The Interpretation of Opera Excerpts for Bassoon:
A Pedagogical Analysis of Selected Excerpts
D.M.A Document
Presented in Partial Fulfillment of the Degree Doctor of Musical Arts in the Graduate
School of The Ohio State University
By
Erik Soren Malmer, M.M.
Graduate Program in Music
The Ohio State University
2019
D.M.A. Document Committee
Professor Karen Pierson, Advisor
Doctor Arved Ashby
Professor Katherine Borst Jones
Professor Robert Sorton
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Copyrighted by
Erik Soren Malmer
2019
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Abstract
Although opera presents a sizeable portion of classical music, many bassoonists are oblivious of opera literature. Besides the Marriage of Figaro many bassoonists are blithely unaware of the excerpts on opera bassoon audition lists. This document attempts to introduce and analyze the most popular opera excerpts for principal and second bassoon. Thirty-four opera companies were contacted in an effort to obtain the most accurate listing of opera bassoon excerpts. This document intends to enlighten the reader on a pedagogical approach to opera bassoon excerpts through the history of the composition, a synopsis of the opera, and a pedagogical approach to each excerpt.
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Acknowledgments
I wish to express my sincere gratitude and appreciation to my advisor, Professor
Karen Pierson. She has helped me grow immensely as a bassoonist and a human over the course of my studies and no amount of thanks can repay her for all of the support. I would like to thank the members of my doctoral committee, Dr. Arved Ashby, Professor
Katherine Borst Jones, and Professor Robert Sorton for time and support of my studies at
The Ohio State University. Lastly, I would like to thank my family for their continued love and support, without which I would not have been able to complete my studies.
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Vita
2018-2019 ...... Adjunct Bassoon Instructor, Marietta College
2016-2019 ...... Graduate Teaching Associate, Department of Music,
The Ohio State University
2016-2019 ...... D.M.A. The Ohio State University
2014-2016 ...... M.M. The Ohio State University
2013-2014 ...... Principal Bassoon, Baton Rouge Symphony Orchestra
2008-2012 ...... B.M. University of Houston
Fields of Study
Major Field: Music
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Table of Contents
Abstract ...... ii
Acknowledgements ...... iii
Vita ...... iv
Table of Contents ...... v
List of Examples ...... xi
Chapter 1: Introduction ...... 1
Purpose and Procedures ...... 2
Fundamentals ...... 17
Legal Disclaimer ...... 19
Chapter 2: Carmen by Georges Bizet ...... 20
History of the Composition ...... 21
Synopsis ...... 23
Entr’acte between Acts I and II ...... 25
Act II, No. 18 Finale ...... 30
Act IV, No. 26, Part 1 ...... 32
Chapter 3: Le Nozze di Figaro by Wolfgang Amadeus Mozart ...... 34
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History of Composition ...... 34
Synopsis ...... 36
Overture ...... 38
Measures 101-123 ...... 43
Measures 139-151 ...... 44
Chapter 4: L’elisir d’amore by Gaetano Donizetti ...... 46
History of the Composition ...... 46
Synopsis ...... 47
Una furtiva lagrima ...... 49
Chapter 5: Otello by Guiseppe Verdi ...... 52
History of the Composition ...... 52
Synopsis ...... 54
Act I, Rehearsal C-D ...... 55
Act I, Allegro con Brio ...... 59
Act II, 2 bars before rehearsal G to G ...... 62
Act III, 8 bars after rehearsal H playing 8 bars ...... 64
Chapter 6: Aida by Guiseppe Verdi ...... 66
History of the Composition ...... 66
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Synopsis ...... 68
Act III, No. 6 ...... 71
Act I, No. 1, [B] to 1 measure before [D] ...... 74
Act II, No. 4, Reh. K to the end ...... 77
Chapter 7: Salome by Richard Strauss ...... 80
History of Composition...... 80
Synopsis ...... 82
Salome’s Dance ...... 84
Act I, 6 before Rehearsal #141 to #142 ...... 87
Chapter 8: Die Meistersinger von Nürnberg by Richard Wagner ...... 91
History of the Composition ...... 92
Synopsis ...... 93
Act I, Scene 3, 54th measure for 29 measures ...... 95
Act II, Scene VI, 80 measures before Scene VII for 17 measures ...... 97
Chapter 9: Wozzeck by Alban Berg ...... 101
History of the Composition ...... 101
Synopsis ...... 103
Act I, Scene 3, measures 441-443 ...... 105
Act II, Scene 3, measure 288 to 293 ...... 109
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Act I, measures 91-93 ...... 112
Chapter 10: Peter Grimes by Benjamin Britten ...... 117
History of the Composition ...... 118
Synopsis ...... 119
Act I, Prologue, beg. for 5 bars ...... 121
Act I, Interlude 2, [51] to [54] ...... 122
Act II, Interlude IV, fig. 71 to fig. 72 ...... 126
Chapter 11: Il Barbiere di Siviglia by Gioachino Rossini ...... 129
History of the Composition ...... 129
Synopsis ...... 131
Overture 2 bars before Rehearsal F to Rehearsal G ...... 133
Overture measures 189-197 ...... 136
Largo al Factotum ...... 138
Chapter 12: Tannhäuser by Richard Wagner ...... 143
History of the Composition ...... 144
Synopsis ...... 145
Overture Beginning to Rehearsal A ...... 147
Chapter 13: Pagliacci by Ruggiero Leoncavallo ...... 152
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History of the Composition ...... 152
Synopsis ...... 154
Rehearsal 135- 138 ...... 156
Chapter 14: I Vespri Siciliani by Guiseppe Verdi ...... 160
History of Composition...... 160
Synopsis ...... 162
Overture Beginning to Rehearsal A ...... 164
Chapter 15: Billy Budd by Benjamin Britten...... 170
History of the Composition ...... 171
Synopsis ...... 172
Act I, [6]- 9 before [10] ...... 175
Act I, [49]- 4 after [51] ...... 176
Act I, 13 after [74]- 1 before [76] ...... 177
Chapter 16: Falstaff by Guiseppe Verdi ...... 180
History of the Composition ...... 181
Synopsis ...... 182
Act 2, Scene 2, #40- #41 ...... 184
Chapter 17: The Bartered Bride by Bedřich Smetana ...... 187
History of the Composition ...... 187
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Synopsis ...... 189
Overture ...... 192
Chapter 18: Boris Godunov by Modest Mussorgsky ...... 196
History of the Composition ...... 197
Synopsis ...... 198
Prologue, Beginning to Rehearsal 3 ...... 200
Act IV, Scene 2, 8 measures before rehearsal 46 to rehearsal 47 ...... 203
Chapter 19: Madama Butterfly by Giacomo Puccini ...... 207
History of the Composition ...... 207
Synopsis ...... 209
Act I, 1 measure after [1]- 8 measures after [2] ...... 211
Act II, 12 measures before [28]- downbeat of [29] ...... 214
Chapter 20: Contrabassoon ...... 216
Chapter 21: Ideas for Further Research ...... 217
Chapter 22: Conclusion ...... 218
Bibliography of Literature ...... 219
Bibliography of Music ...... 223
Appendix: Fingerings ...... 225
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List of Examples
Example 1.1. Dr. Lyman’s Opera Bassoon Excerpt Survey ...... 5
Example 1.2. Musical America Worldwide, Opera Categories A & B ...... 7
Example 1.3. Compiled List of Opera Bassoon Excerpts ...... 10
Example 2.1. Carmen, Entr’acte between Acts I and II, measures four and five, sudden dynamic shift ...... 26
Example 2.2. Carmen, Entr’acte between Acts I and II, measures eight and nine, sudden dynamic shift ...... 26
Example 2.3. Carmen, Entr’acte between Act I and II, measures fourteen through sixteen ...... 27
Example 2.4. Carmen, Entr’acte between Acts I and II, measure seventeen, D to G slur ...... 28
Example 2.5. Carmen, Entr’acte between Acts I and II, measure three after rehearsal one, F# fingering ...... 29
Example 2.6. Carmen, Act II, No. 18, Finale, 5th measure before rehearsal 52. E-F# trill ...... 30
Example 2.7. Carmen, Act IV, No.26, measure 3 ...... 32
Example 2.8. Carmen, Act IV, No. 26, Rehearsal 21 for four measures ...... 33
Example 3.1. Marriage of Figaro, different rhythms ...... 40
Example 3.2. Marriage of Figaro, shifted downbeat ...... 41
Example 3.3. Marriage of Figaro Overture, measures 35-40, quiet d naturals ...... 43
Example 3.4. Marriage of Figaro Overture, measures 101-107, Phrasing ...... 44
Example 3.5. Marriage of Figaro Overture, measures 110-111, Phrasing ...... 44 xi
Example 3.6. Marriage of Figaro Overture, measure 161, Fingering ...... 45
Example 4.1. L’elisir d’amore, Una furtiva lagrima, measures 2-4, voicing ...... 49
Example 4.2. L’elisir d’amore, Una furtiva lagrima, measures 8 and 9, vibrato ...... 50
Example 4.3. L’elisir d’amore, Una furtiva lagrima, measures 2-7, phrasing ...... 51
Example 5.1. Otello, Act I, Rehearsal C for 6 measures, emphasis for rhythmic accuracy ...... 57
Example 5.2. Otello, Act I, measures 8 and 9 after Rehearsal C, passage with challenging technical coordination ...... 57
Example 5.3. Otello, Act I, 10 measures after rehearsal C, Alternate Gb fingering ...... 58
Example 5.4. Otello, Act I, measures 7 and 8 after Rehearsal C, articulation issues created by the player’s airstream ...... 59
Example 5.5. Otello, Act I, Allegro con Brio, measure 32 after Rehearsal DD, grace note fingerings ...... 60
Example 5.6. Otello, Act I, Allegro con Brio, measures 33 and 34 after Rehearsal DD, F# fingerings ...... 61
Example 5.7. Otello, Act II, measure two before rehearsal G, F# and C# fingerings .... 63
Example 5.8. Otello, Act II, measure one before rehearsal G, venting notes ...... 64
Example 6.1. Aida, Act III, No. 6, 2-3 measures after rehearsal N, Alternate Fingerings ...... 72
Example 6.2. Aida, Act I, 10 measures before rehearsal C-C ...... 75
Example 6.3. Aida, Act I, No. 1, 1 measure after C through 22 measures after rehearsal C ...... 76
Example 6.4. Aida, Act II, No. 4, Rehearsal K for 9 measures, Rubato ...... 77
Example 6.5. Aida, Act II, No. 4, measures 15-24 after rehearsal K, Rubato ...... 78
Example 7.1. Salome, Salome’s Dance, 4 measures after Rehearsal S, Alternate Fingerings ...... 85 xii
Example 7.2. Salome, Salome’s Dance, 5-6 measures after rehearsal S, Legato fingering ...... 86
Example 7.3. Salome, Act I, Scene 3, 3 measures before Rehearsal 141 to Rehearsal 141 ...... 88
Example 7.4. Salome, Act I, Scene 3, 3 measures before Rehearsal 141 to Rehearsal 141, Practice with Subdivisions ...... 88
Example 7.5. Salome, Act I, Scene 3, 3 and 4 measures before rehearsal 142. Alternate Fingerings ...... 89
Example 8.1. Die Meistersinger von Nürnberg, Act I, Scene 3, measures 73-74, Subdivisions ...... 96
Example 8.2. Die Meistersinger von Nürnberg, Act I, Scene 3, measures 73-74, played correctly ...... 96
Example 8.3. Die Meistersinger von Nürnberg, Act I, Scene 3, measures 79-80, Dotted rhythm ...... 97
Example 8.4. Die Meistersinger von Nürnberg, Act I, Scene 3, measures 79-80, Lyrical 32nd Notes ...... 97
Example 8.5. Die Meistersinger von Nürnberg, Act II, Scene VI 80 measures before Scene VII for 8 measures, Subdivision and E3-F#3 Trill ...... 98
Example 9.1. Wozzeck, Act I, Scene 3, measure 441, Rearticulation Practice ...... 105
Example 9.2. Wozzeck, Act I, Scene 3, measure 441, Correct Rhythm ...... 106
Example 9.3. Wozzeck, Act I, Scene 3, measure 442, Front Gb2 ...... 106
