll3 stacc. dot 55ll-2 .....- slur l23l4v2 .... * dim. 8l . . . changetenuto lines to stacc. dots R:eh.#1ll ..+ pp 106ll ...... changesf f " "to 18313-4 .... + 14" below note-group l4ll3Vz .... changeE" to E nat. 358t3 ...... s/r c#-g-c#-g-c# -g 29912 ...... + ff 35611-2 ..."- slur MovennNr II 40213 ...... changef toff l5ll . changef to sf 416ll ...... + sempre 3s9t3 ...... + f 43012,3 .... changeD to Bb (down a 3rd) 360/I ...... changef to p 45213 ...... + 2 e.n., sameas beat 1, slurred 44Ur ...... -f 48511 ...... + s/ b 53413 ...... change ff to f 52011-2 .... - slur & aboverr 1bnot in CESI D 560-5621r . + s/ 52211 ...... + abovetrill 5831r ...... + p 54311-2 .... * slur 54411-2 .... * slur MovnunNr III 146ll-2 .... * slur 17012 ...... changeB nat.to Bb Mol'nrrrnNr III *Reh.#38 .. * cresc. 12812 stacc^ dots (4) 4l0ll ...... + slurfrom m.409into 410 17012 ...... chanseAb to A nat. *4l0ll ..... + f [not in eitherscore] r83t4 ...... lstnote s/r F nat. "non 59314 ...... move legato" here, from next beat 20Ul stacc. dot 5g5-5g7 ... changeslur to start with C# and extend 222t1 ...... + tenutoline for the G into the G# 235tr stacc. dots 627tr +sf 238t3 ...... + accent 628tr +sf 291.. s/r q.r., low A q.n. sy' 294.. s/r q.r., low A e.n.,e.r. MovsunNr IV 32514 stacc. dot. 93l2Vz . .. .. changemf to p 337.. 3rd note s/r Gb *404-410lReh.#38. [dynamicsuncertainforBsnsl-31 BASSOON I (cresc.to f) 545 .. * semprestacc. MowunNr I 561.. changep espress.tof 4611,3 ..... + high C & C# h.n. (unis.w/Vc), slurred 614ll ,3 . . . . changetenuto lines to stacc. dots from previous m. 63ll . move cresc.here, from previousm. 63t3. - accent MovnunNr IV 8614. +ff 72ll . * cresc. t97tl +s/ I3)llVz .... 2nd note(F) shouldbe a q.n. 20712Y2 +pp l3}l4 ...... lastnote (CD) should be an e.n. 21012 ...... + morendo l4ll3 ...... + cresc. 21512 ...... s/r slurfor four 16thsonly r42n ...... + f 38 JCG vol 14, No.I bar/beat -action needed bar/beat-action needed BASSOON II *404-4101#38.... [dynamicsuncertain for Bsns 1-3] (cresc.to fl) MoveunNr I 5l8ll-4 . . . . changedim to cresc. sym. 4611,3 ..... + high C & C# h.n., slurredfrom 545 .. * semprestacc. previous m. 56112 ...... changep espr.to f 5212-3 ..... move dim. here from previousbeat 51411,3.... changetenuto lines to stacc. dots 53ll-2 ..... + dim. sym. 64912 ...... + stacc.dots 63ll-2 .....+ cresc. 655-656 ... eachm. shouldhave a separateslur 86t4...... "+ ff 659.. 4th e.n. s/r C#. not E l0ll3 stacc.dot I97ll ...... + s/ MovBunNr IV 21513 ...... s/r slurfor four 16thsonly 45ll-3 ..... + hairpins:cresc. - dim. 21613 ...... move s/here from prev. Vz beat 4712-3 ..... + dim. sym. 237t2 ...... + ff 6314...... + p 23714 ...... t dim. 110/1 ...... + ff 238141/2 .... + p I2Ill ...... + slur into B nat.h.n. 24814 ...... change ffl,o f 1431I ...... movecresc. here from prev. m. 292. " changeDr to D nat. 29311,2...... -sf u BASSOON III 31413 ...... (2nd note s/r C") 32813 ...... + quarterrest Mol'nnrnNr I 35713 ...... + accent 4611,3 ..... + high C & C# h.n., slurredfrom 35813 ...... s/r B-A-B-A-B-A. with accenr previousm" 4AUI ...... + p 5213...... + s/ 408-409 ...- tie 5213-4 ..... movedim. here from prev. beat 86t4...... + ff MowprnNr II I0ll3 stacc" dot 55ll-2 .....- slur I97ll ...... + s/ l4ll3t/2.... changeE# to E nat. 21513 slur into low Bb 30611 ...... s/r singlebar line 23712 ...... + ff 35611-2 ....- slur 23714 ...... * dim. 43012-3 .... changeD to Bb (downa 3rd) 238l4Vz .... + p 45213 ...... + 2 e.n.,same as beat 1, slurred Reh.#14l1,2 .... - sf 4851r ...... + s/ 29811 ...... + slurinto E fromprevious m. sr6tr ...... + f 30911 ...... + accent b 52OlL-2 ....- rlur & aboverr 1bnot in CESI 31413 ...... Zndnote s/r C# b 52211 ...... + abovetrill 35812 ...... + accent 59911 ...... changemf tof 35813 ...... s/r B-A-B-A-B-A 40613 ...... * p MoverurNrIII 36-37 ...... Bsn 2 shquldbe unisonw/Bsn 1 MovsrrnNr II 6413-4 ..... changeAD to Bb 3313. - dim. 12812 stacc. dots (4) 55ll-2 .....- slur 14612 ...... - dim. L3813 ...... + stacc.dot 17012 ...... changeAb to A nat. l40ll-3 ....+ stacc.dots 183/4 ...... lst notes/r F nat. l4ll3Vz.... changeE# to E nat. 18713,4 .... + s/acc.dots 14312-3 ....+ stacc.dots 22212 ...... changetenuto line to stacc. dot 43012-3 .... changeD to Bb (downa 3rd) 23511-2 ....- stacc.dots (3) 440.. - longslur 23813 ...... + accent 48slr ...... + J/ 32514 stacc. dot 516lI ...... + f b 3371. 3rd note s/r Gb 52011-2 ....- riu, & aboverr 1bnot in CESI JCG Vol. 14. No.I 39 bar/beat -action needed bar/beat - action necde-d b 5221r ...... + abovetrill 13412 stacc. dot 53413 ...... changeff tof 13814 ...... + stacc.dot 599 .. changemf to f l40ll-4 ....+ stacc.dots l4ll3Vz .... changeE# to E nat. MovnrvrnNrIII 194tr ...... + ff 613 .. - stacc. dot 240 .. * Tacet [for this m. only] 35-36 ...... s/r G,F,E,Bb,A,G,F(while Bsns i & 2 35913 ....."+ sl are a 3rd higher in unison) 3941I ...... + accent 12812 stacc. dots (4) 40213 ...... change f toff . 14614 ...... -dim. 43012-3 .... changeD to BD (down a 3rd) I52ll ...... + stacc.dot 45lll ...... 2nde.n. s/r D nat..not DD 18314 ...... 1stnote s/r F nat. 48511 ...... + sf 19612 ...-sf 20lll stacc. dot MovnuBNr III 2l7lI ...... + accent r46t2 ...... -dim. 23511-2 .... - stacc.dots (3) 18314 ....." lst notes/r F nat. 236-237 ... + stacc.dots 18314 stacc. dots 23813 ...... + accent 291-295 ...Bsn 4tacet thesem. 337.. 3rd note s/r Gb 510...... -p 3&ll ...... change pp top 511...... -pp *404-4101#38....[dynamics uncertain for Bsns 1-31 5t4...... -p (cresc. to fl) 599-601 ... slur shouldstart with 3 e.n. & eo into Reh.#41l1-2..... * slur downbeatof m.601 55514 stacc. dot 60Ill ...... sirBb 56112 ...... changep espress.to/ 655-656 ... eachm. shouldhave a separateslur 614ll,3 .... changetenuto lines to stacc. dots 617 .. move Piu stretto here from 2 m. before Mol'nnrpNr IV 64912 ...... + slacc.dots 29 ... articulations/r q.n. slurredinto e.n. C# 6&12 ...... move low A to C (up a 3rd) (no dot), followed by separateD" e.n. (no dot), then 3rd beat slurredinto 1ste.n. of 4th beat. MovsunNr IV followed by separatefinal e.n. (no dot) 4l ... s/r A (bottomspace) h.n., slurreddown 59ll . + accent to E q.n., q.r., wlcresc.- dim. 60,6lll-2 . - slur 56 ... * slur for the 2 h.n. 7l ... * slur for the 2h.n. HORN I l2lll ...... + slur into the downbeat 13913 ...... s/r unisonwith Bsn2, throughm.141 Mol'nurnNr I t43lI-2 .... + cresc. 5112.3 .....* slur 6214. s/rBnat "*" CONTRABASSOON & BASSOON IV 80/1. -the signoverthenote 8312,3 the tie into the rest MovrrvrnNr I 9Il3 . * slur over the 2 notes 22413 ...... - sf g5l2 . * stacc. dot for D# 28413 ...... + accent 9514. (3rd notes/r D) 28st2 ...... + ff ll2ll espr. 28713 ...... change ff to f 120.. * accent 28713,4 .... + accentto eachq.n. 158/l ...... + espr. "Allmrihlich 295 .. - dim.; * cresc. sym. on 4th beat I&12 ...... move flielSender"to 4th beat 35711 ...... change p tof Reh.#912,4...... + 3 undereach group of triplet l6ths 180/1 ...... + s/ MoynrvrnNrII Reh.#llll ...... + slurfrom previousm. 84 ... - changeto Bassoon Rleh.#lZll . changef to p 111.. * chanseto Bassoon 226 .. - offen 40 JCG vol 14, l,'lo.l bar/beat-action needed bar/beat-action needed 245,24714 . change f to ff 607 .. changeff to f 28lll ...... change f to sf 62512 ...... + stacc.dottoeache.n. 28514 ...... + f *62612 ..... + stacc.dots (missing inboth scores) 3l7ll ...... +psubito 63114 ...... + stacc.dot 32214 dim.; both e.n. shouldhave accenrs 647n ...... + f 32414 dim.; (no accentson the e.n.) 336/end .... + doublebar line MovprvrcNrIV 33911-3 .... extendslur to includeh.n. l29ll ...... change f to ff 34414 ...... changesf to accent l32l2Vz .... + remindernat. sign for theC 34514 ...... changef to accent 3s9t2 ...... + f - 38714 ...... slur HORN II 38913 ...... move dim. to 4th beatonlv - 39413-4 .... cresc. MovBunNr I 398 .. rempoindication slr Etwas belebter 6214. s/rBnat. 4l5ll-4 .... + morendo; + triplet bracket for 6512,3 cresc. 3 h.n. 9512. * stacc. dot for D# 9514. (3rd note s/r D nat.). Mol'nrrnNr II 99ll . * slur from F to C# 5513. changegrace nore from E to D# Il9ll accenr 21713 ...... s/r dim. sym. Il9l2 ...... * dim. zr8.tr ...... +(p) 120 .. * accenr; clarify dim. 25112 ...... + stacc.dot abovee.n. 137 .. + (Ddmpfer ab) 25813 ...... changeB nat.to A 156-157 ... s/r bassclef: E below sraff 33311 ...... -me 18812 ...... + accenton eache.n. 39911 ...... (* accent) l%ll ...... + s/ 5l3ll ...... + accent l92lend .... + doublebar line 51913 ...... + stacc.dot for eache.n. 20Ur .. .-tr - 52011 ...... + tr on q.n.; slurto 2ndbeat 20311 ...... change pp top 533-534 . . . changedim. to cresc. Reh.#l2ll . changemf to p 54011 gestopft(- for Hns I & 3 only) 23411 ...... change cuivrer to cuivrez lor cuivrll 582-58513 - . slur into next m. (4 times) 24514 ...... + dim. sym., exrendingthru dottedh.n. 584/2 ...... + dim. of following m. 585.. - dim. 24714 ...... s/rfrwldim. sym. rhrudotted h.n. 5861r ...... +pp 25614 sf; * q.n. - stem 587.. mp 25711 ...... changep to "pp (deutlich)" - 596,59813V2..... slur from e.n. into next downbeat 26311 ...... + p 599.. changeh.n. to dottedh.n.; - rest Reh.