An Introduction to Performance Practice Considerations for the Mozart

by Melinda O'Neal

ecent research has revealed a specialists;" "I can't afford professional veritable flood of new players, and there aren't any period Mozart information. instruments for miles." Less frequently Professional recordings are voiced but certainly a very real many and varied, and high­ undercurrent is the reality that many Rprofile conductors predominate in conductors do not allocate enough . schools of advocacy for this or that time for score preparation to approach or interpretation. However, adequately confront performance rather than being challenged by this practice considerations. While it is current barrage of choices, many true that lmowledge in the field has conductors find themselves been controversial, and definitive discouraged by the unanswered sources often difficult to locate, the questions that confront them when wealth of new information and its deciding to perform historical (that is, ramifications for performances in pre-twentieth century) music. Added educational and amateur contexts, as complications are the natural well as by professional groups, can no resistance to change and reluctance to longer be ignored. experiment with, in many instances, Another challenge complicates the performing forces that already have so scenario: the unfolding drama that much to accomplish when preparing occurs as sources and interpretations for a performance. of these sources continue to change Most conductors from secondary to with time. Controversies within the college levels and from community discipline will undoubtedly persist. and church groups agree, however, long past when choral conductors may Although this complicates a that understanding how the music was prepare or evaluate a concert conductor's preparation, it does not performed at the time it was according to the standard criteria of provide an excuse to abdicate composed is a fundamental part of the beautiful tone, clear diction, good responsibility to strive to recapture basic text of the music and therefore balance, and excellent spirit. Now we Mozart's music and his sound ideal. part of what must be addressed when are confronted with newer Seen in this light, performing performing it. In addition, it is a well considerations which have entered the historical music, just as with changing documented fact that the application picture only in the last 25 years, philosophies of editing music, will of generalized nineteenth-century aspects many of us did not address in continue to be an evolving process of performance practices retroactively to school and which we are perhaps just historical re-creation. the music of the eighteenth and now gathering the courage to To start, the conductor must sev nteenth centuries has blurred the confront: Austro-Germanic envision the ideal based upon the most distinctiveness1 of that entire corpus of pronunciation of Latin, timbre of current research, and then, based music. voices in each style period, timbre and upon each individual situation, With the preponderance of new articulative properties of period negotiate with pragmatism the evidence and convincing scholarly instruments, tempo conventions, possibilities at hand. This article does discussions concerning performance number of singers and instruments not pretend to present fully anyone practice considerations, the time is and their disposition in the ideal, provide final answers, or be a performance area, ornamentation, substitute for a conductor's own and regional variances in pitch, just to investigation. Instead, the article name a few. proposes some possibilities, sources, O'Neal is Associate Professor of Music, and Conductor of the Handel Society and Understandably, the resolute voice and perhaps some viable solutions for Chamber Singers at Dartmouth College in is raised: "I barely get my singers to selected aspects of performance Hanover, New Hampshire. She also directs learn the notes in time;" "I have to practice as they relate to the Mozart the Dartmouth Conducting Institute. teach fundamentals;" "Were not Requiem. April 1991 I Page 47 Instruments and pitch: average has been suggested of developed and chiefly used in period or modem a' = 427,2 though many performers Germany, was designed as a tenor opt for a' = 415, a half step lower instrument in low keys. Since the The choice of using modern or than a' = 440. instrument is relatively rare now, and period instruments1 dramatically In general the string tone was less basset horn players even more so, affects balance, tone, and articulation. brilliant and softer than that of in A are recommended as a Period instruments are much more modern instruments, this resulting substitute. in the eighteenth distinctive in timbre and, due to fewer from a slightly lower pitch, a shorter, century were softer than the present players in the and a nearly thinner, and less sharply curved day . vibratoless playing style, they produce bridge, and a shorter playing length The two used by Mozart a far more transparent texture. and gut (rather than metal) material were probably baroque trumpets, Balance, consequently, is quite which predated the key, stop, and different from balance with modern valve trumpets. Because of differences instruments, and in many ways is in the mouthpiece cup and the easier to manage: Yet players of====W-ni'leiriS-triie-t1U:tt·=--=====CHameter orfl:le 1Jore-;-,tlleseC======modern instruments can still be asked knowledge in the