Example 9.4. Wozzeck, Act I, Scene 3, measure 442-443, Rhythmic note grouping ... 108
Example 9.5. Wozzeck, Act II, Scene 3, measures 290-291 ...... 109
Example 9.6. Wozzeck, Act II, Scene 3, measures 290-291, 16th Note Pulse ...... 110
Example 9.7. Wozzeck, Act II, Scene 3, measures 289-292, Practicing Tied Notes ..... 111
Example 9.8. Wozzeck, Act II, Scene 3, measures 289-292, Tied Notes ...... 111
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Example 9.9. Wozzeck, Act I, measures 91-93, Alternate Fingerings ...... 112
Example 10.1. Peter Grimes, Act I, Prologue, measure 1. Articulation ...... 122
Example 10.2. Peter Grimes, Act I, Interlude II, measures 1-5. Hairpins, Ab-Bb Trill ...... 122
Example 10.3. Peter Grimes, Act I, Interlude II, 6-10 measures after rehearsal 51. Accents...... 124
Example 10.4. Peter Grimes, Act I, Interlude II, 6-14 measures after rehearsal 53. Accents ...... 125
Example 10.5. Peter Grimes, Act I, Interlude II, 6-14 measures after rehearsal 53. Incorrect Accents ...... 125
Example 10.6. Peter Grimes, Act II, Interlude IV, Fig. 71 for 4 measures ...... 126
Example 10.7. Peter Grimes, Act II, Interlude IV, 6 and 7 measures before rehearsal 72. Venting ...... 127
Example 10.8. Peter Grimes, Act II, Interlude, 1 measure for rehearsal 72-rehearsal 72. Muted F# ...... 127
Example 11.1. Il Barbiere di Siviglia, Overture, measures 113-115. Venting C-A ..... 133
Example 11.2. Il Barbiere di Siviglia, Rhythm Exercises for Overture measures 113-115 ...... 134
Example 11.3. Il Barbiere di Siviglia, Overture, measures 129-130. Alternate F# ...... 135
Example 11.4. Il Barbiere di Siviglia, Overture, measure 129, Treatment of the Upbeat ...... 136
Example 11.5. Il Barbiere di Siviglia, Overture, measures 131-133, Triplet Rhythm Representation ...... 136
Example 11.6. Il Barbiere di Siviglia, Overture, measures 131-133, Sixteenth Subdivision ...... 137
Example 11.7. Il Barbiere di Siviglia, Overture, measures 131-133, Phrase direction 138
Example 11.8. Il Barbiere di Siviglia, Overture, measures 195-197, Phrase direction 138
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Example 11.9. Il Barbiere di Siviglia, Largo al Factotem, measures 19-20, 23-24, 26-27. Tenor Register Notes ...... 139
Example 11.10. Il Barbiere di Siviglia, Largo al Factotem, measures 21-22, Alternate Fingerings ...... 141
Example 12.1. Tännhauser, Overture, measures 1-8, Pitch Adjustments ...... 148
Example 12.2. Tännhauser, Overture, measures 3-7, Alternate and Muted Fingerings 149
Example 12.3. Tännhauser, Overture, measures 1-2, Triplet pulse ...... 151
Example 12.4. Tännhauser, Overture, pickup to measure 7-8, Sixteenth note pulse ... 151
Example 13.1. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures. Subdivision ... 156
Example 13.2. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures. Leading thirty- second notes ...... 157
Example 13.3. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures ...... 158
Example 13.4. Pagliacci, Act 2, No. 9, Two measures before Rehearsal 138-Rehearsal 138. Front Gb3 Fingering ...... 158
Example 14.1. I Vespri Siciliani Overture, measures seven and eight, How to adjust for the pitch tendencies ...... 164
Example 14.2. I Vespri Siciliani Overture, measures ten and eleven, addition of the low C# key ...... 165
Example 14.3. I Vespri Siciliani Overture, measures seven and eight, alternate D# and F# fingerings ...... 167
Example 15.1. Billy Budd, Act I, Rehearsal 6 for 12 measures. Double Tonguing ...... 176
Example 15.2. Billy Budd, Act I, Rehearsal 49 for 7 measures, 1st Bassoon Part ...... 177
Example 15.3. Billy Budd, Act I, Rehearsal 49 for 7 measures, 2nd Bassoon Part ...... 177
Example 15.4. Billy Budd, Act I, 18-21 measures after Rehearsal 74. Breathe Accents ...... 178
Example 15.5. Billy Budd, Act I, 1 measure before Rehearsal 75. Large slur to F4 .... 178
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Example 16.1. Falstaff, Act 2, Scene 2, #40 for 6 measures. Pitch tendencies ...... 185
Example 16.2. Falstaff, Act 2, Scene 2, 7-10 measures after rehearsal #40, 2nd bassoon role ...... 186
Example 17.1. Bartered Bride, Overture, 4 measures through 8 measures after rehearsal B. Voicing ...... 192
Example 17.2. Bartered Bride, Overture, 16-21 measures after rehearsal B, Articulation Choice ...... 194
Example 17.3. Bartered Bride, Overture, rehearsal B for 3 measures, cutting ties ...... 194
Example 18.1. Boris Godunov, Prologue, measure 1, Opening C# fingering choices 201
Example 18.2. Boris Godunov, Prologue measures 3-6, Slurred C# passage ...... 202
Example 18.3. Boris Godunov, Prologue rehearsal 2-3, Low register pitch tendencies 203
Example 18.4. Boris Godunov, Act IV, Scene 2, measure 5 before rehearsal 46 ...... 204
Example 18.5. Boris Godunov, Act IV, Scene 2, 1 measure before rehearsal 46, Gb fingering ...... 205
Example 18.6. Boris Godunov, Act IV, Scene 2, 2 measures before rehearsal 47, Gb/F# fingering ...... 205
Example 19.1. Madama Butterfly, Act I, Rehearsal 1 for 4 measures, Alternate Eb3 . 211
Example 19.2. Madama Butterfly, Act I, Rehearsal 1 for 4 measures, Grace notes and Ties ...... 212
Example 19.3. Madama Butterfly, Act I, measures 4 and 5 after rehearsal 1. Double tonguing ...... 213
Example 19.4. Madama Butterfly, Act I, measures 12 and 13 after rehearsal 1. Double tonguing ...... 213
Example 19.5. Madama Butterfly, Act I, measures 12 and 13 after rehearsal 1. Double Tonguing Syllables ...... 214
Example 19.6. Madama Butterfly, Act II, measures 5-7 after rehearsal 28, Venting .... 215
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Chapter 1 Introduction
In the fall of 2018, I took the first of several opera orchestra auditions. Upon looking at the audition list, I realized how little I was familiar with bassoon opera excerpts. In my studies, I have practiced, researched, and listened to much of the standard orchestral repertoire, but was blithely unaware of opera repertoire. Aside from the
Marriage of Figaro Overture excerpts, I rarely practiced or listened to many opera excerpts. It seems that most collegiate bassoon pedagogy does not concentrate on these excerpts as I noticed many of my peers were also unfamiliar with the literature. Most students are not opposed to taking opera auditions they are simply unaware of standard opera excerpts. Performance majors tend to perpetually work on orchestral parts and excerpts, but only practice opera excerpts if they are preparing for a specific opera audition. This seemingly common approach to opera auditions may not be the most logical or garner the best result. This phenomenon occurs for several reasons, the bassoon is not the focal point of opera literature, there are less opera positions than orchestral positions for bassoonists, and a lack of availability of opera bassoon parts. At the same time as I came to this conclusion, I became aware of the scholarship of Dr. Brett van
Gansbeke. Dr. Gansbeke created The Orchestral Bassoon website, which provides extensive pedagogical information on orchestral bassoon excerpts. His website offers a brief history, pedagogical approach, theory analysis, and multiple recordings of each
1 excerpt. This is exactly the sort of information that is helpful when preparing an audition.
I decided to emulate Dr. Gansbeke’s work and create a list of 10-15 standard opera bassoon excerpts. Upon an examination of typical copies of opera bassoon excerpts, it became abundantly clear that many are printed in an unclear, and error riddled manner. In addition to the issues with the parts, many of these excerpts are hidden in the middle of operas and not easily found on recordings. I decided that I wanted to provide a resource that would provide readable parts, historical context, plot context, pedagogical information, and a listening resource. This list includes all of the parameters of information, in one place, that I believe will be helpful when preparing for an opera audition.
Purpose and Procedures
The purpose of this research is to provide aspiring bassoonists a resource and introduction to bassoon opera excerpts. My intention is to identify the most popular opera excerpts by contacting opera companies within the United States to obtain bassoon excerpt audition lists. After compiling the excerpts, I will identify the most common opera audition excerpts for first and second bassoon. My intention is to provide bassoonists a thorough pedagogical tool to aid in their preparation and awareness of opera excerpts. With the knowledge of what excerpts are commonly asked on a bassoon audition for opera companies, bassoonists will be better able to prepare for auditions. My goal is to provide all of the necessary information to prepare these musicians for an audition, as well as foster a greater appreciation for opera in the process.
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Determining the opera except list was a daunting and time-consuming task. I began my research by consulting bassoon excerpt books. Many excerpt books only address orchestral excerpts. The Stadio Passi Difficili e a Solo per Fagotto and the
Wagner Orchestral Studies from Operas and Concert Works are two resources that have opera excerpts. These sources introduce bassoonists to opera excerpts but do not provide any information about which excerpts are commonly asked in opera auditions. For instance, the Wagner excerpt book provides excerpts from ten different operas but only the excerpt from Tännhauser is commonly asked at auditions. Through my research I have checked Facing the Maestro: A Musician’s Guide to Orchestral Audition
Repertoire. This poll did not include any excerpts from opera companies. I could not find any other printed resources that addressed audition excerpt lists. Two online resources that I consulted in the early stages of research were a survey of orchestral excerpts by
Barrick Stees, Assistant Principal Bassoon of the Cleveland Orchestra and a survey by
Dr. Jeffrey Lyman, Professor of Bassoon at the University of Michigan. The first survey, by Mr. Stees does not specify how many, or which orchestras were sampled. The survey provides a list of excerpts arranged by the percentage that these excepts were asked by orchestral committees. Mr. Stees gives the composer’s last name, the piece, and a percentage as to the frequency of how often the excerpt was required at auditions.
Because there are more symphony orchestras than opera companies in the United States,
Mr. Stees’ percentages are skewed to represent orchestral excerpts over opera excerpts.
So, although there are many opera excerpts on this survey, it is challenging to determine which excerpts are most frequently asked for opera auditions because of the inclusion of
3 symphony orchestras. Many of the opera excerpts on the survey occur at a single percentage number or fractions of a percentage number.
The survey by Dr. Jeffrey Lyman provides more details about the information collected in the survey. His survey includes the composer, work, specific bassoon part, the measures of the excerpt, and identifies the orchestra that asked for the excerpt. Dr.