#1413 . changesf to ff 29514 ...... + cresc.sym. MoyprrnNr III 304l3Vz.... clarifyq.n. stem - 12212 ...... + accenton lst e.n.; dim. 30711 ...... + Rit. 165ll ...... + stacc.dot on lst note 3l3ll ...... - Rit. l84ll,3 .... * slur from eachgrace note to its 3l7ll ...... +psubito principal note 32214 ...... - dim. 194,195 ... * triplet designationas needed 32414 ...... - dim. 23011 ...... + accent 336lend .... + doublebar line 2621I ...... + tenutoline for q.n"; * subito afterp 3Tllend .... + doublebar line 2761. s/r slur only from q.n. ro lst e.n. 39lll ...... changeoffen to gest. 279.. move the/to the 2nd beat 39612 ...... + offen 291/1 ...... + tenutoline 41014 ...... + dim. 39Ut ...... + f 4IIll-3 ... . + dim. sym. 462 .. change gestopft to mit Dtimpfer 4l2ll-2Vz . * cresc.- dim. svmbols 52711-2 ....- slur 4l5ll ...... + morendo JCG Vol. 14, No. I 4l bar/beat-action needed bar/beat-action needed MovrprBNr II 3l7ll ...... +psubito 36 ... move dim. to 2nd beat & p to next m. 32511 accent -sf; 3712. changeD,,to E (up a 2nd) 344,34514 *accent l4ll3v2 .... changeBr to B nat. 39lll ...... changeoffen to gest. Reh.#21 ... clarify bar line 39612 ...... + offen 28411 ...... + offen 415 .. I morendo & triplet bracket 316ll espress. 437,43811 .-accents MovnupNr II 441,44211 . - accents l3gl3Vz.... changeAb e.n. to G 44611 ...... + accent l4ll3Vz .... changeB# to B nat. 520.. - slur 368 .. * fermata over rest 557,558 ... - slur in eachm. [Bsnsdo slur] 423 .. sh TempoII 56811 ...... changeF to G (up a 2nd) 45213 ...... + q.n.stem 58712,3 . .. . + stacc. dots for the 3 e.n. 47211 ,.... . t tr 589.590/3Vz ..... - slur from laste.n. into downbeat 5l3lt ...... + accent 60611 ...... + accent 520 .. I tr: - slur 521.. - slur MowunNr III 52913 ...... + dim. sym., continuingthrough beats 1 t813. * tenutoline & 2 of the next m. 18/end ..... clarify bar line if necessary 53313 ...... changedim. to cresc.sym., continuing 2014. changef toff throughbeats | &2 23011 ...... + accent 540 .. - gestopft 2331I ...... + tenutohne R:eh.#27 ... * gestopfi 326-328 ... s/r an octave lower than printed 582-58513 . - slur into next m. (4 times) 36711 accent 388/3 ...... move cresc.to beg. of next m. Mol'nunNr III 438 .. changemit Sord. to gestopfi 2014. changef toff 52711-2 ..."- slur 83/end ..... + bar line if necessary Reh.#43l3 . (2nde.n. s/r G#) l58l2Vz ....s/r C" 625,62612 . * stacc. dot for eache.n. 159/end .... + bar line if necessary 19213 ...... s/r e.n. MovprvrnrvrIV 2}llend .... clarify bar line *f 23011 ...... + accent 5611. u Tlll . s/r F" 255lend .... clarify bar line ll2ll,2 .... * molto cresc. 265 .. s/r slur from q.n. to lst e.n. only l32l2Vz .... + remindernat. sign for the C 292-294 ... clarify notationif necessary 316-317 ... clarify notationif necessary HORN III 326-328 ... s/r an octavehigher than notated 4611I ...... + stacc.dot MovnrrBNr I 52'7lI-2 ....-slur u 4212V2 ..... + accent,, R:eh.#4313 .Qnd e.n. s/r G") 4314. clarify D# notation 62514 ...... + stacc.dotforeache.n. &12...... + p 8312,3 the tie into the rest MovnuBNr IV 9512. + stacc.dot for D" 63ll-4 ..... + dim. sym. " 9514. (3rd notes/r D nat.) 69 ... move Etwas (unmerklich) drcingend" 96 ... + Reh.#6 to m.70 ll3ll ...... + continuationslur from prev. m. l32l2Vz .... + remindernat. sign for the C It9ll accent 183/1 ...... changeB to E (up a 4th)(wl#) HORN IV 19712 ...... s/r s/ 22lll ...... change mf top MovnunNr I 247,249 ... changefp to ff llSVz changep to pp 42 JCG vol I 4, No. I bar/beat-action needed bar/beat-action needed I9lI . + pp 25311-2.... s/r F# 2613. * accenr 32514 ...... changemf to p 5312. * stacc.dot on eache.n.; +ff 46211 ...... + accent 9512. * stacc.dot for Dr 4&ll ...... change f to mf 9514. (3rdnote s/r D nat.) 46611,3. . . . changetenuto lines to stacc. dots 13613 ...... + (Drimpferab) 46711 ...... + stacc.dot 156ll ...... + p 518lend .... + bar line 173.. s/r E nar.h.n. [diss.];then Ebh.n" 52414 stacc. dot 181.. * moltocresc. 526lend .... + bar line Reh.#10/1 . + ff 52711-2 ....- slur 190/1 ...... + s/ 53913 ...... clarify note stem/flag l92lend .... s/r doublebar line 54211 ...... + accenr Reh.#l2ll . changemf to p Reh.#42lbeg..... * bar line; clarify Reh#. 23613 accidentalsisn after lst note Reh.#4313 . (2nde.n. s/r G#) 278.. lsr nore slr E{ 5951I stacc. dot 30lll,2...... + sf 59711 ...... gracenore s/r F# 3l7lI ...... +psubito 608 . . + stacc. dot for each note 32214 ...... - dim. 6llll ...... clarifynotation & ff 336lend .... s/r doublebar line 61812 ...... clarify note stem/flag 39lll ...... changeoffen to gest. 62414 ...... clarify norestem/flag 39612 ...... + offen 62514 ...... + stacc.dot for eache.n. "*" 44714 the sign 63211 ...... clarifynoration 647n ...... + f MovnrvrnNrII 3413. +s/ccc.dors MovsurNr IV l4ll3Vz .... changeB# to B nat. s6tr...... +f "cresc." l4Tlend .... s/r doublebar line ll2ll ...... + below"molto" 316ll espress. 118iI ...... + Schalltr.auf - -both 316,317... both accenrs; dim, l32l2Vz .... + remindernat. sign for the C 32011-2 .... + .rracc.dors 3331I ...... changepp to p espress. TRI.II\4PET I Reh.#24lbeg..... s/r doublebar line 446/l ...... + accent Mol'nunNr f - 520 .. slur 4211. changemf tof - 521 .. slur 10312-4 .... - all s/acc.dors 52911 langsam 106/1 ...... changesff to ff 53lll ...... clarify e.n. & e.r. l77ll ...... repositionthe 3 over the 2nd 16thnote 53313 ...... changedim. to cresc.sym., continuing 180. . + stacc. dots on the two l6th notes throughbeats | &2 of the next m. 294.. - gkinzend 553/end .... + bar line; clarify Hn I cue 32311 ...... change mf tof Reh.#2711 . * gest. 34311 ...... change mf tof 35811-2 .... h.n. s/r B (3rd line) MovelrnNr III 36514 ...... + sehr (abovehervortretenfi l4/1. *h.n.srem 37412 ...... contintrecresc. into 4th beat 183. * tenutoline 416 .. changeetwas to sehr 2014. changef toff; clarify stem 2Olend ..... + bar line Mol'BunNr II 4314. s/r A#-B 142,14413 .*stacc.dot Reh.#2914 . clarify srem(s) 368 .. * fermata 5313. clarify stem(s) 48511 ...... + s/ 5913. clarify stem(s) 75lend ..... + bar line MownnNr III l09ll ...... s/r L'istessotempo 3414...... + f JCG Vol" 14, No. I 43 bar/beat-action needed barlbeat - action needed on the two 16thnotes; 4th 89ll . 2nde.n. s/r F 180.. * stacc. $ots 307 .. * mit Drimpfer beats/r G-G-G (no F" ) 35211 accent l90ll ...... changesf to p; * accent - 355 .. * commaafter w.n. 304 .. Triole etwasflilchtig 52211 accent 30912 ...... + s/ 53114 ...... Tpt 1 shouldbe tacetthru m. 533 32311 ...... changemf tof 543llVz.... - stacc.dot 32711 ...... change mf tof '7 611 .. * (ohneDdmpfer) 32914 ...... sf, 6lT lend .... + bar line 36314 ...... s/r Fo e.n. slurredto E 16th 63811 accent 416 .. changeetwas to sehr 660/end .... + bar line MovnunNr II MowrunNr IV l4T lend .... s/r doublebar line 43lbeg. .... clarify doublebar line 368 .. * fermata 67lerd ..... clarifu doublebar line MovsnanNrIII 6511. changef to sf TRUMPET II 185/1 ...... changeZnde.n. to G nat. t85t4 ...... + ff MownnNr I lgSll ...... change Eb to E nat. 104-105 ... - s/ccc.dots Reh.#36 ... * mit Sord. l77lt the triplet bracket& its 3 331 .. + accentto eachh.n. [but not in m. 332] t7913 ...... dotted q.n. s/r E nat. 453lend .... clarifu bar line l90ll ...... changes/ to p; -l accent 52311 accent 32311 ...... change mf tof 52714 ...... clarifynote stem 32711 ...... change mf toff s82t2 ...... + f 32913 ...... clarify stemof 3rd note 611 .. slr (ohneDdmpfer) 32914 ...... + y 416 .. changeetwas to sehr MovnunNr IV tacet MowunNr II TROMBONE I 158/1 ...... + cresc.symbol 30711 ...... slr A nat. MovnrrrnNr I 48511 ...... + sf 111 .. * deutlich [below the staffl ll9l2Vz ....+ stacc.dot MovnnnNr III l28ll ...(-unnecessaryaccidental) r8st4 ...... + ff 12913 ...... + (Ddmpferab) 52814 ...... clarifynote stem I74 .. (- unnecessarymarks) 60212 ...... + sracc.dots 24313 ...... change mf tof 6lIl . * (ohneDdmpfer) 256 .. + (deutlich) [below the staffl 3llll ...... + p MovpnrnNr IV none 34614 ...... + p; - p from followingbeat TRUMPET III MovpunNr II 368 .. * fermata MovnrunNr I 47913 ...... + p 104-105 ... - stccc.dots 52IlI-2 ....- slur llT l2Vz .... + stacc. dot 17213-4 .... s/r F nat. lnot Fr) [diss.] MovnunNr III l77lI triplet bracket; repositionthe 3 over 196 .. -r mit. Drimpfer the 2nd 16th note 200 .. t ohne Ddmpfer 17712 ...... changeZnd triplet note to G & place 3 294 .. confine slur to this m., not into m.295 over it *46813.4 .. * stacc. dot for eachnote [not in scores] 44 JCG vol 14, No.l bar/beat-action needed bar/beat - action needed 469tr +sf 253lend *543t1 .... + fermata over bar line * (stacc.) [not in the scores] 3l5llVz .... *55914 * stacc.dot * stacc. dot [not in the scores] 416 .. changeetwas to sehr MovnunNr IV none MovnnanNrII 103/beg. ... s/r singlebar line TROMBONE II 146ll ...... clarify bar line 28811, ...... clarifybar line MovpprnNr I -l 368 .. fermata 9612...... + s/ 52lll-2 ....-slur 111 .. + deutlich [below the staffl 584-585 ...- slur 238 .. To conform with the CES, Tbns 2 & 3 would need to exchangeparts for I m. Movpnannr III Reh.#13/3 . changemf to f 196 .. + mit Ddmpfer 3l9ll-4 .... + dim. symbol 200 .. * ohne Drimpfer 347lbeg. ... s/r doublebar line 46611-4... . * stacc.dot for eachnote 36113 ...... clarifunote stem 46911 ...... +sf 52814 ...... changethe rwo A e.n. to Es MoneNrnxr II *544 ...... + (stacc.)