field has instruments have more brilliant tone to make adjustments for eighteenth- than their modern counterparts. The century music. been controversia~ and , the only brass instruments . If there is a choice between modern definitive sources often capable of chromatic playing, are andautlieritic inSITuments, -tlieri-tlie - d~ifficult to locate, the softer ari-a nave alt1bre- burnished tone ability of players of the authentic than modern trombones. Mozart used instruments and amount of rehearsal wealth of new information them in the Viennese tradition of time (and of course, the budget) and its ramifications for doubling the alto, tenor, and bass require careful consideration. The nJ. d I choral voices, and separately. Care once-held opinion that authentic p'::-'Jormances in e ucationa must be taken when using modern instruments are less responsive and and· amateur contexts, as trombones that they not overbalance often out of tune is no longer valid. well as by professional the voices.s Wooden sticks were used Many instrumentalists today play with the timpani to effect a short, dry period instruments with all the groups, can no longer be sound quite different from the more refinement and virtuosity commonly ignored. resonant nineteenth-century effect. accomplished on modern instruments. Use of the continuo organ was Having a lesson with an excellent traditional in eighteenth-century player of each instrument and sacred music and thus is required.6 A discussing the Requiem specifically is a of the strings. Also, different schools of number of scholars (including Beyer) reasonable way for a conductor to bowing and different bows were likely suggest, however, that the continuo, begin to understand unfamiliar to be mixed together in Mozart's intended to keep the ensemble playing techniques and timbres. When orchestra; the modern Tourte bow of together and to provide missing period instruments are used, 1785, which has far more tension than harmonies, is rendered superfluous in performers and audiences will likely the earlier bows, and which can Mozart's Requiem. Regardless, be amazed (positively so) at the produce a far more consistent tone, including a small organ with a differences, especially in tone and was not yet fully in use. 3 single keyboard and, at the very articulation, and hence in the entire Woodwinds offered a "varied world minimum, an 8 foot principal and 4 quality of the musical experience. of timbre," of which modern ears foot flute is recommended. Pitch in Mozart's time was variably have a "somewhat simplified set at a' between 409 and 435. An impression."4 The basset horn, Number and disposition of performing forces DEADLINE APRIL 26,1991 CALL BACKS IN SAN FRANCISCO JUNE 1 & 2,1991 CONTRACT BEGINS SEPTEMBER 3, 1991 Presently, choral conductors of large groups (e.g., 80-120 singers) recognize that not all styles of music were intended for an ensemble of that Chanticleer, an ensemble of 12 male voices is size, just as chamber groups usually do auditioning for salaried, full-time, professional positions of counter-tenor, tenor, baritone and not aspire to sing, for instance, the bass. Berlioz Requiem. Certainly there was Based in San Francisco, Chanticleer performs a late eighteenth- and nineteenth­ annually 20-25 Bay Area concerts and tours an century trend toward larger average of 20 weeks across the U.S. and Europe. performing forces as the audience Chanticleer's repertoire includes Renaissance, demand increased, halls became pop, jazz, gospel and contemporary commissioned works. larger, instruments were designed to Send resume and tape to: project further, and music was CHANTICLEER composed for larger forces. But, in 650 Fifth Street, #311, San Francisco, CA 94107 general, the performing forces we are (4151896-5866 Fax (4151896-1660 accustomed to are larger in number Chanticleer recordings avail. on Harmonia Mundi & Chanticleer Records than those of Mozart's time. Page 48 I CHORAL JOURNAL Koch's treatise of 1802 indicates Figure 1. Hypothetical Stage Disposition for Mozart's Requiem. that string sections consisting of 4.4.2.2.2 or 5.5.3.3.2 players were satisfactory for church or theatre timpani .7 Mozart reported to his father from Mannheim in 1777 that there were on either side of the chapel basset-horns bassoons ten or 11 violins, four violas, four cellos, and four contrabasses.8 While doublebass organ doublebass decisions were made on the basis of vlo11n I violln II hall size, economics, local customs, cello x cello and the sldll of players, it is clear that string sections were certainly small. chorus Following the model of Mozart's 1789 Vienna performance of Messiah, soloists a choir of 12 singers, three to a part with soloists also singing the choral parts, and a of 6.6.4.4.2 plus winds and timpani could be the performing forces. Platforms to and in Salzburg, performing forces used. 9 The choir in Salzburg in 1757, raise the instruments located upstage were in the front part of the church, according to Leopold Mozart, would be necessary for audience often in tiered balconies above the contained 15 chapel boys, eight visibility and audibility.13 chancel. choralists, and 21 men to total 44 Koury refers to a Dresden church singers, plus soloists.1O There were no where the strings were on one side of Size and ambiance women in the chorus, although the church and the winds and chorus of performance space women from the opera most likely on the other; and to a Vienna church sang the solo soprano and alto parts, where again the strings and winds While we know that St. Stephens' and thus sang with the choir. These or were on separate sides of the organ, Cathedral in Vienna is large and similar proportions may not work the trumpet and timpani to the rear acoustically live, and we know that with modern instruments with, for of the orchestra, in front of the organ Mozart recently had been appointed example, young voices. Consideration pipes, with the choir facing the upper Kappellmeister there, Mozart most for these dimensions, however, would strings. 