Lymann surveyed fifty-seven different ensembles, five of which were opera companies.
The following opera companies were included with the following abbreviations:
DOP Dallas Opera Orchestra
HGO Houston Grand Opera
MET Metropolitan Opera Orchestra
MOT Michigan Opera Theater
MOT2 Michigan Opera Theater, second bassoon
NYCOP New York City Opera
Dr. Lyman makes the distinction of listing two Michigan Opera Theater entries to delineate between principal and second audition lists. This is in no way a full and accurate list of opera auditions, however I used Dr. Lyman’s excerpt table as a template, taking into consideration the five opera companies he surveyed.
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Example 1.1. Dr. Lyman’s Opera Bassoon Excerpt Survey.1
Composer Work Bassoon Part Measures Orchestra Beethoven, Ludwig van Fidelio Excerpts given by orchestra DOP Berg, Alban Wozzeck 1 Excerpts provided by orchestra MET Excerpts given by orchestra; MET, DOP; MET; HGO and MOT specified "Dragons" HGO; MOT; Bizet, Georges Carmen entr'acte to Act II MOT2 Britten, Benjamin Peter Grimes 1 MET Aria "Solo un pianto" ("Ah, nos peines Cherubini, Luigi Medea 1 serront communes") NYCOP NYCOP; MET; HGO; MOT; Donizetti, Gaetano L'Elisir d'amore 1 Aria: "Una furtiva lagrima" MOT2 Leoncavallo, Ruggero I Pagliacci 2 Act II, reh. #135 MOT2 Mascagni, Pietro Cavalleria Rusticana 2 reh #48, after reh #66 MOT2 Moussorgsky, Modeste Boris Gudonov 1 Opening MET DOP; MET; Marriage of Figaro, Overture: mm. 1-25, 139-172; MOT HGO; MOT; Mozart, Wolfgang Overture only 1, 2 also specified mm. 101-123 MOT2 Marriage of Figaro, Mozart, Wolfgang Complete Opera Complete opera NYCOP Mozart, Wolfgang Cosi fan Tutte 1 Act I Finale DOP; MET Mozart, Wolfgang The Magic Flute Overture DOP Orff, Carl Carmina Burana 1 "Olim lacus colueram" NYCOP DOP; MET; Rossini, Gioacchino The Barber of Seville 1, 2 Overture; Aria "Largo al factotum" MOT; MOT 2 MET; MOT; Smetana, Biedrich The Bartered Bride 1, 2 Overture MOT2 DOP; MET; Dance of the 7 Veils; MOT2 HGO; MOT; Strauss, Richard Salome 1, 2 specified 6 before #141 to #142 MOT2 Strauss, Richard Elektra 1 MET Stravinsky, Igor The Rake's Progress 1 Aria: "No Word from Tom" MET MET; MOT; Verdi, Giuseppe I Vespri Siciliani 1, 2 Overture MOT2 DOP; MET; HGO; MOT; Verdi, Giuseppe Otello 1, 2 Acts I and II runs MOT2 MET; MOT; Verdi, Giuseppe Aida 1 Aria: "Celeste Aida" and Act II, No. 6 MOT2 Verdi, Giuseppe Rigoletto 2 Act I, scene VI MOT2 Verdi, Giuseppe Falstaff 2 Act II, part 1, reh. #40 MOT2 Wagner, Richard Tannhauser 1, 2 Overture MOT2 Wagner, Richard Lohengrin Excerpts given by orchestra DOP Die Meistersinger DOP; MET; Wagner, Richard von Nürnberg Act II, Scene VI MOT Wagner, Richard Parsifal 1 Vorspiel MET
1 Jeffrey Lyman, “Table of Orchestral Excerpts for Bassoon.” University of Michigan, http://www personal.umich.edu/~jlym/pages/excerpts.html. 5
After reviewing the current resources for bassoon opera excerpts, I created my own survey of opera companies. Musical America Worldwide was consulted to determine which opera companies would be contacted. This resource divides opera companies into five different categories A, B, C, D, and E by annual budget. A Category A opera company has an annual operating budget of over $15,000,000 and a Category B opera company has an annual operating budget of $3,000,000-$15,000,000. I contacted the thirty-five Category A and B opera companies within the United States. There were 10
Category A opera companies and 25 Category B opera companies on Musical America’s list. Both Category A and B opera companies are listed in Example 1.2.
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Example 1.2. Musical America Worldwide, Opera Categories A & B.2
Category A San Lyric Opera The Dallas Opera Francisco of Chicago Opera
Houston Grand Metropolitan Santa Fe Opera Opera Opera Association Association
Washington Los Angeles Opera National Opera Philadelphia Opera
Category B Opera Arizona Opera Fort Worth Virginia Theatre of Company Opera Opera Saint Louis The Atlanta Hawaii Opera Palm Beach Opera Theatre Opera Inc. Lyric Opera of Pittsburgh Austin Opera Kansas City Opera Inc. Portland Boston Lyric Michigan Opera Opera Opera Theatre Association Inc. Central City Minnesota San Diego Opera Opera Opera Cincinnati Opera Sarasota Opera Colorado Association Opera Skylight Florentine Opera Opera San Jose Music Company Theatre Florida Grand Opera Omaha Utah Opera Opera Inc.
2 Musical America Worldwide, 2018 ed. s.v. “Listings: United States & Canada: Opera Companies” 132- 142. 7
Out of the thirty-five opera companies contacted only five organizations provided repertoire lists: the Austin Opera, Houston Grand Opera, Los Angeles Opera, Lyric
Opera of Chicago, and the Portland Opera. Three other companies responded: San Jose
Opera, Sarasota Opera, and Skylight Music Theatre. They did not provide repertoire lists for the following reasons: they have not held a bassoon audition in several years, they do not require a set audition list, and have never held an audition for bassoon in the organization’s history, respectively. Through research and from taking opera orchestra auditions I was able to find repertoire lists for the Boston Lyric Opera, Central City
Opera, Michigan Opera Theatre, Opera Colorado, San Francisco Opera and Santa Fe
Opera.
In the course of researching the thirty-five opera companies several organizations were not contacted because the opera orchestra was comprised of musicians from the corresponding city’s symphony orchestra. These opera companies do not hold a formal audition for their bassoon positions and do not have any audition repertoire lists. The following opera companies explicitly state on their websites that their organization uses the respective city’s orchestra for the opera orchestra roster. In alphabetical order, the
Cincinnati Opera Association, Florentine Opera Company, Lyric Opera of Kansas City,
Opera Omaha Inc., Opera Theatre of Saint Louis, Utah Opera, and the Virginia Opera utilize their city’s symphony orchestras for the opera orchestra.
Below is a chart of all of the excerpts compiled from the opera excerpt lists I was able to gather. I have listed the composer, work, specific bassoon part, measures, and
8 orchestra requiring the excerpt. I have excluded excerpts that come from the orchestral literature and solo works, such as Bolero and the Mozart bassoon concerto.
Guide to Opera Orchestra Abbreviations:
AO Austin Opera BLO Boston Lyric Opera CCO Central City Opera HGO Houston Grand Opera MOT Michigan Opera Theatre LAO Los Angeles Opera LOC Lyric Opera of Chicago OC Opera Colorado PO Portland Opera Association Inc. SFO San Francisco Opera SNTF Santa Fe Opera
9
Example 1.3. Compiled List of Opera Bassoon Excerpts.
Composer Work Bassoon Part Measures Orchestra Beethoven, Fidelio Contra Excerpt not LAO3 Ludwig van Specified Berg, Alban Wozzeck 1 Act I, bar 91- SNTFO1 93 Berg, Alban Wozzeck 1 Act I, Scene 3, LOC1, bar 441 to bar SNTFO1 444 Berg, Alban Wozzeck 1 Act II, Scene 4, LOC1, bar 288 to bar SNTFO1 293 Bizet, Georges Carmen 1 1st Entr’acte BLO(Sub), CCO2, LAO1, LOC2, MOT1, OC2, PO1, SFO2 Bizet, Georges Carmen 2 1st Entr’acte HGO2, LAO2, LAO3 Bizet, Georges Carmen 1 Act II, No. 18 CCO2, LOC2, (Act II, Finale) OC2, SFO2 10 after fig. 51 to fig. 52 Bizet, Georges Carmen 1 Act IV, No. 26, LOC2, SFO2, bar 3 to 4th bar SNTFO1 after fig. 12 Bizet, Georges Carmen 1 Act IV, No. 26, LOC2, SFO2, fig. 21 for 16 SNTFO1 bars Britten, Billy Budd 2 Act I, [6]- 9 CCO2 Benjamin before [10] Britten, Billy Budd 2 Act I, [49]- 4 CCO2 Benjamin after [51] Britten, Billy Budd 2 Act I, 13 after CCO2 Benjamin [74]- 1 before [76] Britten, Peter Grimes 1 Act I, LOC1, LOC2, Benjamin Prologue, beg. SFO2 for 5 bars Britten, Peter Grimes 1 Act I, Interlude LOC1 Benjamin 2, [51] to [54]
10
Example 1.3. Continued.
Britten, Peter Grimes 1 Act II, LOC2 Benjamin Interlude IV, fig. 71 to fig. 72 Donizetti, L’elisir 1 “Una furtiva AO3, Gaetano d’amore lagrima” Act BLO(Sub), II, Scene VII, CCO2, LAO1, No. 11 LAO2, LAO3, Romanza: Beg. LOC1, LOC2, Through MOT1, OC2, rehearsal 171 PO1, SFO2, SNTFO1 Leoncavallo, I Pagliacci 2 #135 to 10 CCO2, LOC2, Ruggero after #138 OC2 (CCO2) asks for [135]-[138] Moussorgsky, Boris Gudonov 1 Prologue, 5 LAO1 Modeste before #1-#1 Boris Gudonov 2 Prologue, HGO2 Moussorgsky, Opening to Modeste Reh. 3 Moussorgsky, Boris Gudonov 1 Act IV, Scene LAO1 Modeste 2, 8 before #46-#47 Mozart, Cosi fan tutte 1 Overture bars SFO2 Wolfgang 175-178 Mozart, Cosi fan tutte 1 Act I, No. 18 PO1, SFO2 Wolfgang Mozart, Cosi fan tutte 1 Act I, Finale, LOC1 Wolfgang bar 636 to downbeat of bar 643
11
Example 1.3. Continued.
Mozart, 1 1-24, 101-123, BLO(Sub), Wolfgang 156-171 HGO2, LAO1, (HGO2 asks LAO2, LAO3, for mm. 1-58, LOC1, LOC2, and mm. 139- MOT1, PO1, Marriage of 171) (SFO2 SFO2 Figaro asks for 1-24, Overture 108-123, 156- 171) (BLO(Sub) asks for mm. 139-171)(PO1 asks for 1-24) Mozart, Marriage of 1 Overture CCO2, OC2, Wolfgang Figaro SNTFO1 Overture Puccini, 2 Act I, 1 CCO2 Giacomo Madama measure after Butterfly [1]- 8 measures after [2] Puccini, Madama 2 Act II, 12 CCO2 Giacomo Butterfly measures before [28]- downbeat of [29] Puccini, Tosca 1 Act I, Andante SFO2 Giacomo Mosso (Unknown Excerpt) Puccini, Tosca 1 Act III, Allegro PO1, SFO2 Giacomo Agitato (Unknown Excerpt) Rossini, The Barber of 1 Overture, 2 BLO(Sub) Gioachino Seville bars before [F] to [G] Rossini, The Barber of 1 Overture, mm. BLO(Sub) Gioachino Seville 189-197
12
Example 1.3. Continued.