[not in the scores] 168.. correctthe spelling "dasselbe,, *55914 of ..... + stacc.dot [not in the scores] 368 .. + fermata 619 .. + stacc. dot for eachnote - 52lll-2 .... slur 66211 ...... clarifvbar line Reh.#26lbeg..... clarify bar line MovpnrnNr IV MovpunNr III 113 .. changezdgernd to drringend 181/end .... + barline ll4lI ...... clarifli note stem 196 .. # mit Drimpfer I32ll ...... clarifu note stem 200 .. * ohne Drimpfer 2l4lend .... + bar line TUBA 267 .. clarify note stem 294 .. confine slur to this m., not into 295 Mol'orurpNr I 366-367 ... * slur 119.. - offen *46911 .....+ s/ 12412 ...... + Ddmpferab *54311 ..... + (stacc.) [norin the scores] 168,16911...... * stacc.dot for eachnote *55914 ..... + stacc. dot [not in the scoresl 17512 ...... changefftof r77t2 .. -tr MovrnrBNr IV 32lll ...... + verklingend[below the staffl 67ll-2 .....s/r F# 324lend .... clarifu bar line 6714. changeC to Gb (4rh space) Il4ll ...... clarifonore srem MovBnrnNrII 126-129 ... - brearhmarks [addedby a player] 368 .. * fermata 52211-2 ....- slur TROMBONE III Movnprnrvr III Movnunrvr I 78lend ..... s/r doublebar line rclll ...... change ff to sf 182.. change2nd note from Bb to Ab r0u3 ...... + ff 46911 ...... + s/ I0Tlend .... slr doublebar line 529 .. each note should have stacc. dot 12913 ...... + (Dtimpfer *54511 ab) ..... + (stacc.) [not in the scores] 238.. To conform with the CES. Tbns 2 & 3 5ffi13 stacc. dot would need to exchangeparts for 1 m. 63212,3 . .. . + stacc. dot for eachnote 24011-2 .... changeq.n. to h.n. *661-664 .. each note should have stacc. dot 24311 ...... changemf tof [scoresdo not have dots in m.664] JCG VoL14, No.I 45 bar/beat -action needed bar/beat -action needed MovnrvrnNrIV none 647,65011-4 ...... -t dim. sym., for Beckenonly 667I (lastm.) .. ... - the accents TIMPANI I & II Mol'nunNr IV none MowprsNr I 107/end .... s/r doublebar line TRIANGLE 113-114... - all accents 120-I2l ... f accentto eachq.n. MovsN{BNrI L22ll poco meno 185.. sh dim. sym. followedby pp 186ll-4 .... + dim. symbol 202-210 ...(At Reh.#l1) Timps 1 & 2 partsare MovnnrBNrII reversedfrom their designationsin the scores 218 .. * TempoIII 20414 ...... + dim. (for the q.n. line) 28911 ...... + f 20514 ...... dynamics/r p (for the q.n. line) 291 .. + FlieBend 206.. s/r no dynamic mark for the q.n. until the 4th beat. which shouldbe marked dim. MovrrvrnNr III 20714 ...... + pp for theq.n. l22lI ...... change f to sf 234lbeg. ... s/r double bar line; tempo indication 27512 ...... change f to sf missing 28811 ...... change f to sf 28llI ...... changemf to sflchangeB to BD 28511-3 .... s/r q.r.; q.n. F" tiedto e.n.; wltr, sf dim. MovnnasNrIV tacet *335,336 .. [scoresshow no accentsin thesem.] 34614 ...... movep here, from the followingbeat TAMTAM, GLOCKEN, GLOCK., 365-369 ... changef to sf (5 times) KLEINE TROMMEL 37412 ...... changef toff MovnunNr I Movnvrnxr II I0Tlend .... slr doublebar line L25-12812,3...... + s/for eachq.n. 345-346 ... * accenton eachq.n. 289t3 ...... + f 368 .. * fermata Mol,unrnNr II Reh.#Z1lbeg..... s/r doublebar line 29lll ...... + Flie$end MownrnNr III MownrnNr III none Reh.#33 ..beg. sir doublebar line 52811-3 .... + stacc.dot for eachq.n. Mol'uuBNr IV tacet *5291I-3 .. * stacc. dots, as in previous m. [missingin the scores] HARP (r) 616lend .... s/r doublebar line [Note: The CES doesnot specify 1stand 2nd harps,but it " MovnrunNr IV doesparenthetically indicate some passages to be zu 2," l20ll ...... + moltocresc. while the Kalmus score and parts are individually speci- fied as l st and 2nd parts. In Dani els' Orchestral Music , it BASS DRLM AND CYMBALS is stated that I or 2 harps may be used. For the 2nd harpist, it might be preferableto use a copy of the Harp I MovsprnNr I part on which the passageswhich are to be doubled are 30812 ...... changeff to f marked.l MovpurNr II MovnunNr I 368 .. * fermata 31 ... * Resonanztisch [above the staffl 80 ... * nicht gebrochen MovnnrnNr III 86tr...... + ff 180/1 ...... changef toff 348 .. eliminateunnecessary marks 530 .. * mit Schwammschrigel 34914 ...... + cresc. 46 JCG vol t4. I,to. l bar/beat -action needed bar/beat-action needed 367t3 * 5 over the quintuplet 36713 ..... " + 5 abovethe quintuplet 408tr -p MovntrnNr II tacet MovrrranNr II tacet MovnvmNr III MowvrnNr III 440-505 ... nothingpresent in Kalmus Harp II part 468tr * p before the cresc. 508-510... - accenrs 508/1 + ff (for the left hand) sIIn ...... + f 508/3 + pp (for the right hand) 5ITIT +f MowunNr IV tacet MowvreNr IV none lHarp I playsm. 88-1061 HARP (rr) MoveiunNr I James Burton was Principal Librarian with 47 ... (the lst placewhere both harpsplay) the Honolulu Symphony Orchestra and Philip Reh.#4 ..... From m. 57 through85, the Kalmus Harp II part has rests, while the CES never Gottling, his assistant, at the time this errata o'zu indicatesa changefrom 2 "" list was prepared" Dr" Burton is currently ls 120-167 ... nothing presenrin rhe Kalmus Harp II Principal Librarian of the Florida Philharmonic part Orchestra; Mr. Gottling is still with the Hono- 36514 ...... + 5 above the quintuplet Iulu Symphony. Books in Review Heinrich Schenker,Beethoven's Ninth Symphony; tions with great profit, whether they com- a portrayal of its musical content, with running pletely agreewith them or not, since the commentary on performance and literature as positive knowledge,the objectivededica- well (translationof Beethovensneunte Sinfonie), tion, and the penetrating quality of the translated and edited by John Rothgeb (New Schenkerianmethod of investigationwill Haven: Yale University Press, 1992),,332 pp., involve the reader too as a participant in 450 musicalexamples, listing of works by Hein- spirit.(p. xv) rich Schenker,$37.00, ISBN: 0-300-05459-9 Severalimportant conductors discussed the work Reviewed by Peter Gibeau with Schenker,Wilhelm Frirtwangler being the best known. He wrote that When Schenker's Ninth first appearedin I9I2, it receivedrave reviews. Max Graf wrote Here for the first time, I found no rn Die Zeit (June1913) hermeneutics;instead, the question was asked, simply and objectively, what re- Musicians and educated music lovers ally standsbefore us in the work - the will read Heinrich Schenker's explana- Ninth Symphonyby Beethoven.(p. xiii) JCG Vol. 14, No. I 47 "reveal The Ninth was Ftirtwangler's introduction to its goal is to the musrcal content of the " Schenker,and he often consultedhim in subsequent work. To this end, Schenkerexamines form, score preparations. Other conductorswho ap- motivic connections,orchestration, registral details, proached Schenkerregarding the Ninth were and dynamics,often establishinglinks amongsev- BernhardPaumgartner, Fraru von Hoesslin, and eral of thesesubjects. Harmony is anothercrucial Paul von Klenau, the last during the preparation elementin Schenker'sanalytical process, and al- for the symphony's hundredth-anniversaryper- though Schenker'streatment of harmony usesfa- formancein 1924. He wrote miliar Romannumerals with figured basssymbols, a deepertheory of Stufe(scale-step) is inextricably I am just now reading your Beethovens bound to his harmonicconception. For the reader neunteSymphonie wtth great gratification: unfamiliar with Stufe,Schenker cites specificpas- a splendidbook, full of vitality and from a sagesin his earliertreatise, Harmony (1906),that vital source. Your approachis unusually explain the concept. The citations can easily be provocative. The materialcomes to life in found, as they refer to pagesin the readily avail- an amazingway. (p. xii) ableEnglish translation. Incidentally, bibliographic informationon all of Schenker'sworks (manynow Theseperceptions are as valid today as they were in English) appearsat the end of the book. "as in 1913. Schenker'sinsight inspires a new ap- After analyztngcontent, the next steptakes preciationfor Beethoven'ssubtle use of motives, a basisthe new resultsgained through the analysis, orchestration,and large-scale construction, and the to setforth the accordinglyreconceived perforrnnnce translationof this important book will also intro- canon." (p. 3) For Schenker,good performance "musicians duce and educatedmusic lovers" to the grows from an understandingof the content. Al- analyticalapproach of Heinrich Schenker,for too though his treatmentof dynamics, clarity of line, long the almostexclusive property of theorists. articulationand balancemay be the most usefulto John Rothgeb, the translator and editor, is a the readersof this journal, the connectionbetween well-known Schenkerianscholar who hastranslated content and 'correct' performanceis perhapsthe both volumes of Schenker's Kontrapunkt (Coun- book's greatestcontribution. "to terpoint) as well as the appendixto Free Composi- The third and final goal is verify the result tion. Given Schenker'snotoriously labyrinthine of the analysisand forestallmisunderstandings, so German,the lucidity of Rothgeb'stranslation is a that, further, the Beethovenwork itself shouldbe high achievement.His editorial footnotesare con- insulatedagainst any possible future errors." (p sistentlyhelpful and occasionallyrelate comments 4) Here one glimpsesthe polemicaland most con- madein the Ninth to Schenker'slater theories. troversialside of Schenker'swritings, which will The Ninth beginswith a seven-pagetranslator's be discussedlater. preface that includes correspondencebetween Schenkeroften stressesthe importanceof sketch Schenkerand conductors, reviews of the book, and and autographstudies. In the first chapterof Free "a editorial practices. It also sets the stage for Compositionhe statesthat thoroughgoingstudy Schenker'sown preface. Here, Schenkeroutlines of the extantsketches of the mastersis most neces- the form of the book very clearly and presentshis sary. These sketchesreveal musical coherencein " threeareas of focus: analysis,performance and lit- the processof evolution. (p 7) He includesin "recur erature. Thesethree rubrics in this order the Ninth many sketchesby Beethovencollected movementby movementand sectionby section." by Gustav Nottebohm (from Beethoveniana and (p. 4) Of these,analysis is the most importantand Zweite Beethoveniana). It is fascinatingto see 48 JCG vot t 4, No.t melodic lines evolve from rough (sometimeseven by the high winds in bar r23 (r have alwaysheard banal!) sketchesto the finished form: Schenker it this way). The repetitionof the lines in the lower devotestwelve pagesto sketchesof the fourth move- strings by the bassoons(indicated by the lower ment alone. bracketsin Example 1) addsto this effect. A mis- For those who have never read Schenkerbut take with bar numbers?