14 In both these circumstances likely did not write the Requiem with bE:) well to bear in mind. . While there were a variety of ways to seat the choir and orchestra players in Mozart's time, Zaslaw arrives at some prevailing principles: ARIZONA STATE UNIVERSITY The orchestral dispositions of Koch, Petri, and Haydn share the central location of the THE CHORAL TRADITION CONTINUES . .. concertmaster and the keyboard instrument; division between the first and second Celebrating the timeless quality of Mozart's music, the ASU violins; placement of the principal melodic parts (voices Choral Union will perform Mozart's Requiem with the and violins) and weaker Phoenix Symphony Orchestra in the fall of 1991. instruments (flutes and violas) forward, the stronger ones o Begin or continue your music career with us (brass, kettledrums) to the rear; and wide separation between • New state-of-the-art facilities with five performance halls flutes and trumpets.ll ---yITf-o-n-e-w-e-r-e--;-t-o-p-e---crf..-o-rm----ct;Th-e-----11----.Gr.SStc-holarships,assistants-hips;-and--no1F1'esidenrtuitio""r..-l----rr II-- Requiem in a hall or on a stage, waivers available to qualified applicants. Audition cassette perhaps the following chart, (See tapes accepted. Figure 1) based on Zaslaw's interpretation of Haydn's 1791-93 Choralfaculty Salomon concerts in London12 but Donald Bailey, Director of Choral Activities adjusted for the Requiem David Stocker, Associate Director of instrumentation, might be a guide. George Umberson, Director, School of Music Clearly the chorus would have to be very well prepared and look sideways to see the conductor (marked by an Contact: Dr. George Umberson, Director, School of Music x). Fewer singers would be necessary Arizona State University, Tempe, AZ 85287-0405 if the chorus were toward the front of (602) 965-3371 • AAJEOE April 1991 I Page 49 that space in mind. The commissioner Figure 2. Austro-German Pronunciation of Latin: Consonants of the work, who wished to remain Consonant IPA application anonymous and did not live in b [p] obscurum [,p sku rUm] b = p except before 1 and as Vienna, apparently did not specify initial details concerning the number of his c [k] collum [k'IUm] c + a, 0 or u = [k] musicians, their abilities, or the size of c [ ts] coelo [ts0 10] before e, i ae, oe, y or eu performance space; indeed, that cc [ ts] ecce Lst se] same as c information may have betrayed his ch [ ~] cherubim [~erubim] ch + e, i, y, ae, oe, or eu [p] anonymity. ch [k] chorus [ko rUs] ch + a, 0, u = [k] It is relatively certain that the g [k] agnus [ak nus] g is always 'hard' [k] Requiem was intended for h [h] hoc [hok] inital h is aspirated performance in a church; h [9] mihi [mi pi] interior h an exception qu [kv] qui [kvi] v = bilabial fricative r [r] _ reJjJliernJ re kvi em] a one taR r, in general s [z] m isericordias initial and intervocalic s is The conductor's [mi zer ri k'r di as] voiced understanding of the ti [ tsi] oratio [ora tsio] before all vowels x [ks] exaudi [Sks aU di] never [gs] declamation, grammar, and rhetoric oj iheiexileciilsto allowed the audience to be close to context of a Catholic liturgical service, establishing important bases performers and "favoured a musical and a word-for-word and paraphrased for interpretive decisions style that required a more agile, more (or free) textual translation may be nuanced and more articulated delivery found in Ron J effer' s Translations and regarding phrasing, than the delivery later developed for Annotations of Choral Repertoire, accentuation, and the music of Romantic opera, Volume 1: Sacred Latin Texts. Is Since conceived for much larger a thorough familiarity with the text articulation. auditoriums."17 When works such as on the part of the conductor, singers, the Requiem are performed in large and audience is fundamental to auditoriums, especially when the understanding the music, a suitable performance is guided by historical translation for each constituency is consequently, information about considerations, then the potential for recommended.19 In addition, the eighteenth-century performances of distinct tone colors, detail, and conductor's understanding of the Mozart's symphonies in churches can immediacy is lost. declamation, grammar,. and rhetoric be helpful to us. IS In general, of the text leads to establishing performance spaces of the period were Text and vocal tone important bases for interpretive resonant with small, narrow, decisions regarding phrasing, rectangular dimensions (e. g., 79' x Important information about the accentuation, and articulation. 32', or 59' x 36', or 76' x 38') and history of the Requiem text, the place As Maunder correctly points out, with high ceilings. 