Rossini, The Barber of 1 Act I, Nr. 2, LOC1 Gioachino Seville [31] to 28th bar after [31] Rossini, The Barber of 1 Largo al MOT1 Gioachino Seville Factotum, m. 17-33 Rossini, La Gazza 1 Overture, bars SFO2 Gioachino Ladra 22-23 Rossini, La Gazza 1 Overture, bars SFO2 Gioachino Ladra 188-195 Smetana, The Bartered 1 Overture, first LOC1 Bredrich Bride 8 bars Smetana, The Bartered 1 Overture, beg. MOT1 Bredrich Bride to 12m after [A] Smetana, The Bartered 1 Overture, 2 LOC1 Bredrich Bride bars before [A] to 5th bar after [10] Smetana, The Bartered 2 Overture, Reh. HGO2 Bredrich Bride B through 24 bars before Reh. C Strauss, Elektra 1 [232] to LOC1 Richard downbeat of [239] Strauss, 1 6 before #141- LAO1, MOT1 Salome Richard #142 Strauss, 1 Salome's LOC1, LOC2, Richard Salome Dance, 4 bars MOT1, SFO2, before S to V SNTFO1 Strauss, Contra Excerpt not LAO3 Salome Richard Specified Stravinsky, 1 Act I, Scene 3, LOC1, Igor 3 bars before SNTFO1 The Rake's [184] to [190] Progress (SNTFO1 asks for [183] to [190]
13
Example 1.3. Continued.
Verdi, Aida 1 Act I, No. 1, MOT1 Giuseppe [B] to 1 measure before [D] Verdi, Aida 1 Act II, No. 4, SFO2 Giuseppe Reh. K to the end Verdi, Aida 1 Act III, No. 6, LAO1, LOC1, Giuseppe Reh. N play 26 MOT1, PO1, bars (LOC1) SFO2, 2nd bar after SNTFO1 [N] to 4 bars before [O] (PO1 & SFO2 asks for 2nd bar after [N] to the downbeat of bar 23 after [N] Verdi, Don Carlo 1 Act I, No. 2, 2 LOC2, SFO2 Giuseppe bars before C to E Verdi, Don Carlo Contra (Grand LAO3 Giuseppe Inquisitor scene) Verdi, Falstaff 1 Act 2, #40 LAO1 Giuseppe Verdi, Falstaff 2 Act 2, #40 LAO2, LAO3 Giuseppe Verdi, Otello 1 Act I, Reh. C- LAO1, LOC2, Giuseppe D (LOC2, SFO2, SFO2, and SNTFO1 SNTFO1 asks for 8th bar before C to 8 bars after D)
14
Example 1.3. Continued.
Verdi, Otello 2 Act I, Reh. C- HGO2 Giuseppe 8 bars after Reh. D Verdi, Otello 2 Act I, Allegro SFO2 Giuseppe con Brio (Unknown Excerpt) Verdi, Otello 1 Act II, 2 before LAO1, MOT1, Giuseppe Reh. G-Reh. G SFO2 (SFO2 asks for 7 bars before Reh. G to Reh. G Verdi, Otello 1 Act III, 9th bar LOC2, SFO2 Giuseppe after H for 8 bars Verdi, Otello 1 Act III, 3rd bar LOC2 Giuseppe after N to 1 bar before P Verdi, Rigoletto 1 Act I, No.2 CCO2, OC2 Giuseppe Verdi, Rigoletto 1 Act III, Nr. 11, LOC1 Giuseppe last 14 bars of aria Verdi, I Vespri 1 Overture, LAO1, MOT1 Giuseppe Siciliani Largo 10 bars (MOT1 asks for beg. To [A]) Verdi, I Vespri 1 Overture, Reh. LAO1, LOC1 Giuseppe Siciliani A through 12 after Reh. B Verdi, I Vespri 2 beg. to A HGO2, LOC2, Giuseppe Siciliani Wagner, 1 Act I, Scene LOC1,LOC2 Richard III, 1 bar before[39] to Meistersinger 20th bar after [39] (LOC2) 54th bar for 29 bars
15
Example 1.3. Continued.
Wagner, Meistersinger 1 Act II, Scene LOC1, LOC2, Richard VI, 16 bars MOT1 before [79] to [80] (LOC2) 80 bars before the end of Scene VII for17 bars (MOT1 asks for pg. 44 to downbeat of pg. 46 Wagner, 1 Prelude, beg. Parsifal LOC2 Richard for 9 bars Wagner, Tannhäuser 1 Overture, beg,- LAO1 Richard 16 Wagner, Tannhäuser 2 Overture, beg. CCO2, HGO2, Richard to A LOC2, OC2, PO1, SFO2 Wagner, Tannhäuser 2 Overture LAO2, LAO3 Richard
During the course of my research, I discovered that it was impossible to list the top ten excerpts for second bassoon. Most of the second bassoon excerpts researched, are in unison with the first bassoon part. It seemed inappropriate to list certain excerpts as a second bassoon excerpt when it doubles the first bassoon part. Many opera companies simply give the audition candidate the music, or ask for the second bassoon part, but do not explicitly state that the first and second bassoon parts are in unison. The second bassoon excerpts that are discussed in this document are typically very technical and explicitly express a skill which is typically exclusive to second bassoon parts, i.e. low register passages or softer passages. Second bassoon excerpts, unique from the first
16 bassoon counterpart, are separately discussed. Unison first and second bassoon excerpts will also be noted.
Fundamentals
Fundamental work is essential to any musician’s development. I have purposely left out discussion about fundamental work unless it was an essential skill utilized in a particular excerpt. A bassoonist can do endless work on their breathing, embouchure, articulations, vibrato, scales, dynamics, and pitch but I believe talking about these points beleaguers the reader. Every musician must find their own routine in regard to fundamental work and there are many different approaches to fundamentals. Ultimately, the stronger one’s fundamental skills the better a player will be able to express their musical ideas and execute technical passages with confidence.
Voicing
Throughout this document I refer to voicing to explain the manipulation of the oral cavity and tongue. Voicings are a pedagogical device that help a student manipulate the shape of the tongue and oral cavity by comparing these shapes to spoken syllables. By using these syllables, the student is able to approximate the same shape by recreating the syllable while playing. The voicing I discuss most commonly are “ee” and “ah”. “Ee” manipulates the oral captivity by raising the soft palate, (back of the roof of the mouth) and raising and flattening the back of the tongue. This voicing raises the pitch of the note.
The second voicing I discuss is “ah”. “Ah” lowers the soft palate and the back of the tongue, lowering the pitch of the note. Pitch is a critical skill that all players must
17 develop. Using these voicings gives the player a simple pedagogical tool to address and fix pitch issues.
Reeds
I have purposely left out information or suggestions regarding reeds and reed making. Reeds are an essential element to bassoon playing but ultimately reeds are catered to personal preferences determined by each musician. There are a multitude of different reed styles and each person’s reeds will be tailored to their needs. Ultimately, to play well at an audition, each bassoonist must make reeds that respond when needed, play in tune, and play the appropriate dynamics. I will however mention excerpts that I think require a specific type of reed, i.e. extreme high range, or extreme low range.
Author’s Opinion
The following work is the author’s opinion about the pedagogical approach to opera bassoon excerpts. It is not intended to discredit or disparage other pedagogical approaches to these excerpts. There are many approaches to the bassoon and the author’s intent is to share his perspective on opera bassoon excerpts. Any bassoonist researching this topic should consult other resources to get as many perspectives as possible.
18
Legal Disclaimer
The use of scores and bassoon parts for this project fall under the fair use guidelines of
Section 107 of U.S. Copyright Law. In determining the fair use of scores and bassoon parts the following factors were considered under the Four Factors of Fair Use.
Purpose
• Comment • Scholarship • Teaching • Transformative use
Nature
• Material is used for Educational Purposes
Amount Used
• Less than 10% of the whole score is being used.
Effect on Market
• The use of the material is not intended to detract any profit from the copyright holders.
19
Chapter 2 Carmen
By Georges Bizet (1838-1875)
Libretto by Henri Meilhac and Ludovic Halévy.
Based on the novella Carmen by Prosper Merimée.
First performance: March 3, 1875 at the Opéra-Comique in Paris, France.
List of Characters:
Don José a corporal Escamillo a bullfighter Le Dancaïre a smuggler Le Remendado a smuggler Moralés a corporal Zuniga a lieutenant Carmen a gypsy Micaëla a country girl Mercédès a gypsy Frasquita a gypsy Lillas Pastia an innkeeper A Guide A Soldier An Orange-Seller A Gypsy The Alcade
The Setting: Seville around the year 1820.
20
History of the Composition
In 1872, Georges Bizet was propositioned by Camille Du Locle and Adolphe de
Leuven to write an opera for the Opéra-Comique. Bizet was to partner with the famed librettists Ludovic Halévy and Henri Meilhac. De Leuven suggested three settings for the new work and Bizet rejected all of them. Instead, Bizet demanded that the opera be based on Prosper Merimée’s novella Carmen. This was considered a scandalous selection for a scenario for an opera. At this time in Paris there were two opera theaters: the French
Grand Opera and the Opéra-Comique. The French Grand Opera catered to upper class patrons while the Opéra-Comique was a family-oriented entertainment for the middle class. Both organizations catered to conservative tastes. Bizet made many concessions to
Halévy and Meilhac who had reservations about the subject matter, and who would tame the plot to cater to the conservative audience. One of the concessions was the character
Micaëla, who was created as a young virtuous foil to Carmen. In addition, Carmen’s actions were toned down and her death is minimized “within a brilliant, distracting divertissement”.3 Bizet worked on Carmen from 1872 until its premiere in early 1875. He completed Carmen in early 1874, spent the summer orchestrating the orchestra parts and rehearsals began in October of that year.4 The setting of Carmen was so controversial that de Leuven resigned as co-director in part because of a falling out over this work. De
Leuven was not the only person to raise issue with the settings in Carmen. Du Locle commanded that the ending be changed and was only persuaded to change his mind after
3 Susan McClary, Georges Bizet Carmen (Cambridge: Cambridge University Press, 1992), 20. 4 McClary, Georges Bizet Carmen, 23. 21 the lead singers threatened to quit.5 Bizet’s unwavering vision created a version of
Carmen that many worried would be a scandal and a failure. Rehearsals began in October of 1874 and the work did not premiere until March of 1875. The rehearsals were a struggle from the outset. Most notably the chorus revolted when they were asked to sing and move at the same time, a feat that was beyond the standard practice at the Opéra-
Comique. Bizet had to bring in additional singers in order to fulfill his vision. On March
3, 1875, Carmen premiered to a crowd full of potential rabble-rousers who whiffed a scandal in the air, as well as many prominent composers including Léo Delibes, Charles
Gounod, Vincent d’Indy, Jules Massenet, and Jacques Offenbach.6 The premiere was panned in the Parisian press and Bizet fell into a deep depression over Carmen’s reception. Although the work was not well liked, opera houses in Vienna and Brussels expressed interest in performing the work. Bizet was in negotiation to alter Carmen by adding recitatives to satisfy the German audiences. Before Bizet was able to complete these alterations, he died after two heart attacks, still thinking Carmen was a failure.
Carmen took on a new life when Antoine de Choudens asked Bizet’s friend Ernest
Guiraud to set poems by Ludovic Halévy for the recitatives.7 The Austrian premiere of
Carmen occurred on October 23, 1875 to critical acclaim. The Viennese audience did not have the same qualms with the morals of the plot or the structure of the opera. Due to the success of the Vienna performance, Guiraud published the Bizet-Guiraud version of
5 McClary, Georges Bizet Carmen, 23. 6 McClary, Georges Bizet Carmen, 27. 7 Lesley A. Wright, introduction to Carmen: A Performance Guide (Hillsdale, New York: Pendragon Press), xiii. 22
Carmen in 1877. This version grew in popularity across Europe and made Bizet’s
Carmen a staple in opera houses around the world.