(there are severalin the know of him only through a vague dread of his book): no, an editor's footnoteattests to their cor- later theoriesdealing with the ursarz, 3-lin.s, and rectness. However, a closer look at the passage bewilderingmiddleground structures, it shouldbe revealsa phrasebegun by violin II in bar 121and pointed out that the Ninth is a fairly early work. passedup to oboe I and Flute I, one and two oc- Insteadof cryptic graphs, Schenkerpresents 450 taveshigher, respectively. The violin II voice is brief musical examples,with the rare voice-lead- difficult to hear nestedin the string texfure, espe- ing reductions in standardnotation. Schenker's cially as it drops down an octavein bar l2L. why approachwas quite consistentthroughout most of is this concealedmelody more importantthan the his career,however, and many of the valuableideas more audiblerepetitions in the high and low reg- found in the Ninth appear rn Free composition and isters,along with the obviouschange from strings other later works. to winds? For schenkerthe answerlies in con- Much of the theoreticaldiscussion in the Ninth tent, specificallythe motivic derivationof that focuseson form, using terms like Second Divi- content. In the previous pageshe demonsrrates sion, Part II, First Theme, Modulation Theme, the organic natureof the melodiesand how they variation I, II, [I, bar-groups(a catch-allterm fbr are enlargedfrom prior marerial. (p. laff) smallersections like periods [See or phrasegroups), etc., Examples 2a-el with bar numbers from the score. Schenlierdi- Example 2a shows part of the second theme videsthe first movement(in sonataform) into three and the bar-group that follows . Examptes2b and divisions correspondingto the exposition, devel- 2c demonstratethe link betweenthese lines. Ex- opmentand recapitulation. The secondmovement ample2d addsthe legato line underdiscussion (from is a scherzowith trio, the scherzosection enlarged Example l, bar rr7). ultimately, all three lines into a sonataform. The third and fourth move- from Examples 2b-2d are derived from the first ments appear as modified variation movements. two bars of the first theme fExample2e]. The dot- The one-page diagrams that precede each ted ur-motive of courseopens the movement. (The movement'ssfudy are valuable,and it is reward- German prefix Ur- signifies original or primary, ing to mark these in a score before reading about as in urtext.) The material in - Examptes2b through the movement and do keep a fulr score on hand 2e is linked by transformationsof the first few bars, while studying this treatise: schenker often dis- each line prolonging its first note (either by the cussesa passagewithout giving an illustration. Ex- dotted ur-mot.e or by an extendednote value), ample 1 is one instanceof such a discussion and followed by an ascending fourth. Although also will serve to introduce Schenker'sapproach Schenkerdoesn't explain his statementquoted to content. fsee Example I] while surveying the above,it is the importanceof theseopening bars to content of the secondmovement, he statessimply "The the unity of the movementthat justifies his calling that functionof bars l2l-L24 is to be under- the violin II line in bar lzL the beginning of a stoodonly asrepetition of thepreceding four bars.,, phraserepetition. This holds true in spite of the (p. r44) A casualglance at the score shows that more obvious repetitionsand orchestralchanges. theseeight bars contain what appearsto be a six- The following example will demonstrarehow bar phrasein the strings ending in bar 122,echoed schenkerlinks contentwith performance.Resard- JCG Vol. 14, No. I 49 slurs in bars 104-5 lExample 3bl with the single slur in bars 108-109lExample 3al). Schenkerob- "just servesthat as the motif seemedto gain ex- pansionthrough lengthening of the slur in bars 108- 109, it alsoadmits of a thematicenlargement in the " subsequentbars. (p. 55) (In a footnote,he points out analogousexamples in the fourth movement, bars 198-I99 lExample3c], in a Chopin ballade, and in a Brahmspiano quartet.) It follows that The enlargementshould be performed in the manner of a mere parenthesisand as through echo-like - note the pp! There- fore the enlargementitself, naturally, should standin the foregroundas the principal con- ing a passagefrom the first movement,he points tent, and not (asone is unfortunatelyaccus- out that the Violin I line in bars 110-113is an en- tomed to hearing) the merely accompany- largementof the melody in bars 108-109lExample ing rhythm - its thematic significancenot- 3al. This observationwas made, not just for its withstanding- of the violas and cellos! own sake, but out of a discussionof seemingly And in sustainedconsistency, the content inconsistentarticulation marks (compare the two at bar 114 shouldbe continuedas thoughit 50 JCG vol 14,No. I linked directly back to bar 109 _ Example3a: Mvt. I, bars108- I 13. that is, as 108 though the enlargementhad not intervened at all! It should by no meansbe seriously objectedthat such would be completely impossible to reahze, for an intent strictly directedtoward the requiredeffect will cer_ (Enlargement) tainly be rewardedby success.(p 63) Thus Schenkeranalyzes the content and relatesthe performanceto the understandingof that content, often revealing why Beethovenmarked a certain dynamic or phrasing 3b. 104 the way he did" CI.I Perhapsthe closestSchenker comes to actually criticizing Beethovenoccurs during a discussion of the ending of the first movementfExampte 4]. "audacious Here schenkerobserves that this vari- ant" of the previous four bars is essentiallya pi- 3c: Mvt. IV. ,,is anistic effect adaptedto the orchestra,and an l9tt unusualvenfure which, in its execution,is Ef tdtrt- not al- I l. I ways rewardedwith the successhoped for by the " composer. (p. r27) schenkermay havebeen criti- crzrng the shortcomings of contemporary perfor- mance,but he doesn'tseem to hold out much hope for a successfulrealization of the intendedeffect. Example4: Mvt. I. Still, his recognitionof the passageas a pianistic 511 effect is quite perceptive. .l L Fl. I . a.'N .l , NN while Schenkeralways strives to elucidate t -e- -/. ,, N I 1' 11' Beethoven'sorthography, other writers not adopt- ing this approachare more willing to attemptim- provements. Schenkercritiques five essayson Beethoven'sNinth symphony, those by Richard Wagner, Hugo Riemann, Hermann Kretzschmar, Example5a: Beethoven. GeorgeGrove (via a sometimesloose German trans- lation), and Felix weingartner. Riemann is the mosttechnical in his analysisand uses his own sym- - Freu de, Schci- ner Gcit- ter - fun - ken. bols to describeharmory, but he treats only the first movement. Kretzschmarand Grove write non- 5b: Wagner'salteration. technicalconcert guides of the symphonythat con- tain much proseand little substance.weingartner restricts himself almost entirely to questionsof performance, and while Schenker frequently ap_ de, )cno - ner Got ter - fun - ken. plauds his suggestionsin this area,he bemoans weingartner's lack of any discussionof content, ,ICG l,'ol. 11, No. I 5l which for Schenkermust be the source of in- While almost laughabletoday, this kind of formed interpretation. However, it is Wagner's rewriting was common in Schenker'stime, and twenty-pageessay that receivesSchenker's most he refuted such suggestionsin seriousand sub- penetratingattention. He points out that Wagner stantivedetail, always based on his insightfuldis- mistakenlyviewed Beethoven'sartistic outlook cussionof content. "He as similar to his own: went forth to find Critical opinion of Schenker'spolemics was " Beethovenand found, ever anew, only himself. divided. Fiirtwanglerhad reservations,and Max "clarification "I (p. 65) The of melos" is Wagner's Graf wrote that find the polemical part, or "this main concern,and (to quoteWagner): clar- more