16 This in most cases of the musical movements in the the Italian style of proI1ouncing Latin has been standard principally in English speaking countries only in this century, after Pope Pius X's 1912 Toronto recommendation for its adoption by the Catholic Church.20 "From the fall Children's of the Roman Empire to the end of the nineteenth century, however, Chorus Latin was pronounced in each Jean Ashworth Bartle, Founder I Music Director European country on the same principles as the vernacular."21 This Complete Three-Day means that for Mozart's Requiem, the CHORALCONDUCTORS'WORKSHOP Austro-German pronunciation of at APPLEBY COLLEGE, OAKVILLE Latin was used. Monday August 264:00 P.M. - Thursday August 29 4:00 P.M. There is no question that the Conducted by Jean Ashworth Bartle pronunciation of language has a very • Observe 4 hours of Chorus rehearsal daily important effect on articulation, • Music Provided • Lecture/Discussion/Open Forum accentuation, and tone quality. While • Accommodation and Meals Included • Recreation Maunder and Jeffers begin to address REGISTRATION DEADLINE: June 14, 1991 rules for consonants and vowels in Enrollment limited to 20 persons on a "first come, first served" basis. Austro-Germanic pronunciation of REGISTRATION FEE .... $350.00 + Goods and services tax $28.00 Latin, both only touch the surface. (Total $378.00) (Canadian funds only) To start, one may find in the . concluding pages of Moriarty's Diction For information and application form please contact the Chorus office a very useful introduction to the 931 College Street. Toronto. Ontario M6H lA1 International Phonetic Alphabet. Divided into vowels, glides- Page 50 I CHORAL JOURNAL diphthongs-triphthongs, and Figure 3. Austro-German for its literal translation means only consonants, the charts give equivalents Pronunciation of Latin: Vowels. fine singing, and it was not used until to the IPA symbols in English, Italian, the mid-nineteenth century when Ecclesiastical Latin, French, and Open syllables. When the vowel is the weightier vocal tone was prized over German, where applicable. W. L. last letter of a syllable in a word of light, florid delivery. To add to the W ardale' s German Pronunciation has several syllables: confusion, German musicologists have a reference list of symbols for the IPA equated the term with simple lyricism with German equivalents, a very Vowel IPA in 1630s and 1640s Venetian opera helpful diagram of the organs of versus the stile rappresentativo. a [a] favilla [fa Vl la] Rossini defined requirements for bel speech, and a glossary of terms (e. g. e [ e] bene [be ne] canto as: 1) a naturally beautiful closed syllable, alveolar, palatal, i [i] £iIi [fi li] uvular, velar, etc.) plus a chapter on voice, even in tone throughout the 0 [0] quando [kvan do] . the pronunciation of Latin in range; 2) sufficient training to achieve u [u] natura [na tu ra] German. Discussions of accent and effortless delivery of highly florid intonation (patterns of high and low Closed syllables. When the last music; 3) mastery achieved by pitch in speech) follow. Thomas listening to the best Italian syllable of a word ends in one or more 26 Dunn's manuscript, Proiects in 18th consonants, the vowel is pronounced exponents. With the presence of short and open: more closed vowel sounds and hard consonants in Austro-Germanic pronunciation of Latin, a detached or Vowel IPA application shortened style of articulation (see According to many treatise a [a] catholicam [kg to Ii kam] Articulation and phrasing below), and writers of the period, e [S] requiem [re kvi sm] the treble parts sung mostly by boys, vibrato was defined as an i [lJ stupebit [stu pe blt] one can assert that a light, clear, 0 [0 J omnis [Om nls] cleanly articulated tone, one which is ornament, that is, an ae [6] aeternam [6 ter nam] not consistently cantabile, would be occasional expressive device, u [U] discussurus [dls kU su rUs] well suited to the music. and was voluntary rather y [y] Kyrie [ky ri e], Sibylla The question of vibrato within the [si by la] chorus is a difficult one conSidering than a natural trait of the vocal techniques and philosophies of voice itself. The most difficult pronunciations to singing today, most of which refer to assimilate are for Kyrie eleison, nineteenth-century operatic Christe eleison. Until 1850, except for techniques. For solo singing in the one province in Germany, this phrase eighteenth century, "a perceptible was always pronounced [ky ri e e lal oscillation in pitch and intensity on a century Choral Performing Practices, zOn, krls te e lal z~n] .25 sustained note would have been is important not only for distilling With regard to singing technique thought undesirable. "27 According to Wardale's commentary, but for and vocal tone, one often hears the many treatise writers of the period, emphasizing the differences in vowel term bel canto applied to this period. vibrato was defined as an ornament, sounds as well as consonants based on Unfortunately, this term is ambiguous, that is, an occasional expressive grammar and syntax.22 Until a more complete text is published on this topic,23 perhaps the chart in Figure 2 will be helpful as a The 199i Westminster Conference rudimentary introduction. IPA on equivalencies are provided. "Vowel quality is determined by Worship and Music whether the vowel occurs in a closed or an open syllable," that is, whether July 7 - 13, 1991 a syllable ends in a consonant (closed) on the campus ofWestrninster College or a vowel (open), and by the New Wilmington, Pa. placement of a syllable in the word Donald Neuen (Adult Choral) Austin Lovelace (Hymnody) --initi-al,interier,-er-nnal-.M-In--99-%-ef---I--DavlcrDaVU:lson (rtID'fdOOl/s) johllWalker(Organ)\------I--- the