Synopsis8
Act I
The story opens at a cigarette factory with soldiers idling outside. A peasant girl,
Micaëla asks the soldiers for corporal Don José. Moralés, another corporal, explains that
José will return with the changing of the guard. The changing of the guard occurs, and
Don José learns Micaëla asked about him. The factory bell rings indicating the end of a shift. The soldiers watch the women as they enter the factory. Don José pays no attention and Carmen throws a flower at him. José picks up the flower. Micaëla brought José a letter from his mother, who lives in a nearby village. A fight occurs between Carmen and another factory girl. Lieutenant Zuniga orders José to arrest Carmen. Carmen seduces
José and suggests they meet later at Lillas Pastia’s tavern. Don José lets Carmen escape and he is arrested.
Act II
Carmen and friends entertain the patrons at the tavern. Lieutenant Zuniga informs
Carmen that Don José has been released from prison, after several weeks. Escamillo, the bullfighter, enters and begins to flirt with Carmen. Escamillo and the smugglers Dancaïre
8 Rudolph Fellner, Opera Themes and Plots (New York: Simon and Schuster, 1958), 52-62. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Carmen,” The Metropolitan Opera, accessed July 20, 2019, http://www.metopera.org/user- information/synopses-archive/carmen.
23 and Remendado reveal their scheme to smuggle contraband to Frasquita, Mercedes and
Carmen. Carmen wants no part of their plan and José enters the tavern. Carmen tells José that she danced for Zuniga to make José jealous. She dances for José and a bugle call is heard, requiring José to return to the barracks. José professes his love, showing Carmen the flowers, she threw at him. Carmen, unimpressed, declares that if he really loved her, he would run away with her. Zuniga enters and José fights him out of jealousy. The smugglers disarm Zuniga, and José is forced to join the smugglers party.
Act III
Don José and Carmen squabble with each other in the smuggler’s hideout in the mountains. Carmen is no longer in love with José. Frasquita and Mercedes use tarot cards to foretell everyone’s fortunes. Carmen and José’s cards foretell death. Micaëla appears in the mountains, looking for José. José fires a shot at an intruder who turns out to be
Escamillo. Escamillo professes his love for Carmen and he and José begin to fight. The fight is broken up, and Escamillo invites everyone to his bullfight. Micaëla finds José and pleads with him to return home because his mother is dying. José leaves but threatens
Carmen that he will see her again.
Act IV
A crowd in Seville cheers the bullfighters as they travel to the arena. Carmen enters with Escamillo and Frasquita and Mercedes warn Carmen that Don José is in the crowd. As the crowd enters the arena, José finds Carmen outside. He pleads with Carmen to leave Seville and run away with him. Carmen refuses and José continues to beg.
24
Carmen throws away the ring José has given her as she walks away. José then stabs her to death.
Entr’acte between Acts I and II
The most common excerpt asked by audition committees is the Entr’acte between
Acts I and II in Carmen. Entr’acte means an interlude between two acts of a play, or in this case an opera, in French.9 This excerpt is asked for both principal and second bassoon auditions and the soli passage is doubled by both bassoon parts. The traditional excerpt is the beginning to eight bars after rehearsal one. However, audition committees also ask for the whole entr’acte, which encompasses an extra excerpt. The entr’acte excerpt reveals dynamic contrast, style, and articulation.
Articulations and Dynamics
There are three dynamics in this excerpt, pianissimo, piano and forte. These dynamics are stark in contrast, the piano dynamic change must be sudden to be effective.
For example, in measure four of the Entr’acte, the player should sustain a forte dynamic through the d natural to effectively achieve the sudden piano dynamic.
9 Merriam Webster Online, s.v. “entr’acte,” accessed June 12, 2019, https://www.merriam- webster.com/dictionary/entr'acte Merriam Webster- Entr’acte- a dance, piece of music, or interlude performed between two acts of a play. 25
Example 2.1. Carmen, Entr’acte between Acts I and II, measures four and five, sudden dynamic shift.
The same issue occurs in measures eight and nine. This time the player must sustain and maintain a piano dynamic. If the player crescendos during the d natural, the effect of the forte in measure nine will be ruined.
Example 2.2. Carmen, Entr’acte between Acts I and II, measures eight and nine, sudden dynamic shift.
Bizet carefully marks three distinct articulations, staccato, clipped slurred notes, and slurred notes. Be careful to heed each articulation. This excerpt should have a martial style, the notes under the slur and staccato should be clipped. It is not advisable to end the note with the tongue, but the notes should be ended abruptly with the air.
Trill and Alternate Fingerings
In measures fourteen and fifteen, there is a trill from E to F#. By using the E-F# trill fingering with the Eb resonance key, the player adds resistance to the notes so that the notes do not crack. The trill fingering for D-E simplifies the nachschlag fingering and eliminates the awkward D-E fingering. 26
Example 2.3. Carmen, Entr’acte between Act I and II, measures fourteen through sixteen.
Fingering 2.3.1. E4-F#4 fingering
Fingering 2.3.2. D4-E4 fingering
27
Slurring the notes D-G in the tenor register of the bassoon can be tricky. If the voicing is not perfect, the G does not respond well. By adding an additional half-hole to the second finger in the left hand, the player makes the G much more responsive when slurring large intervals. The note will respond cleanly without any extraneous noise.
Example 2.4. Carmen, Entr’acte between Acts I and II, measure seventeen, D to G slur.
Fingering 2.4. G4 fingering that responds with a large slur.
28
Example 2.5. Carmen, Entr’acte between Acts I and II, measure three after rehearsal one, F# fingering.
This F# can be problematic for two reasons. It is the first F# after the key change so, it is a common mistake to play an F natural and F#’s may crack if there is not enough of a half-hole with the second finger in the left hand. If the player uses the F# fingering in fingering example 2.5, they can eliminate the half-hole, which increases the chances of the note responding cleanly.
Fingering 2.5. Slurred F#4 fingering
Entr’acte Rehearsal 1 to the End.
The second half of the Entr’acte is sometimes requested. This excerpt is not particularly challenging, but the audition candidate should be aware of its existence. 29
When auditioning, make sure that you understand which part the audition committee is asking for. At this part of the Entr’acte the bassoon parts diverge. The audition information may not be clear as to which part to play because the traditional excerpt for the Entr’acte contains both bassoons playing the soli together.
Act II, No. 18 Finale
This excerpt occurs after the fight between Lieutenant Zuniga and Don José. The two smugglers Dancaïre and Remendado break up the fight, convincing Zuniga to leave.
In this excerpt, the bassoon part accompanies the two smugglers. It is transitionary material that modulates through several key centers. The challenge this excerpt presents, is to make all the trills sound effortless, even though each trill varies in technical difficulty. The most challenging trill occurs five measures before rehearsal 52.
Example 2.6. Act II, No. 18, Finale, 5th measure before rehearsal 52. E-F# trill.
30
Fingering 2.6.1. E3-F#3 trill fingering.
Example 2.6.2. D#3 Short fingering.
The E-F# trill can be achieved by using a normal E fingering and trilling the high
Eb key. The short D# fingering will help facilitate a quick turn off the trill.
31
Act IV, No. 26, Part 1
This song occurs when the cuadrilla, or group of Banderilleros, Picadores, and
Matador, proceed through the town. The townspeople enthusiastically cheer on the cuadrilla as Carmen enters with the matador, Escamillo. The bassoon starts this song as the same phrase is repeated, modulating at each iteration.
Double Tonguing
The bassoonist must choose whether they should single tongue or double tongue this excerpt. The tempo can range anywhere between quarter note equals 120 to 132. If the bassoonist chooses to double tongue they should practice double tonguing in the entire range of the excerpt from Eb3-F2.
Dynamics
The challenging nature of this excerpt is to gradually grow in dynamic by one dynamic degree. In measure two, Bizet marks the bassoon ppp, followed by pp, p, and mf in the following iterations of the phrase. As an excerpt, the candidate must keep the music as quiet as possible in the first two iterations.
Leggero
In measure three Bizet gives the expression mark leggero, meaning light or rapid.
Example 2.7. Act IV, No.26, measure 3.
32
This expression marking should apply to both the beginning excerpt as well as the excerpt from rehearsal 21 continuing for sixteen bars. The excerpt from rehearsal 21 is sometimes asked on its own, so it is important to know that the leggero marking applies to this section as well.
Example 2.8. Act IV, No. 26, Rehearsal 21 for four measures.
The tenor register notes in this excerpt can be challenging to play crisply. Try to avoid elongating the articulation because of the register.
33
Chapter 3 Le Nozze di Figaro (The Marriage of Figaro)
By Wolfgang Amadeus Mozart (1756-1791)
Libretto by Lorenzo da Ponte.
Based on La Folle Journée, ou Le Mariage de Figaro “The Mad Day, or The Marriage of Figaro” by Pierre Beaumarchais.
First performance: May 1, 1786 at the Imperial Court Theater in Vienna, Austria.
List of Characters:
Count Almaviva Figaro The Count’s Valet Countess Almaviva The Count’s Wife Susanna The Countess’ maid Dr. Bartolo The Count’s doctor Marcellina The doctor’s former assistant Cherubino a Page Curzio a Judge Antonio a Gardener Barbarina The gardener’s daughter
The Setting: Count Almaviva’s castle outside of Seville in the 1700’s.
History of Composition
The creation of The Marriage of Figaro was the culmination of a historic meeting of minds. Mozart met Lorenzo da Ponte in 1873 at the court of Emperor Joseph II. Da
Ponte was the court poet and Italian librettist. Mozart sought to advance his position by 34 writing an opera buffa. This was a popular genre at the time and a new Italian opera company was taking residency at the Burgtheater. A popular setting of Pierre
Beaumarchais’ Barber of Seville had just premiered, and Mozart thought it would be advantageous to follow that opera with another Beaumarchais play. He chose Pierre
Beaumarchais’ The Mad Day, or The Marriage of Figaro as the subject for the opera.
The play, The Marriage of Figaro, was the talk of Europe in 1785 for its scathing political commentary of the aristocracy. The play was so scandalous that the original production occurred in Paris in 1874 “after several years of argument and prohibition;
Louis XVI had at first banned all public performance”.10 The play is highly critical of the abuses and extravagance of the aristocracy. The emperor Joseph II only agreed to the subject with the condition that the libretto heavily censored the questionable political content. Mozart began composing the score in the summer of 1785. Little evidence exists about the collaboration process between da Ponte and Mozart. There was little reason to correspond through letters since they both had residence at the court and were able to contact each other whenever necessary. On May 1, 1876 The Marriage of Figaro premiered with Mozart directing from the pianoforte. The first performance had mixed reviews. By the time of the third performance however, the work was so well received that the Emperor forbade encores for numbers with only one singer to prevent the opera from being excessively long.11 The success of Figaro prompted many performances
10 David Cairns, Mozart and His Operas (Los Angeles: University of California Press, 2006), 117. 11 Ibid., 135. 35 including a performance in Prague which led to Mozart travelling and composing the opera Don Giovanni a year later.