exactly, the tone of the polemicalpart, not ity rests, in my view, on nothing but the drastic altogetherfelicitous in the otherwiseso excellent " protrusionof the melody." (p. 66) Schenkerat- new book. (p. xv) Modern readers,especially tributesWagner's view to the necessityof life in those not accustomedto reading Schenker,may the theater,where all clarity is understood be unpreparedfor his often biting criticism of other authors' opinions. However, given the only in terms of the hearing habits of a incrediblegall embodiedin some writers' sug- thousand. But matters are different gestionsto improveon Beethoven,modern read- outsidethe theaterand in the realm of ab- ers may forgive much of Schenker'sranting, con- solute music, where the psychological sidering that the review of the literature appears principleof the crowd no longer applies. after Schenker'sown thoughtful analysisof the (p 66) passagein question. Unfortunately,one may feel on occasion that Schenkerchose a particular Harsh as this criticism may be, Wagner often passageof music for detailed treatmentmainly suggestsrewriting passagesto make them easier to exposethe otherwriters' misconceptions.For "understanded to hear (perhapsto be by the peo- example, Schenkerdevotes seven pages of his ple," to quoteBertrand Russell). Two examples discussionof the first movementto a rigorously from the fourth movementwill suffice to demon- detaileddiscussion (valuable in itselfl of eight strateWagner's intentions: In the very opening bars of the closingtheme (bars I38ff.), then de- of the movement,Wagner recommendsthat the votes six pagesto Wagner's treatment(and re- trumpets eliminate their rests and thus double writing) of the samepassage. Just as one starts the woodwind line completely. He blames the to questionif all this was really necessary, limitations of Beethoven'snatural trumpets for Schenkercloses, without further comment,on a what he consideredunnecessary gaps in the line. quoteby Weingartner: Schenkerof coursedefends Beethoven, pointing out that Beethovendid not write for the trumpet It would be puritanical to deny that "only the way he did for the woodwinds,and that [Wagner's]alterations, without do- 'venti- when thus held as though in reserveand ing detriment to the style in any way, lated' is the trumpet able . to fuel the last, conduceto a clearnesswhich cannot be " decisive cresc. (p. 28I) Later in the move- obtainedby meansof a merely literal ren- ment, Wagnergoes so far as to rewrite the open- dering.(p. 88) ing of the Joy theme for the baritone, lengthen- " ing the first syllable of schoner" to a half note Perhapsit was necessaryafter all. becausethe joy would not last long enoughas a One final examplewill attemptto synthesize quarter notet [Examples5a-b] all three of Schenker'sgoals (analysis,per- 52 JCG votu. No.I Example6a: Mvt. I, Modulation theme. (+ Fl. I, 8va) 74 76 r b-_ \ ^. CI. I ,ct.t,,-> ob.r i-F'ff dolce \-l tp I BP:V : ; 6b: Weingartner'sconception of the theme.i Example7: from Coriolanns Overture,op. 65. In the literature, Riemann includesthe modula- tion theme as part Fl.I l^-l of the secondtheme. Wein- ob.r* = v' gartner(concerning this samepassage) notes the J theme in the rvinds and points out that the flute plays only the last five notes I of the phrase [see A Vln. l'--cresc. I the bracket in Example 6a). Since his \---- concep_ P hl tion f' of the melody includes the high flute part ?'?..- lExample 6bl, he lets the flute begin earlier to play the entire phrase! Schenkerresponds by pointing out that in Beethoven'sunique orches_ Basses Cresc. "he tration technique often chosedoublings for only the tiniest particle of the motif. (p 51) Schenkerthen citesexamples from theHam- formance and literature): Schenkerlabels bars merklavier sonataand the coriolanus overture 7l-79 of the first movementas the modulation to that showoctave doublings introduced on a pass- the secondtheme. This passageincludes what ing tone "rnodulation lExample 7f . he corrently terms a theme" from Thus Schenkeronce again explains the con_ bars 74-79 Example 6a]. [See The secondtheme tent of the passage,comments on its performance proper first arrives in bar 80 with the new tonic in the light of the content, and demonstratesthat (B-flat.) In performance,not too much signifi- Beethovendid in fact understandhis own or- canceshould be given to bars 74-79, even with chestration. Beethoven'sdolce: Other examplesof this kind of synthesis aboundin the book, and the readersof this jour- Thus all that would suggestlingering or nal are encouragedto find them. Although one retardationshould be excluded from the may not agree with everything Schenker pro_ passage;not until bar 79 should a ritenuto claims (I disagreestrongly with his interpreta- be applied, to signal the approach of the tion of the harmony in bars 267ff. of the first secondtheme (p. 45) movementand his placementof the coda in the JCG Vol. 14, No. I 53 third movement),Schenker's rigorous and in- entry gives companyname, nameof contactper- sightful approachto Beethoven'scompositional son, address,telephone and fax numbers,and techniquewill yield abundantrewards to the per- nameof the Americandistributor, if any. sistent. And for anyoneinterested in further study The entries are neatly and consistentlylaid into Schenkeriananalysis, this book will provide out, making it easy to find desired information. an excellentfirst step. The text. surprisingly, is entirely upper case! Usually this is not a problem, but in some in- **<:f4<{<{ 54 JCG vol t4, No.I JCG Vol. 14. No. l Barry Millington and Stewart Spencer.editors, this type of enshrinementof the past by setting Wagner in Performance (New Haven and Lon- forth pretentiousessays that indulgently praise don: Yale UniversityPress , 1992),2I4 pp., pho- selectedstaging experiments, specifically those tos, indices,$27.50. ISBN 0-300-05719-0 essaysby A. Glauert("The Receptionof Wagner in Vienn&"),M. T. Vogt ("Taking the Watersat Reviewed by Baird Hastings Bayreuth"),D. Breckbill (Wagneron Record . . . the Early Years),J. Horowttz ("Seidl andAmer- This all-too-brief publication is dedicatedto ica's WagnerCult"), and J. J. Nattiez("Fidelity a prominent British conductor, Sir Reginald to Wagner"). These latter articles do little to "to Goodall. Its purported goal is understand elucidatethemes of Wagnerian operasand per- Wagner'sideas and works, and to guideprofes- formances,themes that were already presented " sionalstoward appropriateperformances. Such in condensedform in the first sectionof the book. a goal is admirable, as are the contributionsby My experiencewith Wagner opera perfor- C. Fifield ("ConductingWagner"), D. Shawe- mances dates from a 1929 Tristan. It includes Taylor ("Wagnerand his Singers"),M. Ashman hearinggreat Wagnerianconductors and singers ("ProducingWagner"), P. Carnegy("Designing in memorable productions in Bayreuth, Paris, Wagner"), and C. Brown ("Performing Prac- New York, Chicagoand elsewhere,auditioning tice"). Nevertheless,it is presumptuousfor such recordingsdocumenting earlier achievements, a short book to attempt more than an outline to and personally conducting Wagner opera ex- approachesof Wagnerianperformances; only if cerpts. To those with extensive exposureto the approachesare intentionally seminalcan we Wagner's operas,I can recommendthis book. be grateful for their presentation. However, I do not believe it will be revelatory The first sectionof the book is certainly on for neophytes;the latter section introducestoo target. It discussesconductors, singers, produc- many subjectswhich needfuller treatmentin or- ersand designers of Wagneroperas (1850-1990), der to understandtheir significance. Severalof somerather carefully, othersdisproportionately, the topics do not seem germane to the funda- all referencedto Wagner'sown ideas,both natu- mental purposeof the book. ralistic and symbolic. As Wagner's mind rest- The editors' introductionsare clear, andtheir lessly sought deeper and broader solutions to notes are helpful; the illustrations could benefit world problems and his own activities (includ- from enlargement. The conductors,singers, de- ing, of course,the music dramashe finally saw signers and producers cited are predominantly in Bayreuth, 1876-1882),his profound interest thr. .noliarto British audiences/readers.Al- in Greek drama would probably have continued though the Wagnerianinterpreters singled out for to influence the development of his mise-en- praise are certainly deservingof appreciation,I scAne,which, while revolutionary in his time, cite the omissionof conductorsFranz Schalkand wascertainly understood by him as being far from Frttz Reiner, soprano Marjorie Lawrence, and ideal. Perforce, the evolution and modernrza- bassJerome Hines as seriousoversights. tion of Wagner's staging was arrestedby his "fossilized" death. Unfortunately, Cosima ,l€ rf ,l€ ,l€ {€ {. * * Wagner'sexisting stagingstyles, and basedsub- Dr. Baird Hastings is Music Director/Con- sequentproductions on static ideals. ductor of the Mozart Festival Orchestra in New Sadly, the remainder of the book embraces York City and a regular contributor to the JCG. 56 JCG vot 14. No.l Diane Peacock Jezic, Women