cases, the vowel will sound open Sandra Willetts (Youth Choral) Cheryl Rogers (Children's Choral) in a closed syllable, and the vowel Hal Hopson (Psalmody) Lawrence Bond (Instrumental) will sound closed in an open syllable. Vin Harwell (Uturgist) Neeta Nichols (Daily Office) Pronunciation of vowels is also Robert Fort (Daily Prayer) Willis Bodine (Organ) variable according to the number of D.E. Stewart (ChildlYouth Program) Mary Virginia Bond (Orff) syllables, the stress on the word Joan SalmonCampbell (Preacher) (found in the Liber Usualw) and on For brochure and/or registration: grammar. /. PRESBYTERIAN Presbyterian Association of Musicians Once again, the following chart is ASSOCIATION Westminster Conference on Worship and Music not intended to be a definitive guide 100 Witherspoon St., Room 3A-3407A OF but only an introduction to the variety Louisville, Kentucky 40202-1396 MUSICIANS of vowel sounds required by the vernacular Austro-German Latin. April 1991 I Page 51 device, and was voluntary rather than As the words" defect," "trembling," or more connected music, and light or a natural trait of the voice itself. "palsy," and "paralytic" are used to more detached music, and the metric Other sources distinguish between the describe the ornamental vibrato, structure was to be made clearly voice's natural vibrato and that which "there is good historical evidence to audible by means of stressed and is either excessive or manufactured.28 suggest that it was used sparingly by unstressed notes. Changes in Wolfgang Mozart's only recorded soloists."30 In consideration of the articulation, mainly affecting remarks on the topic take a perfect intonation system in use at the instrumentalists, were in store, conservative position: time, excessive vibrato (however one however. Early in the period C. P. E. chooses to define it) and ornamental Bach indicated a note without a slur [The singer] Meissner, as you vibrato were likely to be used even or staccato equaled half its notated know, has the bad habit of less, if at all, in the vocal ensemble. value; in the late 1780s Turk said making his voice tremble at times, three-quarters of its notated value; by turning a note that should be Articulation and phrasing the end of, the century Milchneyr and sustainedjnto dis_tinct cr_otch~ts,~o~r=====f==O= Clementi said to play the notes at full even quavers - and this I never ArticUlation -anclphraSing could endure in him. And really it conventions were consequences of the is a detestable habit and one capabilities of the instruments, playing Ornamentation which is quite contrary to nature. techniques, meter and accentuation, The human voice trembles textual grammar, and rhetoric of According to nearly every scholar naturally - but in itS ()wn way eighteenth-century choral-orchestral writing on the sufiject, gaining a seme - and only to such a degree that music. The treatises of C. P. E. Bach, for vocal and instrumental the effect is beautiful. Such is the Quantz, Turk, Koch, and Leopold ornamentation requires immersion in nature of the voice; and people Mozart, assimilated by Ratner in his the music of the period. In terms of imitate it not only on wind book Classic Music: Expression, Form, the Requiem, the sources indicate that instruments, but on stringed and Style, provide present day "vocal rhythmic freedom and instruments too and even on the musicians with substantive guidance. ornamentation [ was] less appropriate" clavichord. But the moment the In general, fast movements were in the music for the church. There proper limit is overstepped, it is generally played more detached and were "[f]ewer embellishments in no longer beautiful-because it is more accented, while in slow church than in the concert or contrary to nature. It reminds me movements notes were played theatre,"32 even though the solo of when, on the organ, the connected (cantabile). A clear singers often came from the opera bellows are jolted.29 distinction was made between heavy, house. Additionally, "Mozart thoroughly marked his late works for performance, and they probably require a minimum of ornamental additions."33 When one looks at the solo and ensemble music in the Requiem in light of the statement that, "the more sophisticated the accompaniments, the less vocal freedom and ornamentation is appropriate,"34 one can readily see how unnecessary additional Simply Out Performs ornamentation would be. Dotted notes, however, call for a MusicPrinter Plus is the acclaimed musical special interpretation of the notation. notation and MIDI performance program that gives "If they are among other dotted you the flexibility and power you need. With real time MIDI input as one of your options, MusicPrinter rhythms . . . the shorter note must be Plus is even quicker and easier to use. It has a full performed as short as possible, in range of musical characters, fast response, and order to give the longer note so much automatic routines, including score rejustification. the more weight."35 This would lead MusicPrinter Plus gives you total control over the to quickening both the vocal and musical performance and printed score. instrumental sixteenth notes follOwing In addition to the elegant copy from standard and wide carriage dot matrix printers, MusicPrinter dotted eighths in the Confutatis (mm. Plus now supports HP and Canon Lasers and high 1-5, 10-15) and likewise for the resolution ink jet printers, such as the 360 dpi sixteenth notes in the Rex tremendae. wide carriage BJ-130. For a group of instrumentalists who performed in this style of music all the time, these kinds of adjustments would have been easy and unnecessary to notate in the score or parts. The messa di voce or swell on a single note is believed by some (t~ )TempOral Acuity Products, Inc. (206) 462-1007 or present-day scholars to be used as an U1UJ 300 -120th N.E., Bldg 1 - Bellevue, WA 98005 ,1-800-426-2673 (except WA) ornament on a sustained tone