Synopsis12
Act I
Figaro, who is Count Almaviva’s valet is to be married to Susanna, the Countess’ maid. Susanna reveals to Figaro that the Count has tried to seduce her. Dr. Bartolo and
Marcellina enter and plan to force Figaro to marry Marcellina. Figaro had promised to marry Marcellina or he will have to repay the money that he owes her. Susanna returns to her room when Cherubino appears. Cherubino expresses his troubles to Susanna, he was caught with the gardener’s daughter and will now be sent away. A knock is heard at the door, and Cherubino hides. The Count enters and begins to seduce Susanna. Another knock is heard at the door, this time it is the music teacher Basilio. Basilio then gossips to
Susanna that Cherubino is in love with the Countess. The Count is enraged and reveals himself and Cherubino is discovered. The Count realizes that Cherubino has heard his attempt to seduce Susanna, and orders that Cherubino be conscripted into the army.
Act II
The Countess and Susanna lament with each other over the Count’s infidelity.
Figaro and Susanna suggest setting a trap to catch the Count in his infidelity. The
12 Fellner, Opera Themes and Plots, 160-172. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Le Nozze di Figaro,” The Metropolitan Opera, accessed July 17, 2019, http://www.metopera.org/user-information/synopses-archive/le-nozze-di-figaro.
36
Countess agrees, they decide to dress Cherubino as Susanna to trick the Count. Figaro will also send the Count a note suggesting that the Countess is having an affair of her own. Cherubino enters and the two women lock the door and begin dressing him as
Susanna. A knock is heard, Cherubino runs to the dressing room and locks the door. The
Count is at the door and demands to be let in. Susanna hides and the Countess lets the
Count into the room. The Count tries the door handle to the dressing room and the
Countess proclaims that Susanna is inside the room. The Count does not believe her, and enraged, leaves with the Countess to acquire the tools to open the door. In their absence, both Susanna and Cherubino come out of hiding. Susanna helps Cherubino to escape out the window and she hides in the dressing room. The Count and Countess return to find
Susanna exiting from the dressing room. Antonio the gardener appears proclaiming that a man just jumped from the window. Figaro claims that he is the man who jumped from the window and the gardener produces a letter that the man dropped when escaping out the window. The Count begins to question Figaro about the note when Dr. Bartolo and
Marcellina enter. They explain Figaro’s obligation to marry Marcellina or pay his debts, and the Count postpones Figaro’s wedding to Susanna until he honors the contract.
Act III
Susanna and the Countess decide to have the Countess impersonate Susanna for the Count’s meeting. Marcellina takes Figaro to trial and demands that he either pay his debts or marry her. Figaro explains that he is unable to marry her because he would like his parent’s permission. He was separated from his parents as a child and has been unable to find them. A birth mark on Figaro’s arm reveals to Marcellina that she is Figaro’s
37 mother, and therefore unable to marry him. Susanna and the Countess write a letter to the
Count in order to lure him to the garden that night. Cherubino, dressed in women’s clothes meets Barbarina in the garden. The two are discovered and taken to the Count.
The Count is furious that Cherubino has not been sent to the army, and Barbarina asks to marry Cherubino. That night at the wedding hall, Susanna slips the Count a note as they dance.
Act IV
That night in the garden, Barbarina encounters Figaro and tells him of Susanna’s plan to meet the Count in the garden that evening. Figaro becomes jealous and hides to catch Susanna in the act. Susanna and the Countess appear, each dressed in each other’s clothes. Cherubino arrives and tries to seduce the Countess, while disguised as Susanna.
The Count arrives looking for Susanna and Cherubino runs away. Figaro now realizing who the two women are, professes his love to the Countess who is Susanna in disguise.
The Count finds the two of them thinking he has found his wife cheating. The Count is enraged when Susanna, the real Countess, reveals herself. Humiliated, the Count asks forgiveness, which the Countess grants and everyone returns to the party.
Overture
The overture to The Marriage of Figaro appears on most auditions. This excerpt shows the audition committee a candidate’s technical facility, dynamic range, and single tonguing/double tonguing ability. Audition committees ask for many different excerpts from this overture. To best prepare for an audition, the candidate should be familiar with
38 the entire overture. There are several passages from the overture and opera that are challenging besides the traditional three excerpts.
Overture, Measures 1-24
The first twenty-four measures of the overture are technically challenging because of the interchange between D-C# and E-F#. Some fingering issues can be alleviated by using the whisper key lock during this excerpt. To further combat unsteady rhythm and fingers the bassoonist may utilize different rhythms to their practice regimen. The application of different rhythms trains the fingers to play smoothly.
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Example 3.1. Marriage of Figaro, different practice rhythms.
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The seven different rhythm exercises are best practiced at a slow tempo. This allows the player to concentrate on how their fingers move and keeping a steady airstream. In the exercise, the articulation remains as written so as not to disturb the player’s ability to perform the original composition. Only the first three measures of the excerpt were applied to the example. This technique can also be used for the excerpt from measures 139-151 in the overture.
Another practice technique that helps to steady the rhythm and fingers is to shift the excerpt by an eighth note. In the first example the excerpt is played normally. Then the excerpt is played with the downbeat of the excerpt shifted to the second eighth note, then the third eighth note, and finally the fourth eight note.
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Example 3.2. Marriage of Figaro, shifted downbeat for practice.
Like example 3.1, only the first three measures were applied to this excerpt. The articulations are kept the same, and it is helpful to practice this exercise at a pianissimo dynamic.
Double Tonguing Quiet D Natural Fingering
In measures 35-40 of the overture, the bassoonist is asked to articulate D natural at forte and piano. Below is a suggested fingering for the piano, articulated D.
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Example 3.3. Marriage of Figaro Overture, measures 35-40, quiet d naturals.
Fingering 3.3. Quiet D3 fingering
Measures 101-123
This is another commonly asked excerpt because it is a soli passage with the violins. Even though the excerpt is marked piano, the bassoonist should play out to match the dynamic of the violin section.
Phrasing
The opening B natural should be treated as a pickup to measure 102. This will create the right emphasis for the phrase and the audition committee will be able to tell where the downbeat lies. The pickup leads to the D natural in 102. Many bassoonists will continue the phrase to the G# with a slight breath accent before finally tapering the end of the phrase. The G# is an important note because it is the third of the E major7 chord that 43 is played on the downbeat of measure 105. The solo bassoon is the only instrument with the third, so the note needs extra emphasis because it shows that the quality of the chord is major.
Example 3.4. Marriage of Figaro Overture, measures 101-107, Phrasing.
In measures 110-111 the player should use a portamento articulation on the tenor
E naturals. If the articulation is too short, the comic character of the music is lost. The first E natural in measure 110 belongs to the previous measure and the next three should be treated as an upbeat to measure 111.
Example 3.5. Marriage of Figaro Overture, measures 110-111, Phrasing.
Measures 139-151
Similar to measures 1-24, some fingering issues can be alleviated by using the whisper key lock during this excerpt. The practice techniques in example 3.1 and 3.2 can be utilized for these measures.
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Example 3.6. Marriage of Figaro Overture, measure 161, Fingering.
Fingering 3.6. Marriage of Figaro Overture, measure 161, Short D#3 fingering.
Playing C# to D# can cause a finger coordination problem for many players. This can be eased by changing the D# to the short fingering. The short fingering eliminates the right hand and the player can focus entirely on the left hand.
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Chapter 4 L’elisir d’amore
By Gaetano Donizetti (1797-1848)
Libretto by Felice Romani.
Based on Eugéne Scribe’s libretto for Daniel Auber’s opera Le philtre.
First performance: May 12, 1832 at the Teatro della Canobbiana in Milan, Italy.
List of Characters:
Nemorino a young peasant Adina a wealthy farm owner Belcore a sergeant Dulcamara a quack doctor Giannetta a peasant girl
Setting: A small Italian village in the Nineteenth Century.
History of the Composition
In March of 1832, Donizetti staged an opera Ugo, conte di Parigi at La Scala. The opera was ill received by the crowd, but nonetheless, Allesandro Lanari the impresario at the Teatro Canobbiana commissioned Donizetti for a new opera that spring.13 The opera was written in a short amount of time and Donizetti collaborated with Felice Romani as
13 Herbert Weinstock, Donizetti and the World of Opera in Italy, Paris, and Vienna in the First Half of the Nineteenth Century (New York: Pantheon Books, 1963), 82.
46 his librettist. The first performance occurred on May 12, 1832 at the Teatro della
Canobbiana to rave reviews. The opera was such a success that there was a total of thirty- two performances. Today, it is Donizetti’s most popularly performed opera.
Synopsis14
Act I
A young peasant, Nemorino, is in love with Adina, a farm owner. Adina gathers the peasants and tells them the story of Tristan winning Isolde’s heart by drinking a magic love potion. A group of soldiers arrive and their commander, Sergeant Belcore asks to marry Adina. Adina promises to think the proposal over. Adina and Nemorino are alone and Adina says that Nemorino should not expect to win her love, because she changes her mind every day. Adina tells Nemorino to forget about her and Nemorino proclaims that he can never forget his first love. Dr. Dulcamara, a travelling salesman, arrives in town selling a potion that cures all. Nemorino asks him if he sells an elixir of love. Dr. Dulcamara says that he does and offers Nemorino a bottle of wine. Nemorino spends the last of his money on the potion and the doctor proclaims that the elixir will not take effect until the following day. Nemorino drinks the potion believing he will be irresistible to Adina the next day. Nemorino pretends to have no interest in Adina and she becomes jealous. She flirts with Belcore. Belcore is called back to the garrison and Adina
14 George Lascelles, Kobbé’s Complete Opera Book (London: Putnam and Company, 1976), 443-446. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: L’Elisir d’Amore,” The Metropolitan Opera, accessed July 22, 2019, http://www.metopera.org/user-information/synopses-archive/lelisir-damore.
47 says she will marry him. Nemorino is upset and pleads with Adina to wait one more day.
Adina sends Nemorino away and he seeks the doctor’s help.
Act II
Before the wedding, Adina and Dulcamara sing for the guests. Nemorino is absent, and Adina wants to wait for him so she can sign the marriage contract. Nemorino finds the doctor and asks him for another bottle of the elixir but Dulcamara will not give
Nemorino another bottle until he can pay the money. Nemorino finds Belcore and tells him that he needs money. Belcore suggests that he join the army, because there is an enlistment bonus. Nemorino enlists and takes the money to buy more of the elixir from the doctor. Nemorino buys the elixir and is suddenly surrounded by women. He is unaware that his uncle has died and left him a large amount of money. Nemorino believes that the second potion has taken effect. Adina becomes jealous when she sees the women surrounding Nemorino. Adina cries a single tear, which Nemorino notices when he is surrounded by the women. The doctor offers to sell Adina the elixir of love so that she can woo Nemorino. She refuses and says that she can win Nemorino’s affection on her own. Nemorino pretends to be indifferent and Adina professes her love for him. She has bought back his enlistment papers so they can be married. Belcore sees the pair kiss and he proclaims that he can find another woman. Nemorino is now rich and loved by the woman of his dreams. The townsfolk line up to buy Dr. Dulcamara’s elixir thinking it causes the recipient to fall in love and become rich.
48
Una furtiva lagrima
This bassoon solo is a rare example of an excerpt from an opera that has made its way on to orchestral auditions. The lyrical solo from the second act of L’elisir d’amore comes from the tenor aria Una furtiva lagrima. Translated from Italian, this means “a furtive, or secret tear”. At this point in the plot Nemorino has seen Adina cry a single tear as the women of the town vie for his affection. Nemorino sees this tear as a sign that
Adina is in love with him and will no longer marry Belcore. In this aria Nemorino is contemplating Adina’s actions and whether or not she loves him.