Composers; The composers; and 5 . A SelectedList of rwenti- Lost Tradition Found, second edition prepared eth-century women by Elizaberh conductors. The fifth ap- wood (New york: The Feminist pendix, listing but ten orchestral, Pressar CUNy, l9g4), one choral and 250 pp., $3S.00(clorh) three operaticconductors, certainly stretches $14.95(paper). ISBN #r-55861-073-1(clorh) the and meaningof the term ,,selected.,, #1-55861-074-x (paper). (For example, Disrributedby consor- sixteenpercent tium t2451of the conductors, Guild,s Book salesand Distribution, r045 wesrgate 1,500 membersare women.) However, Drive, St. paul, MN 55114_1065, the au_ tel: l_g00_ thors can 283-3572. be forgiven for limiting their list to women "name conductorspossessing instant recognition,,, if only to make a point Reviewed about the dearthof women by Judy Ann Voois conductors who have actually achievedsuch sta- peacock tus' The book concrudeswith a comprehensive Diane Jezic died in r9g9, shortry list of recommended after the publication reading on the ,uUj..,. of her landmark study, As was the first edition of women composers; The this book, the sec- Lost Tradition Found. ond edition This ground-breaking of women composers is a valuable, text brought to light the well-documented careers text and sourcebook for ail mu- and compositionsof twenty-five women sicians and studentsof western music composerswho worked from the history. twerfth to the In fact, The American twentiethcenturies. Music Teacher ca'ed the In so doing it shedlight on "essential a first edition for university long-neglectedaspect of and college western musicorogyand musicprograms.,, inspired In this writer,s mind, it would an explosionof interestin the subject. be presumptuousfor A secondedition one to claim a thorough ac_ of Jezic'ssurvey has been quaintance prepared with the styleperiods of western by Elizabeth wood, a musicologist, music history without at least acknowledging - writer andprofessor at SarahLawrence if not coilege. actually studying and performing - It is a revisedand expanded the significant version of the first, contributions incorporating of women composersto the fierd. an updateddiscography as well as new information on nearly one-third of the art- ,F {€ rt< ,t< ,t< ,t< ists in {< ,lc the book, reflects material that the most Judy Ann Voois is Executive recentresearch in the Secretary of the field. conductors' The Guird, Inc-, a woodwind instrument text is well organized;the entries appear instructor and bassoonist in four parts and in chronorogical freelance in Southeast- order. Each ern Pennsylvania. entry includes a biographicalsummary of the sub- ject, musicalexamples, >l€ a selectedlist of works, ,k {< t ,F ,F *( ,t€ discographyand selectedbibliography. Mary phillips The ap_ Jane -Matz, Verdi, A Biography pendicesare particularly interesting: (oxford/New 1. Music york: oxford university press, Appreciation Textbooks Ranked 1993) in order of , 941 pp. , $+S. ISBN 0_19_3 13204_4 Number of Women ComposersMentioned; Z. Record Companies Featuring Women Com_ Reviewed by Henry Bloch posers; 3. An Outline of Western Music from 850 through the 1940s (fearuring side_by_side Verdi, A Biography is a monumental male under_ and femalecomposers in eachgenre;; taking. Previously, 4. A extensive scholarshiphad Selected List of publishers Featuring resulted women in a series of highly informative stud- ies. However, phillips Ms. _Matz spent many JCG Vol. 14, No. I 57 years in Bussetoand Roncole, villages near kept himself informed abouttheir healthand well- Verdi's home, where she thoroughly re-exam- being. ined public records,private sources,and the let- Verdi also took a keen interest in the cause ters of Verdi and many of his colleaguesand of freedom and the unification of Italy. In fact, friends. The result of her painstakingresearch in 1848,a year of revolutionin variousparts of was discoveryof a considerableamount of hith- Europe, he became a leading champion of the erto unknown data that will be greatly appreci- independenceof Italy. In some of his early op- atedby Verdi enthusiastsand justifies a new ex- eras, music with texts referring to liberty, the aminationof Verdi's life. people,,or Italy stirred the populationto passion- Ms. Phillips-Matz has gained penetratingas ate expressionsof patriotism, &S,notably, the "Va well as sympatheticinsights into the life and work Nabuccochorus pensiero" had done. In later of one of the towering personalitiesof the musi- years Verdi was electeda deputy to the Assem- cal theatre. Shehas a wonderful instinct for elu- bly of the Parma Provincesand servedwith en- cidating the genius of Verdi. Unfailingly, she thusiasm. quotesfrom those letters that best illustrate his According to documents,Verdi was a practi- deep concern with the music, with appropriate cal man of the theater, but had little interestin emotions,dramatic expression, and the vocalline. intellectualdiscussions of the arts or aesthetics, And aboveall, shelets us glanceat Verdi's never- evenwith his collaborators.In 1852he and the- ending efforts to obtain from his collaborators atre managementat the Teatro La Fenice in the most appropriatestyle of poetry that would Venice enteredinto negotiationsfor a new op- convey the precisemood for the dramatic situa- era. Verdi proceededin his characteristicman- tion at hand. ner. He askedfor certain singersand would not On the personalside, Verdi's generosityand think of signing a contractuntil a cast was as- senseof fairnessare impressive,likewise his vi- sembledwould satisfy him. Keep in mind that sion and ability to make assessments.But, at at this stageof negotiations,ilo subject for the times,he alsodisplayed a violent temperand, if libretto had been chosenand no music had been he thought he was not being treated with fair- composed. Alexander Dumas' play, La dame nessand honesty, could be angry, even brutal. aux camelias,had been a great successin Paris Many quotationsfrom his letters deal with per- and elsewhere. Verdi seemedinterested in the sonal matters, concerns for friends and their subject, but Carlo Marzari, a representativeof accomplishments,as well as disappointments. the Teatro La Fenice, privately expressedgrave They are indeed touching and reveal a man of doubts about the libretto extraordinary humanity and compassion. His correspondencewith some women reveal rather in view of the prima donna, Signora delicaterelationships, especially with Giuseppina Salvini-Donatelli,who was then thirty- Strepponi, who eventually became his second eight [and] could not play this unhappy wife. Other letterstestify to the efficiency with prostitute, but . . did not intend to tell which Verdi managedhis estate at Sant'Agata Verdi this. (p. 320) and with his expectationsthat employeeswould follow his orders in minute detail. When this Many years later, the planning stagefor a new did not happen,he madehis dissatisfactionabun- opera was quite different. The poet and com- dantly clear. Nevertheless,he was genuinely poser, Arrigo Boito, suggestedto Verdi that he concernedabout his devotedservants and always consider Otello as a subject. At age seventy, 58 JCG vol 14,No. l verdi at first hesitated, but eventually agreed while seekinga suitableopera to commemorate enthusiastically.However, in Italy, the country and celebratethe openingof the Suezcanal. An of Rossini, verdi wantedto avoid titling the op- Egyptologistsuggested the story of Aida, and era otello thinking that perhapsit would be pref- verdi was invited to composethe music. As erable to feature the characterIago in the title. librettist,the Frenchpoet du Locle was consulted But ultimately he concludedthat first. At one point Scolera, the librettist of Nabucco,seems to havebeen involved. Eventu- Otello acts,loves, is consumedwith jeal_ ally, however,Antonio Ghislanzoniwas entrusted ousy, murders, and commits suicide. with the task of writing the libretto, but, as per Thus he, not Iago, is the center of the usual, in closeconsultation with Verdi. action. (p. 682) Sometimes,after an opera was finished and performed,certain shortcomings became evident Hence,verdi preferredto havepeople think that "he that requiredchanges. If anotherproduction was wanted to competewith the giant [Rossini] planned, paris " especiallyat the Opera,some re_ and was crushed, rather than he wanted to hide visionswere de rigeur to pleaselocal audiences. behindthe nameof Iago. After Boito and verdi Ms. Phillips-Matzquotes extensive passages from decidedupon the early sixteenthcentury (c. 1520) the correspondencebetween verdi and Francesco for the time of the action, the stagedirector and Maria Piave in 1864-65that discussnumerous designerswere sentto venice to study the paint- revisionsfor the 1865paris revival of Macbeth. ings of carpaccio and Gentile Belrini and to Here, verdi provides considerabledetail as ro gatherwhatever information they could to achieve how and why he wantedchanges made. For ex_ utmost authenticity for the premiere of otello at ample, rn Macbeth there are three (!) principal Milan's La scala. For this opera,choice of the characters:Macbeth, Lady Macbeth, and the leadingsingers was the subjectof heated discus- witches. verdi