Page 52 I CHORAL JOURNAL generally by soloists, and not as a anticipation of the g2 with the syllable tempos, wispy sonorities, and an pervasive singing or playing technique "mi" to be sung on the grace note absence of inflection rob otherwise 36 used by an entire ensemble. The one (due to the placement of the slur in vital music of its substance."41 In other clear place for application of messa di the violin part). The same should words, going faster, as is currently voce is in the bass solo (mm. 5-7) of apply in mm. 18, 43, and 49. In m. accepted, is not necessarily more the mirum. 3, the first violin trill should be on the authentic - there are other equally In m. 7 of the Tuba mirum, the beat and from above. In m. 46 the important considerations. But the fermata indicates that an soprano and violin should be evidence does lead to the assertion embellishment by the bass solo is performed as notated, with the down­ that nineteenth-century performance required. Whether termed fermata beat stress on the g2 eighth note. In concepts have slowed down modern embellishment or cadenza, this kind of the Agnus Dei, mm. 13, 33, and 44, performances of eighteenth-century ornament served the purpose of either the sixteenth grace note may be either music. Adagios and Andantes were extending a phrase ending followed by an anticipation or an appoggiatura on faster than we presently imagine, a rest or, like an Eingang or the beat. minuets should go quite a bit faster; transitional embellishment, of finales to symphonies most likely just a 37 preparing the next phrase. The Tempo bit slower.42 Numerous contemporary cadenza should not exceed the extent treatises indicate that "church music of one breath, should be relatively Mozart indicated tempos for only was performed more slowly than short, and fit the character of the four movements: Introitus-Kyrie theatre or chamber music," and that piece according to text and dramatic (Adagio- Allegro); Dies irae (Allegro to Mozart, both the tempo indication 38 situation. With these considerations assai); Tuba mirum (Andante), and and the meter were indicators of in mind, the tempo of the Tuba Confutatis (Andante). Siissmayr tempo.43 mirum (Andante 2/2) cannot be very indicated the tempos for the Domine Marty's discussion of determining slow, and the soloist might consider Jesu (Andante con moto) , Hostias Mozart's intended tempos and taking a lift breath before "sonum" in (Andante), Rex tremendae (Grave; primary/ secondary pulses is interesting order to complete the phrase in one this is not retained in the Beyer but perhaps somewhat controversial.44 breath. The sense of the text ("The edition; Maunder gives Adagio), His specific suggestions for the trumpet, spreading its wondrous Sanctus (Adagio), and Benedictus Requiem include: quarter = 92 for sound," and then continuing in m. 8, (Andante). For the movements the Allegro of the Kyrie; quarter = "through the tombs of every land, will without direction from Mozart or 184 for the Allegro assai of the Dies summon all before the throne") may Siissmayr - Recordare, Lacrimosa, irae; quarter = 92 for the Andantino be enhanced through a vocal cadenza and Agnus Dei - each editor makes of the Recordare (it is doubtful he which reflects pronouncement and his own suggestion or simply leaves it knew Andantino was not Mozart's grandeur. to the conductor. indication); quarter = 88 for the In m. 20 of the same movement, But the questions persist: how fast is Andante con moto of the Domine Mozart solves the question for the Allegro, how slow is Adagio in the Jesu. Marty observes that the tenor of how to sing the notated eighteenth century and in Mozart's Lacrimosa is one of the four cases in appoggiatura by doubling the voice music? How does one make informed with the violin; the singer should sing decisions about the movements his phrase just as it is noted in the without any tempo direction from the BUCKNELL violin part. However, in m. 32, the A professional music program composer? George Houle refers to the in an outstanding liberal·arts setting tenor has what Neumann calls a authenticity-backlash where "all too full member: NASM Zwischenschlag, or one-note grace many performances [ are] touted as BUCKNELL UNIVERSITY note embedded in a slur that links it Dept. of Music, Room 107 'authentic' because of the use of old or Lewisburg, PA 17637 equally to the preceding and the replica instruments in which fast following note.39 For a number of reasons, in similar cases, Neumann recommends singing the grace note in CENTRAL MISSOURI STATE UNI VERSITY anticipation of the note it precedes. Summer Workshops For all other vocal eighth-note graces in this movement (tenor: m. 27; alto: June 17-21, 1991 mm. 35, 38; soprano: mm. 41, 43), Choral Conducting The Sonq Experience -----theJengtl1-ShoulcLprobabL)Lremain-anl-I-~~~~~~~~~i!:.