Voicing
In the opening descending interval of each phrase, Donizetti has written a descending fourth. The bassoonist must be careful to make the appropriate voicing changes, otherwise the interval will not come out smoothly. For the higher note an “ee” voicing is appropriate while the descending note should have an “ah” voicing. This requires a great deal of practice as it is a subtle movement of the tongue and is easy to over exaggerate. The descending fourth intervals will speak easier within a slur by flicking or venting the bottom note.
Example 4.1. L’elisir d’amore, Una furtiva lagrima, measures 2-4, voicing.
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Vibrato
The player’s vibrato should constantly accompany the whole phrase. David
McGill states in his excerpt cd that it is important to vibrate on the penultimate notes of phrases. If the penultimate note does not have vibrato, the musical phrase will be broken up.15
Example 4.2. L’elisir d’amore, Una furtiva lagrima, measures 8 and 9, vibrato.
Vibrato is an important element in this solo because the bassoon is playing the main melody of the aria. The tenor will sing the melody with a healthy amount of vibrato so the bassoonist should emulate the vibrato of a singer.
Phrasing Suggestions
The two opening iterations of the solo should each lead to the downbeat of the following measure because they are appoggiaturas. When playing the descending fifth interval in measures two and four, make sure to play the first note louder with a diminuendo to the lower note. This will allow the player to grow dynamically on the repeated notes towards the appoggiatura. In the second iteration of the phrase, there is an ascending sequence so this phrase should increase in intensity. It is important to sustain
15 David McGill, “L’elisir d’amore,” by Gaetano Donizetti, recorded January 29, 1995, track 11 on Orchestral Excerpt for Bassoon, Summit Records, compact disc. 50 the dynamic on the held notes in measures three and five. If the player diminuendos, then the phrase will lose momentum and the increase in intensity will sound out of place. The grace notes should be played lyrically as if sung. Often times, instrumentalists play the grace notes too quickly which disrupts the musical line. Lastly, the accented Ab should also be approached lyrically. The accent indicates that the note should be played with more intensity, emphasis, and vibrato.
Example 4.3. L’elisir d’amore, Una furtiva lagrima, measures 2-7, phrasing.
Lastly, the staccato articulation marks can cause confusion when learning this excerpt. The staccato marking in this case means to rearticulate and does not indicate a shortening of the note. It was a common practice of the time to write a staccato mark “to reiterate to the performer that certain notes should be articulated.”16 By simply rearticulating those notes, the performer continues the flow of the line. This is particularly apparent on the last note of the excerpt. It would not make sense to end the excerpt with a staccato eighth note, but rather a full length eighth note with vibrato.
16 Brett Van Gansbeke, “The Orchestral Bassoon: A Pedagogical Website for Bassoonists,” DMA diss., (Indiana University), 2012, https://scholarworks.iu.edu/dspace/bitstream/handle/2022/14463/vangansbeke_brett_2012.pdf?sequence=1 &isAllowed=y. 51
Chapter 5 Otello
By Giuseppe Verdi (1813-1901)
Libretto by Arrigo Boïto.
Based on the play Othello by William Shakespeare.
First performance: February 5, 1887 at the Teatro alla Scala in Milan, Italy.
List of Characters:
Otello General of the Venetian Army Desdemona Otello’s wife Iago Otello’s ensign Emilia Iago’s wife and Desdemona’s maid Cassio Otello’s captain Roderigo a Venetian gentleman Lodovico Ambassador of Venice Montano Former governor of Cyprus A Herald
Setting: Cyprus at the end of the fifteenth century.
History of the Composition
This work was the second to last opera that Verdi wrote. When Verdi began work on Otello he was already sixty-four years old. The idea for the subject matter of this opera came from a dinner between Giulio Ricordi, Verdi, and their friends. During the course of the dinner, Ricordi brought up the idea of Shakespeare and the librettist Boito.
52
Ricordi concluded that Othello would be a suitable play to use for an opera. Verdi expressed interest in the subject and stated that if Boito would write the libretto and be willing to accept his rewrites, he would commit to the project.17 It is interesting to note that Verdi had avoided Othello because Rossini had written a version of Otello about fifty years earlier in 1816. For this very reason, Verdi almost titled the opera Iago, as it is “an unwritten law of the theatre whereby any opera written to a subject previously treated should have a fresh title.”18 After much consideration, Verdi decided that the plot of
Otello revolves around Otello’s actions not Iago’s deception, thus he kept the title Otello.
For many years the work on Otello was kept between three men, Verdi, Boito, and
Ricordi. When word spread that Verdi was producing a new opera, singers clamored to be a part of the production. Verdi worked on the composition for the better part of a decade, 1879 to 1887, when Otello was finally performed on February 5, 1887 at the
Teatro alla Scalla in Milan. Otello opened to stellar reviews, critics travelled from all over Europe to attend the premiere. This instant success cemented Otello as a classic of
Italian opera repertory.
17 Julian Budden. The Operas of Verdi, Vol. 3. (Oxford:Clarendon Press, 1992), 300. 18 Ibid., 319. 53
Synopsis19
Act I
The opera starts in Cyprus during a terrible storm. The people are awaiting the return of the general Otello, who is leading the Venetian fleet. Otello returns victorious and safely from fighting the Turks. In his absence, a Venetian gentleman, Roderigo, has fallen in love with Otello’s wife, Desdemona. After being passed over for promotion,
Iago, Otello’s ensign, plots revenge. Iago’s plan is to help Roderigo win over Desdemona and ruin Otello’s life. Iago gets Cassio, Otello’s captain and the man who was promoted over him, drunk. Iago then prompts Roderigo to fight the drunk Cassio. The two fight, which is broken up by Otello. Otello demotes Cassio and then retires to be with his wife.
Act II
Iago pretends to be friendly towards Cassio and advises him to speak with
Desdemona, arguing that she can influence Otello to reinstate his rank. Iago then insinuates to Otello that Desdemona has been unfaithful. Later, Desdemona appeals for
Otello to reinstate Cassio’s position. This arouses Otello’s suspicion and he complains of a headache. Desdemona offers a handkerchief which Otello refuses and throws on the ground. Iago’s wife, Emilia, who is also Desdemona’s servant, picks up the handkerchief which is in turn taken by Iago. Iago sows the seeds of jealousy in Otello by remarking
19 Fellner, Opera Themes and Plots, 174-183. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Otello,” The Metropolitan Opera, accessed July 19, 2019, http://www.metopera.org/user- information/synopses-archive/otello.
54 that Cassio possessed Desdemona’s handkerchief and that he heard Cassio mutter
Desdemona’s name during his sleep. Otello is jealous and angry that Cassio has
Desdemona’s handkerchief, and the pair plot against Cassio and Desdemona.
Act III
Iago continues to lie to Otello. Desdemona again approaches Otello, on behalf of
Cassio. Otello again complains of a headache and asks Desdemona for her handkerchief.
Desdemona is unable to produce the handkerchief and Otello accuses her of being a whore. Desdemona leaves and Otello is left alone. Iago brings Cassio into the room as
Otello hides. Iago then compels Cassio to talk of an unknown admirer who gave him a handkerchief as a gift. Iago has planted the handkerchief in Cassio’s room, and Otello promises to kill his wife while Iago promises to deal with Cassio. Otello is called back to
Venice and Cassio is to be appointed governor of Cyprus. Otello is enraged by this information and collapses.
Act IV
Desdemona is lying in bed and falls asleep. Otello enters and wakes Desdemona with a kiss before telling her that he will kill her. Otello strangles Desdemona and Emilia rushes in with news that Cassio has killed Roderigo. Otello realizes Iago’s plot and kisses his wife one last time before taking his own life.
Act I, Rehearsal C-D
The most frequently asked excerpt from Otello is Act I, Rehearsal C-D. This excerpt is asked on both principal and second bassoon auditions, and both bassoon parts
55 are in unison. The excerpt takes place at the very beginning of the opera in which a violent storm is taking place on the island of Cyprus. In this part of the opera a torrential thunderstorm is battering Otello’s fleet as the citizens of Cyprus anxiously await Otello and the fleet’s return. This portion is marked “Allegro Agitato” and recordings range in tempo anywhere between 144-152 beats per minute. The passage is requested by audition committees because it is technically challenging. Rehearsal C-D present several challenges for the performer.
Rhythm
First, the passage begins after a sixteenth rest on the second sixteenth note of count two, followed by a stream of sixteenth notes. If the performer is not careful, the listener will not be able to discern where the downbeats of the passage lie. It is crucial that the performer treats the first three sixteenth notes as a pick-up to beat three. This will ensure that the listener hears beat three as a downbeat and will give the passage the correct emphasis. In each iteration of this phrase the player should make a quick diminuendo after the accented note. This diminuendo will help the accent be more effective to the listener.
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Example 5.1. Otello Act I, Rehearsal C for 6 measures, emphasis for rhythmic accuracy.
Challenging Fingerings
The second challenge this passage presents is difficult passagework which may result in uneven sixteenth notes. The passage is highly chromatic and contains many awkward fingerings that the performer must overcome in order to play smoothly. The bassoonist should practice rhythms to train the fingers to play evenly. In the seventh measure of rehearsal C, the bassoon plays Bb, Ab, Gb, F repeatedly within two measures.
Example 5.2. Otello Act I, measures 8 and 9 after Rehearsal C, passage with challenging technical coordination.
57
Unfortunately, there is not an alternative way to finger this passage. The performer must slide their pinky from Ab to Gb. This can be an exhausting motion that can create discomfort if these measures are over practiced. It is also important that the performer does not overexert themselves and limits the amount of time they spend on this passage. Two measures before rehearsal D, the performer may use the front Gb fingering in order to have proper thumb placement to move to the following Bb.
Example 5.3. Otello Act I, 10 measures after rehearsal C, Alternate Gb fingering.
Fingering 5.3. Short C#4 fingering
This movement can also be uncomfortable because the performer is sliding their pinky between the Ab and F# pinky keys. This passage has repeated sixteenth notes in
58 slurred groups of four. An error can occur in between the slurred groups of four sixteenth notes if the performer stops their air which creates a bump and makes the passage rhythmically uneven.
Example 5.4. Otello Act I, measures 7 and 8 after Rehearsal C, articulation issues created by the player’s airstream.
One way to mitigate this issue is to practice the passage without any articulations to reinforce the airstream. Once the airstream is secure, add the articulation back in, making sure not to interrupt the airstream with the tongue. Lastly, it is important to pay attention to the dynamics. The opening flourishes begin at the piano dynamic and then crescendos. The player must pay special attention to return to the piano dynamic for each iteration of the phrase and refrain from a premature crescendo. Either outcome can ruin the dynamic effect of the passage.
Act I, Allegro con Brio
The grace notes in this passage present a technical challenge. Playing the C#, D#,
E# in succession with full fingerings can create a coordination issue in the left hand.
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Example 5.5. Otello Act I, Allegro con Brio, measure 32 after Rehearsal DD, grace note fingerings.
By playing both the C# and or D# with short fingerings, the player can simplify the coordination issues in the left hand. The forked D# fingering helps the player reach the E# fingering as the left hand will not have to change positions between notes.
Fingering 5.5.1. C#4 Short fingering.
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Fingering 5.5.2. D#4 Left hand fingering.
Example 5.6. Otello Act I, Allegro con Brio, measures 33 and 34 after Rehearsal DD, F# fingerings.
This excerpt has many accented F# notes. F# traditionally is an unstable note on the bassoon. When using an F# fingering that utilizes a half hole in the second finger in the left hand the note can crack if the proper half hole size is not used. This issue will not affect every bassoonist. However, if this problem occurs, changing the fingering can alleviate the cracking issue. Because of the speed and accents of the passage, it is recommended to use the F# fingering that does not utilize a half whole. This fingering will give the player a solid response.