said thar rhey (the witches) sionsinvolving, besidesverdi, suchconfidantes asBoito, Giulio Ricordi, the singerTeresa Stolz, rule the drama. Everything comes from and verdi's closefriend EmanueleMuzio. verdi them: [they are] coarseand gossipyin supervised the musical rehearsalsduring which he first "simple, act, sublime and prophetic in the recommendedthat natural movements third. They are truly a character of the coordinated " [be] right away with musicalstudy. greatestimportance. (p. @.482) 687) He also demonstratedthe gesturesthat he preferred by teaching the singers to stand, Sornwehat later, he advised piave that fall, communicatewith eachother, embrace.and other actions. whateverhe [Macduff] does, he will not A concern over the choice of the most suit- createanything very important. He able poet for a given libretto regularly preceded only becomesa hero when the operais over. the period that involveddetailed planning for the However, he has enough music to make text. Fascinatingletters between composer and his mark if he has a beautifulvoice poet reveal verdi's remarkableinstinct for the (p.a82) desired dramatic effect and, at the same time, just the right poetic quality to stimulatehis own The revisions in Don carros derived from musical inspiration. A special situation arose different motivations. The original production .lCG Vol. 14, No. I 59 was not receivedwith great enthusiasm. When intentions,as indicatedin the scores,were strictly a revival in Pariswas proposedin 1882,Verdi's adheredto, and that well-qualified singerswere friend EmanueleMuzio suggestedthat Verdi re- engaged. He also stipulatedthe exactamount of vise and shortenDon Carlos in the hope of mak- money he expectedto receive from the rental ing it a successin Paris and throughoutEurope! fees and as reimbursementfor his paymentsto 'Shortening' Verdi agreed. involved the elimi- the librettists and translators. nation of one act, perhaps the Fontainebleau Insightsinto Verdi's excellentbusiness acu- Scene. The remainingacts were revisedto com- men and senseof fairnessadd to the portrait of pensatefor the void causedby the missingact. A this extraordinaryman who, being a greatmusl- "big prelude," arecitativebefore Carlos' romanza, cian, enjoyeda multitudeof rich experiencesin andadjustment in variousother pieceswere contem- the operahouses of the world. He alsoreceived plated. enormouspleasure from being the patriarchof a Despitea willingnessto make revisionson large family and last, but not least,manager of an as neededbasis, Verdi did not allow changes his own prosperousfarm. or cuts without his consent. As early as 1848he In her voluminouswork Mary JanePhillips- expressedstrong objectionsto alterationsthat im- Matz unearthsmany new and fascinatingdetails presarios,conductors and singers were making of the professionaland personal life of Giuseppe in his works. For example,in the springof 1894, Verdi. Her careful and thorough researchadds Falstaff was prepared for a performance at the significantlyto the work of severalearlier biog- OperaComique in Paris. Victor Maurel, one of raphers. Thus, the presentpublication is a wel- Verdi's favorite singers, was cast as Falstaff. comeaddition to Verdianaand the history of nine- When Verdi discoveredthat Maurel had made teenth-centuryopera. cuts in his part without authorization,he made "great :F{<*€rF{<**{< furious protestations. People talk about art,,"he said,but whencuts are made frivolously, Henry Bloch is artistic director of the Over- "operasbecome nothing more than exercisesto look Lyric Theatre, a chamber opera compan)) show off either voice or a way of singing. in Woodstock, NY. (p. 726) Verdi also labelled"arrangements" of "mutilations " his works as and profanation. He {€:|<{<{<*({<*{< was outragedby one performanceof the Requiem Pierluigi Petrobelli. Music in the Theatre, Es- with piano accompaniment,and another in an says on Verdi and Other Composers, Roger arenawith a military band! He was equally in- Parker, trans. (Princeton:Princeton University censedby an incompleteperformance of Aida rn Press, 1994), 792 pp., $39.50 ISBN 0-691- Naples (L874) which omitted the last act! He 09134-X demandedthat Ricordi. as his publisher,stop such infractions,but his efforts met with little sympa- Reviewed bv Henrv Bloch thy so long as Ricordi continuedto receivepay- mentsfor the rentals. Music in the Theatre contains a fascinating Verdi directedhis publisherto take any steps collectionof essayspublished between 1965 and necessaryto insure that the theater renting his 1993, severalof them appearinghere in English musicwould producehigh quality performances. for the first time. The author currently is direc- He expectedRicordi to verify that the composer's tor of the Istituto nazionale di studi verdiani rn 60 JCG vol 14. No.l Parmaand a leadingauthority on GiuseppeVerdi. lack of one, as some have maintained). petro_ Although his essaysplace verdi at the center of belli explainsthe problem in a fascinatingstudy a study of principles of the musical theatre, basedlargely on an analysisof the music, i.e.. Petrobelli recommendsthat the works of other melodic phrases,rhythmic patterns,and the har_ composersshould be studied in a similar manner. monic fabric associatedwith eachcharacter. But Certain operas of the present,the recentand more compelling is the analysisof the first part remotepast regularly appear in the repertoireof of Act III from Aida, with its psychologicaland operahouses not only in Italy, but whereverop_ musical rarnifications. Moreover, the musical era is part of the national or regional culture" design accompaniesa carefully planned poetic Concerningthis phenomenon,petrobelli posesa structure. Of course,as petrobelli's study sug_ fundamentalquestion: what elementsaccount for gests, La forTa del destinomay be consideredan the enduringpopularity of certain operas?Would earlier exampleof Verdi's strugglewith a simi_ a painstakingstudy of an opera's libretto and lar problem. Analysis of some sketchesinvite score,followed by the experienceof its live per_ closerstudy of verdi's creativeprocess, but pet- formance,lead to the discoveryof specificprin_ robelli cautionsthat the limited numberof verdi's ciples governing the work's organizationand sketchesdoes not permit definitiveconclusions. structure?Petrobelli emphasizes "look- that he is It is generallyassumed that the young Verdi's ing for an explanation rather than [attempting] methodswere strongly influencedby his illustri- to prove a theory." (p. 4) ous predecessors. At one point "a in the book, While examining single dramaticmoment', Petrobellilists severalelements of Rossini'sma- and its relationship to the general plan of the ture Mose that could have influenced the young opera, Petrobelli realized that he actually was Verdi' s Nabucco,, but the study of early l gth dealingwith a questionof structure. Using such century opera is too fragmentaryto permit such a moment or detail as a unifying device enables conclusions(see p. 8). In anotherchapter, he the composer to focus attention on larger dra_ examinesthe remarkable relationshipsbetween matic units suchas individual scenesor an entire the opening ballroom sceneof Rigotetto and the act, and to organize a complete work by spe_ finale of the first act of Mozart's Don Giovanni, cific, selectivemusical elements. This method especially the subtle kinship of the stage-band (it has, after all, been utilized in one form or music in both operas. anotherfor nearly two centuries) varieswith conl- After preoccupationwith Verdi,s method of posers,of course,but it alwaysinvolves drama, planning and composing an opera, it is indeed poetry, musicand spectacle" Thus, musicaluni_ illuminating ro be intelligently introducedto the fication can be achievedby motivic references methodsof VincenzoBellini, "isolated whoseoperas have or by the elementsof the musical lan_ enjoyed a remarkable " revival in recent years. guage, such as instrumentation or rhythmic ef_ Alas, Bellini has receivedlittle scholarlyatten- fects. Petrobelli points to Verdr's Macbeth as tion that could engender a more penetrating an early example of procedure. this However, understandingand appreciation of his work. such unification procedures were not new in Creating and manipulating the unifying organi- Verdi's time; they also appearin operasof We_ zattonal elements within his scores was nor ber and other romantics. Bellini's primary structuralconcern; rather, it Il Trovatoreposed problems for many direc_ was the pacing of the dramatic action in succes- tors due to a unique dramatic structure (or the sive scenesand acts,an elementwhich petrobelli JCG Vol. 14, No. I 61 "dramatic " defines as rhythm. He views dra- ingredientof dramatic rhythm. matic rhythm as an essentialelement of musical As a renownedVerdi scholar.Petrobelli's theatrethat holds the attention of an audience; explorationsdeserve the full attention further, he deemsthe relative timing of various of seriousperformers of Verdi's and componentparts of the entire work an important other operas. Letters to the Editor To the Editor: that a symphony's title-key (and therefore the horn k.y) doesnot necessarilyhold for the slow May I respondbriefly to JohnJay Hilfiger's movement,and occasionallynot for the minuet/ review (JCG, Vol. 13, No. 2) of my book scherzo. I had assumedthat readerswho were Schubertand the Symphony:A New Perspective? awareof this fact would have seenthat it did not Hilfiger has done his job thoroughly and appre- affect the substanceof my argumentsignificantly, ciatively, and I needonly refer to the few points and I was anxiousnot to prolong a technicaldis- of contentionat the end of his review. First, I cussionwhich some readerswould find forbid- thank him for persuadingme that I am almost ding. Your critic's reactionsuggests a caution- certainlymistaken in assumingthat Brahms saw ary footnotemight, after all, have beenprudent. the sketchof Schubert'sSeventh Symphony. I This leavesme simply to marvel at my arith- "ein was no doubt misled by Brahms's phrase metic on p . 