-----."J4~~~-;b\;;~-~~~~--I-- eighth note, performed on the beat.40 June 17- 19 June 19-21 The Recordare does not appear to Prof. Rodney Eichenberger, Dr. Randall McChesney, require any ornamentation, but in the Florida State University Univ. of Southern California Benedictus Mozart (in this case, Siissmayr) has indicated trills in mm. Graduate Cred i t Ava il ab 1e 6 and 9 (alto and soprano, respectively) and mm. 30 and 32 (bass For additional information contact: and tenor, respectively). These should be performed starting from the note Dr. Michael Lancaster; Department of Music above and on the beat. In m. 15 of Central Missouri State University the same movement, the soprano Warrensburg, MO 64093 soloist should perform her line as the (816)429-4530 violin is noted: a grace note in April 1991 I Page 53 12/8 in all of Mozart's music45 and in orchestra music should be ruled equal temperament for his keyboard suggests Adagio, with dotted-quarter out,"49 although Turk allows for instruments:' Zaslaw, p. 470. = 30.46 tempo modifications as extraordinary 3 Zaslaw, p. 471. "The earliest evidence means, employed only seldom and at implying an entire orchestra's use of Tourte Determining unmarked cases can be bows dates from 1810, nearly two decades after done by looking at "the meter, the the proper time. 50 Mozart's death." inner structure of the music, and, 4 Charlton, p. 257. eventually, the added significances Concluding remarks 5 Beyer has made available alternate playing parts for modern trombones on the principle provided by the words."47 From This article will have achieved its that they are less mobile than 'early' trombones another viewpoint, purpose if it has raised important when doubling the alto, tenor, and bass parts, questions of performance practice. especially in the Kyrie. (Beyer, p. 16.) [W]hat needs to be achieved is Some possible choices have been (I See Arnold's The Art of Accompaniment a point of balance, the tempo roposed, and a number of important from a Thorough-Bass as Practiced in the 17th giusto: the place where the P and 18th Centuries and Peter William's Figured resources have been offered to assist Bass Accompaniment. work's lyrical and active the conductor in finding vi~a~b~le~====___ 7 Zaslaw, p. 455. __ =elements-are~tJjrown-into - solutions to performing Mozart's R Koury, p. 42. highest relief relative to one Requiem. Each conductor's situation 0 Maunder Mozart's Requiem: On Preparing another. Once such points of will be different, and thus the a New Edition, p. 199-200. balance have been divined, it decisions each of us makes will be 10 Leopold Mozart's comments are recorded may often occur that the actual in Marburg's "Historisch-Kritische Beytriige zur pulses of associated pieces are ba§ed o~our own goodjudgIIlent, Aufnahrned~r Mumk,:~J!3~lil1' 17!54-7~L ____ ~ informed by scholarship. No one reprinted, 1970), a report on the existing state not dissimilar from one article can possibly substitute for of music at the Court of the Archbishop of another. The issue is more one individual investigation into these Salzburg. of adjusting to internal 11 Zaslaw, p. 464. matters - a process w h ic h in itseIf will. proportions than of conforming 12 New Grove, vol 13, p. 684. to superimposed external become increasingly intriguing and 13 Usually the concertmaster or the continuo rewarding. C] player would lead the performing forces from notions of pace. "48 their positions. Conducting in the modern Notes definition was not·a standard practice until the In addition, the number and skill of nineteenth century. the players, the acoustical properties 1 Specific articles "Strings," "Woodwinds and 14 Koury, p. 239-241. and size of hall, mood, and quality of Brass" in Performance Practice after 1600 are 15 Zaslaw, Mozart Symphonies, p. 471. the occasion are important highly recommended as starting points on "Mozart's symphonies were performed in private considerations. Regarding tempo instrument matters. rooms, in great halls, in theatres, and in 2 Zaslaw, Mozart Symphonies, p. 468. Also, churches." rubato, one can conclude that "the "Leopold Mozart taught mean-tone intonation 16 Ibid, p. 471-2. very idea of willfully flexible tempos for orchestral instruments, and he used non- 17 Zaslaw, "Introduction," p. 217.

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Page 54 I CHORAL JOURNAL I' The Jeffers book is an essential resource for 34 Crutchfield, p. 317. Charlton, David. "Woodwind and Brass." from all choral conductors. Texts may be duplicated 35 Zaslaw, Mozart Symphonies, p. 486. Performance Practice: Music after 1600, for concert programs or church bulletins, but 36 See Zaslaw, p. 472-475, and Ratner, p. edited by Howard Mayer Brown and cop'yright requirements are explicit and there is 188. Stanley Sadie. London: Macmillan Press, a $5.00 charge. 37 Neumann., p. 217. An Eingang links 1989. 10 A word-for-word translation will hardly be previous material to a new theme. Neumann Copeman, Harold. Singing in Latin. Printed helpful to a non-Latin speaking audience provides examples of Mozart's notated vocal privately at 22 Tawney Street, Oxford 4 member attempting to follow along during the cadenzas, although none are from sacred 1NJ, United Kingdom, 1990. performance; however, a word-for-word literature. Crutchfield, Will. "Voices" from Performance translation is essential for discussion in a music 3. Ibid, p. 218. Practice: Music after 1600, edited by class and for the singers. 39 Ibid, p. 90. Howard Mayer Brown and Stanley Sadie. 20 Maunder, Mozart's Requiem: On Preparing 40 There is still much controversy on these London: Macmillan Press, 1989. a New Edition, 1988, p. 200. This system was questions. See Neumann and Levin. Dunn, Thomas. Projects in 18th century Choral published in the Liber Usualis as an effort to 41 Houle, Review of a periodical, Historical Performing Practices. manuscript, 1990. standardize pronunciation and in order to Performance in Performance Practice Review, Harmon, Thomas. "The Performance of promote Gregorian chant as the church's official Vo!' 3, no. 1 (Spring, 1990), p. 100. Mozart's Church Sonatas" Music and Letters music. 4Z Malloch, "Carl Czerny's metronome marks 51 (1970): 51-60. 21 Ibid, p. 200. for Haydn and Mozart symphonies" Early Houle, George. Meter in Music, 1600-1800. 22 The charts below are based on information Music 16 (1988) p. 72-82. Bloomington, IN: Indiana University Press, in Dunn, Projects in 18th-century Choral 43 Zaslaw, Mozart Symphonies, p. 490. 1987. Performing Practices, p. 30-38. 44 See Marty, The Tempo Indications in Houle, George. "Meter and Performance in the 23 Copeman has published Singing in Latin, Mozart. Seventeenth and Eighteenth Centuries." 1990, which is a significant contribution to this 45 Marty, p. 14, n.5. Historical Performance. The Journal of topic. Articles on the topic by Thomas Dunn 46 Ibid, p. 205. Early Music America. Vo!' 2, no. 1 (Spring, are anticipated. 47 Ibid, p. 205. 1989), pp. 11-15. 24 Dunn, p. 30-31. 4. Malloch, p. 76. Jackson, Roland. Performance Practice, 25 Dunn interview, 113/91. 49 Zaslaw, Mozart Symphonies, p. 500. Medieval to ContemporaTlj: A Bibliographic 20 Zaslaw, p. 420. 50 Ratner, p. 186. From Tiirk, Klavierschule, Guide. New York: Garland Publishing, 27 Crutchfield, Performance Practice after pp. 114-116. 1988. 1600, p. 296. Jeffers, Ron. Translations and Annotations of 2. See F. Neumann's New Essays on Bibliography Choral Repertoire; Volume 1: Sacred Latin Performance Practice. Texts. Corvallis, Oregon: Earthsongs, 1988 '0 From Zaslaw, Mozart Symphonies, p. 480. Arnold, F. T. The Art of Accompaniment from (220 NW 29th Street, Corvallis, OR 97330; Letter of 12 June, 1778. Brieje, ii. 378; Letters, a Thorough-Bass as Practiced in the 17th telephone 503-758-5760). ii. 816-817. and 18th Centuries. Dover, 1965 (Oxford, Koury, Daniel J. Orchestral Performance 30 Ibid, p. 481. 1931). Practices in the Nineteenth Century, Size, 31 Zaslaw, "Introduction,", p. 213. Braunbehrens, Volkmar. Mozart in Vienna: Proportions, and Seating. Ann Arbor, 3. Crutchfield, p. 317. 1781-1791. Trans. Timothy Bell. New York: Michigan: UMI Research Press (Studies in 33 Zaslaw, Mozart Symphonies, p. 482. Grove Weidenfeld, 1986, 1989. Musicology), 1986.

Wolfgang Amadeus muSIC eomran MOZART Urtext/Neue Mozart-Ausgabe

Complete Performance Editions of Mozart's Sacred Choral and Vocal Music

Grus-Verlag of Stuttgart and Blirenreiter-Verlag of Kassel announce a joint venture presenting the complete sacred choral works' of . These Urtext editions have been gatheredI'rom tlie internationallY~~~~~~-­ recognized NEUE-AUSGABE, adhering to the compositional and practical performance intentions of the composer and corresponding to the performance practice at the Salzburg Cathedral in Mozart's time, thereby providing the best conditions for historically authentic performances. Mark Foster Music Company is the sole U. S. A. and Canadian .selling agent for Carus-Verlag. Phone: (217) 398-2760 (800) 359-1386 Fax: (217) 398-2791 MARK FOSTER MUSIC COMPANY, Champaign, Illinois, 61824-4012 Specialists In Charal Music April 1991 I Page 55 Levin, Robert D. "Instrumental Mozart, W. A. Requiem, edited by Richard Swan, Howard. Conscience of a Profession. Ornamentation, Improvisation, and Maunder. Oxford: Oxford University Press, Hinshaw, 1987. Cadenzas." Performance Practice: Music 1988. Vinquist, Mary and Neal Zaslaw. Performance after 1600, edited by Howard Mayer Brown Mozart, W. A. Requiem. Edited by Leopold Practice: A Bibliography. New York: W. W. and Stanley Sadie. Macmillan Press, 1989. Nowak. Neue Ausgabe siimtlicher Werke. Norton, 1970. Malloch, William. "Carl Czerny's Metronome Mozart's fragment of the Sequence with the Wardale, W. L. German Pronunciation. Marks for Haydn and Mozart Symphonies." additions of Eybler; Introitus through Lux Edinburgh: University of Edinburgh Press, Early Music 16 (1988) pp. 72-82. aeterna (Mvts I-VIII) with Siissmayr's 1955. Marty, Jean-Pierre. The Tempo Indications of completion. Kassel: Barenreiter, 1965. Williams, Peter. Figured Bass Accompaniment. Mozart. New Haven: Yale University Press, Neumann F. Ornamentation and Improvisation Edinburgh: University of Edinburgh Press, 1988. in Mozart, Princeton, 1986. 1970. Maunder, Richard. Mozart's Requiem: On Ratner, Leonard G. Classic Music: Expression, Zaslaw, Neal. "Introduction" [to section on Preparing a New Edition. Oxford: Form, and Style. New York: Schirmer Classical Music (1750-1830)] from Clarendon Press, 1988. Books, 1980. Performance Practice: Music after 1600, Moriarty, John. Diction: Italian, Latin, French, Robbins Landon, H. C. 1791: Mozart's Last edited by Howard Mayer Brown and German. Boston: E. C. Schirmer, 1975. Year. New York: Schirmer Books, 1988. Stanley Sadie. London: Macmillan Press, Mozart, W. A. Requiem. Instrumentation by Stowell, Robin. "Strings." Performance Practice: 1989. =O"Franz~Beyer;=I:;ottstetten'FEdition======Music:after~1600'Fedited=by-Howard-Mayer Zaslaw'F'Neal.~Performance-Practice.~oza1'.t's--=. Kunzelmann, 197111980. Brown and Stanley Sadie. Macmillan Press, Symphonies: Context. Performance Practice, 1989. Reception. Oxford: Clarendon Press, 1989.

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