19, where I averagethe symphonic lieblich-trauriger Anblick" (" a lovely and sad bars composedper year by Beethovenand sight"), which seemsto imply that he had set Schubertas 234 and 321, respectively. How I eyes on it, although the wider context of the re- madethe errors, and how they survivedthe proof mark doesindeed point in the oppositedirection. stages,I shall neverknow; but Hilfiger doeshis The chapteron brass instrumentsis seenas sumscorrectly to produce244 and 353. These "problematic " the book's aspect, but I can quickly correctedfigures do, of course, illustrateeven solve the problems. Hilfiger is right to spot a better than my fictional ones the phenomenal momentary confusion between that actual and productivityon Schubert'spart which I was striv- sounding pitch in the discussionof horns in ing to demonstrate.Hilfiger goeson to question "how Beethoven'sSeventh Symphony (p. 32). The meaningfulthis measurereally is." Would "very statementthat the useful notes 11 to 16 . . it not have been fair to acknowledgethat I had . cannotbe employed . . . becauseof their alti- alreadyraised that question?I standby my duly "notes "bars tude" shouldhave read 13 to 16." The cautious conclusion - are a crude mea- other problem, where I refer to the advantages surebut reasonablyvalid over so largea sample." of certain keys for horns as possible determi- nantsof the keys composerschose for their sym- Prof. Brian Newbould phonies,arose from my omissionto make clear North Humberside, England 62 JCG vot 14. No.t Commentary @ontinuedfront p. I ) possiblecopyright infringement. Shortly after the second instalmentof that That copyright situationwas fairly clear. Such magnumopus appearedin the JCG. Kalmus is not alwaysthe case. About two yearsago we re- decidedto reprint an updated,corrected ver- ceived an errata list for Mahler's Ninth Symphony sion of the work. About the same time a compiledby JamesBurton, then principal librarian facsimileedition of the Suite was published of the Honolulu Symphony, with the assistanceof in Switzerland.Because a few inaccurateer- Philip Gottling. The list pertainedprimarily ro er- rata listings were purposelyplaced in the rors in the Kalmus edition score and parts. Given publishedlist by Maestro Sternberg,inac- the existenceof the critical etiitionof the symphony curaciesfaithfully reproducedin the Kalmus publishedand copyrighred in 1969by UniversalEdi- reprint, there was little doubt in our minds tion, Vienna, our initial inquiries about publishing that the overwhelmingpercentage of correc- Burton's list were met with negativeresponses and tions made by Kalmus derived from the recommendations,even a pronouncementthat publi- SternbergIJCG erratalists. BecauseKalmus cationwould clearlyviolate the recentU. S. Copy- did not reproducethe lists themselves,but right Act. However,none of the sources.when asked ratherused the informationin the liststo cre- to cite the specificarticle or passagein the Copy- ate its own correctedscore, it wasjudged by right Act that would be violatedif the list were pub- our counselthat the JCG and Mr. Sternberg lished,could do so. had no legal right to ask compensationfor After additionalcontacts and discussionson the the extensil'eresearch performed by Mr. matter,a letterwas sentto EuropeanAmerican Mu- Sternbergand nurnerousothers. sic, U.S. agentsfor UniversalEdition. Vienna. It read in part, EuropeanAmerican forwarded a copy of this let- ter and the erratalist to UniversalEdition, Vienna, We havediscussed this casewith several who sawno copyrightproblem with our plannedpub- knowledgeable publishersand attorneys. We lication. As a matter of fact, Universal sharedthe have been told that: l) to the best of list with the InternationaleGustav Mahler everyone's knowledge,there is no provision Gesellschaft.whose representativecontacted Mr. covering sucha situationin the currentlJ.S. Burton, requestingpermission to use pertinenten- copyright law, either expressedor implied; tries in a forthcomingrevised edition of the Mahler 2) a general copyright axiom exists,appar- Ninth currently being preparedby rhe IGMG and ently reaffirmed in a recent SupremeCourt scheduledfor publicationin 1996. case, [stating]that facts, knowledge or infor- We are understandablypleased that our per- mation are beyondcopyright protection, re- severanceresulted in the ability to publishthe present gardless of how saidfacts, knowledge or in- erratalist for our membership. Is there a lessonto formation were secured;and 3) given the be learnedfrom this experience?Perhaps. It could amount of personalresearch that went into be that if one beginswith a basic respectfor copy- theproduction of thiserrata list, the so-called right, its purposesand rightful protection 'sweat-of-the-brow of selected principle' seemsto obtain. productsof human endeavor,one soon realizesthat It shouldbe statedthat the Journal of the in the countlesssituations where the law is not spe- Conductors' " Guild has had experiencewith a cific - thatgreat so-called gray area"- a seriesof similar - 'inverted' - one could say case. guidelines.axioms, traditions and past-practices must In the "Scores & Parts" segmentof early be calledupon to facilitatean informedresolution of volumes of theJCG, JonathanSternberg pub_ the question. This is how we proceededand, hap- lished extensivecorrections for the Kalmus pily, all of the principalsinvolved aresatisfied editionof Stravinsky's1919 Firebird Suite. with the outcome. Editor ,ICG Vol. 11, No I 63 A Call for Proposals or Articles from the fournal of the Conductors' Guild Editorial & Research Board How a Proposalor Article Can Becomea JournalArticle When you send When you send If we accept When we format a proposal an article an article an article We may invite you We may send it to We send it to a We set up the text to write an article reviewers researcheditor in columns to check details We may suggesta We may suggesta We send it to a We add photos, different emphasis different emphasis copy editor graphs, musical or direction or direction for revisions examples,etc. We may suggesta We may suggest We send it to you We sendyou page different proposal changesin for approval and proofs for or article phrasing, language revisions checking or organization The Editorial & ResearchBo ardof theJoumal of the Conductors'Guild has an ongoingneed for articlesand proposalsgermane to the art, scienceand historyof conducting.You may submitin article or proposalat any time. Write for readerswho haveexpertise in diverseareas of musicand conducting,and are interested in broadeningtheir knowledgeofcurrent researchand writing in the field. Write in aieadable,lucidstyle; avoidjargonand trywheneverpossible to avoidtechnical terms notunderstandable to inforrnedmusicians. Ifyou must usetechnical terms, carefully define eacll at the point in the text where the term is first used. In general,articles should be betweenfifteen and twentydouble-spaced, typed pages in length. For style questionsand citation formats, consult the ChicagoManual of Style. All questionsregarding ihe appropriatenessof a proposalor article shouldbe sent to the addressbelow. A proposalfor an article shouldinclude a one-pagesummary of the article and a statementof its significance.Two copiesof either a proposalor an article shouldbe submitted. Sendarticles and prooosalsto: fournal of the Conductors'Guild Editorial& ResearchBoard 103South High Street,Room 6 West Chester.PA 19382 Conductors'Guild MembershipForm Pleasecomplete the informationlistedbelow on the lineto therightof each item. Appellation & Full Name'. Address Line #1. Address Line #2. Zip Codeor Country. Hame Phone'. Work Phone: Fax Number Title#1: Affiliation#1: Title #2: Affiliation #2'. Gender:t lmale t lfemale Professionalaffiliations and/or interests (check att that appty). I lOrchestra t lChorus I I BandMindEnsemble I I Opera t I Ballet I I Institution/Academic I I Other pleasespecify'. M.EMBERSHIPDUES Airmailpostaqe surcharqe (non-U.S.members only) Regular/Associate $60 Canadianmembers add $9 (USD) Institutional $75 Overseasmembers add $20 (USD) Student $30 (limitedto full-timestudents for four yearsonly) Please complete: AnnualDues Postagesurcharge (ifapplicable) Contribution Kindlyconsider a contributionto the Guild. 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