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Fingering 5.6. Stable F#4
Using certain fingerings in this passage can alleviate the instability and keep the start of the note from cracking. The player can choose between many F# fingerings, however, by choosing an F# fingering without a half whole, the bassoonist will decrease the likelihood of cracked notes.
Act II, 2 bars before rehearsal G to G
This excerpt is a unison passage with the oboes, clarinets, and the strings. The passage presents several challenges to the audition candidate. Firstly, the player must have a clean staccato articulation throughout the two measures. Cleanliness of articulation can be achieved through the careful examination of fingerings.
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Example 5.7. Otello Act II, measure two before rehearsal G, F# and C# fingerings.
Fingering 5.7. Long C#4
Once again, using the stable F# fingering referenced in Fingering 5.6 will prevent cracked F# notes. Also, choosing the long C# fingering will not only give a clean attack at a loud dynamic, but will also make it easier for the player to move their thumb to flick other notes.
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Example 5.8. Otello Act II, measure one before rehearsal G, venting notes.
In this measure, the player can hold down the C flick key for the A# through the B natural. By holding down the C flick key, the player alleviates having to move their thumb to the A flick key for A natural and the articulations will be clear.
Dynamics and Articulation
As the musician diminuendos the measure before rehearsal G, they must continue to have a staccato articulation. Typically, players tend to elongate the articulation as the diminuendo occurs.
Act III, 8 bars after rehearsal H playing 8 bars
The excerpt from Act III eight bars after rehearsal H takes place when Otello feigns a headache and asks Desdemona repeatedly for a handkerchief. She is unable to produce the handkerchief and Otello explodes accusing her of infidelity. This excerpt occurs at the moment when Otello begins to accuse Desdemona of infidelity. Verdi prescribes a tempo marking of “Piu Mosso” which adds to the rising tension of the scene.
The tempo for this excerpt is dotted quarter equals 100 bpm. Bassoon 1 and 2 play in unison. The player must pay special attention to the accidentals. There are no sharps or
64 flats in the key signature and this passage has many chromatic descending scales. The player should keep a light articulation when tonging the sixteenth notes, refraining from a pecky articulation or stop tonguing the notes with their tongue.
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Chapter 6 Aida
By Giuseppe Verdi (1813-1901)
Libretto by Antonio Ghislanzoni.
Based on the script of Auguste Mariette.
First performance: December 24, 1871 in Cairo, Egypt.
List of Characters:
The King Amneris The King’s Daughter Radames An Egyptian Captain Ramfis High Priest Amonasro King of Ethiopia Aida The daughter of Amonasro and slave to Amneris A Messenger Voice of the High Priestess
Setting: The Old Kingdom of Egypt at the King’s palace.
History of the Composition
Verdi was undergoing a difficult time in his life when he began work on the opera
Aida. He lost his father as well as his father-in-law, who was also his benefactor. In 1869 the Khedive of Egypt (the viceroy of Egypt) planned to open a new opera house in Cairo to celebrate the completion of the Suez Canal. He contacted Verdi and asked him to write
66 a piece for the occasion. Verdi declined, but this encounter influenced and led to his commission for Aida. As it happened, the Khedive employed the famed Egyptologist
Auguste Mariette and sent him on a trip to Paris to commission an opera. This opera would establish a national work that would be a crowning achievement of the Khedive’s rein. Mariette arrived in Paris with the intent of producing an opera with a plot about
Egypt. Mariette had settled upon Camille du Locle to find a librettist and composer. Du
Locle had Verdi in mind as the composer for this new opera, but Verdi was not initially interested. After reading the plot, Verdi agreed to the project on the condition that he could rewrite the plot. They decided on using Antonio Ghislanzoni as the librettist, and he agreed. As Verdi wrote the score, the directors of the theater at La Scale asked Verdi if they could have the European premiere of Aida. Verdi was under contract to have the first performance in Cairo after which he could stage the opera wherever he liked. Verdi was to send the completed score to Mariette not knowing if he was in Paris or Cairo. Verdi sent the score to Egypt because Paris was under siege from Prussian forces during the height of the Franco-Prussian War. Mariette was trapped in Paris, along with all of the costumes and scenery.20 The opera would have to be delayed to the end of the year or the beginning of 1872. Verdi began to cast the roles for the La Scala premiere during the lull in work. He considered the performance in Milan to be the true premiere and was not planning to attend the premiere in Cairo. Additionally, he would have total creative control over the Milanese production. Mariette eventually was able to leave Paris and commence working on the production in Cairo. The Egyptian premiere was a success,
20 Julian Budden. The Operas of Verdi, Vol. 3. (Oxford:Clarendon Press, 1992), 181. 67 and Verdi received the title of Commendatore of the Ottoman Order. Verdi had already begun working with the singers at La Scala as early as September of 1871.21 Verdi micromanaged every aspect of the Milanese production, from the roles of the singers, to the number of orchestral musicians, to the costumes. The Milan premiere occurred on
February 8, 1872. The production was a success; opera companies from around Europe quickly asked Ricordi for the rights to perform it elsewhere. For two years, Verdi personally denied Aida’s performance at any theater he thought inferior to the task.22 The opera quickly spread beyond the nation of Italy and became an international success, cementing Aida as a staple of the opera repertoire.
Synopsis23
Act I
In the palace hall, Ramfis tells Radames that the King is deciding who will lead the
Egyptian army against the invading Ethiopians. Radames hopes that he will be chosen so that he can free his love, Aida, Amneris’ Ethiopian slave girl. Amneris enters, infatuated with Radames, she talks with Radames to ascertain if his feelings are the same. When
Aida enters, Amneris suspects that Radames is in love with Aida. The King and his advisors arrive, and a messenger reports that the Ethiopian King, Amonasro, and his army
21 Budden, The Operas of Verdi, Vol. 3, 189. 22 Ibid., 192. 23 Fellner, Opera Themes and Plots, 2-9. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Aida,” The Metropolitan Opera, accessed July 17, 2019, http://www.metopera.org/user- information/synopses-archive/aida.
68 are marching towards Thebes. The King appoints Radames as the commander of the
Egyptian troops and charges him with the responsibility of vanquishing the invading
Ethiopian army. The crowd cheers for Radames and leaves for the temple of Vulcan to pray for victory. Aida remains in the temple; she ponders her fate and which side to support. An Egyptian victory could mean the death of her country and her father King
Amonasro. An Ethiopian victory could mean the death of her beloved Radames. She prays to the gods for mercy. At the temple of Vulcan, Radames is given the sacred sword to defeat the Ethiopians. The people pray to the gods for Radames’ victory.
Act II
Amneris is being prepared by her slaves in her apartment to attend the reception of the victorious Egyptians. The slaves are entertaining her as Aida enters. Amneris sends the slaves away out of respect for Aida’s loss. Amneris suggests that love is a healing emotion in hopes that Aida reveals she is in love with an Egyptian soldier. Amneris implores Aida to confide in her. She mentions that Radames has fallen in battle. Aida is visibly distraught, and Amneris reveals that Radames is still alive. Aida is thankful and
Amneris now knows Aida’s true feeling towards Radames. Amneris gloats that Aida will have to compete with the daughter of the Pharoah to gain Radames’ love. Aida, defiant at first, falls to her knees and begs for mercy. Amneris exultantly leaves having bested her rival. Aida once again prays to the gods. Radames’ army returns triumphantly and is greeted by fanfare. Amneris meets Radames and bestows the victory laurels upon him.
The King asks Radames what he would like as a reward. Radames brings in all of the
Ethiopian prisoners and Aida recognizes her father. Amonasro is brought before the King
69 and Amonasro claims that the Ethiopian King has perished in battle. He begs for mercy for the surviving Ethiopians. Radames declares that he wishes all of the Ethiopian prisoners be freed. The King agrees to free the Ethiopian prisoners excerpt for Amonasro and Aida. The King also promises Amneris to be Radames’ bride.
Act III
Amneris travels to the temple of Isis to pray for her upcoming marriage to
Radames. On the banks of the Nile river, Aida waits to meet her beloved Radames. To her surprise, her father appears. He vows to destroy Egypt, avenge Aida’s mother, and
Ethiopia. Amonasro knows who Aida has come to meet and demands Aida help him in his plot. Amonasro explains that the Ethiopian army has regrouped and is ready to attack.
The only thing missing is the information about what route the Egyptians will take. Since
Radames is in love with Aida, she must trick Radames into revealing the route. Aida refuses; this sends Amonasro into a rage and he knocks Aida to the ground. Aida begs her father’s forgiveness and promises to cooperate. Amonasro hides as Radames approaches.
Aida proclaims to Radames that the only way they can be together is if they both flee to
Ethiopia. After hesitating, Radames agrees to escape with Aida. Aida asks Radames what route the Egyptian army will take to face the Ethiopians as to avoid capture. Radames replies and Amonasro appears, revealing that he is the King of Ethiopia. Radames is upset that he has betrayed his country’s secrets but decides to escape with Amonasro and
Aida anyway. As they are about to make their escape, Amneris appears, discovering the three characters attempting to flee. Amonasro attempts to stab Amneris but is stopped by
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Radames. Aida and Amonasro flee as the priest Ramfis appears. Radames relinquishes his sword to the priest and the priest sends guards after the fleeing Aida and Amonasro.
Act IV
In the King’s palace, Amneris is torn that Radames loves Aida. She demands that
Radames be brought in front of her. She pleads with Radames to beg for the King’s forgiveness. Radames refuses and declares that he can not live with out Aida. Radames is returned to his cell. The priests pass by Radames’ cell declaring him a traitor and that he must die for his crimes. Amneris argues with the priests but their response is the same;
Radames is a traitor and must be condemned to death. Radames is alone in a sealed vault below the temple, awaiting death, when Aida appears. She has snuck into the tomb to die with her beloved. Above the tomb Amneris weeps and prays for Radames. Reunited,
Aida dies in Radames’ arms.
Act III, No. 6
This aria occurs when Aida is waiting for Radames on the banks of the Nile river.
Her father Amonasro finds Aida and convinces her to get information about the Egyptian troops. The excerpt occurs when Aida, torn between her father and her lover, decides to betray Radames and begs her father for forgiveness.
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Example 6.1. Aida, Act III, No. 6, 2-3 measures after rehearsal N, Alternate Fingerings.
Fingering 6.1.1. Muted Gb3 Fingering.
Fingering 6.1.2. Muted Fb3 Fingering.
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Fingering 6.1.3. Darker Eb3 Fingering.
Fingering 6.1.4. Muted Db3 Fingering.
In the context of the opera, the excerpt is played with the cello section. The excerpt is marked ppp, and the bassoonist must match the timbre of the cello sound. To achieve this, a bassoonist must have a reed that plays softly in the mid and tenor ranges of the bassoon. In addition to a quiet reed, the player can use alternate fingerings to get the
73 desired dynamic. When using alternate fingerings, it is important to practice with a tuner to perfect the pitch and timbre tendencies of the fingerings. Just because an alternate fingering is quieter, does not mean that it will fit within the context of an excerpt or piece. Each player must decide which fingerings are appropriate for themselves. Gb can be a troublesome note that is hard to start but also tends to be loud and have a bright timbre. By using a muted Gb to start the passage the bassoonist can join the cellos with confidence and match their sound. The player can also use muted or soft fingerings for the Fb and Eb to better fit the timbre of the first note. However, these notes have the tendency to be flat in pitch.
Act I, No. 1, [B] to 1 measure before [D]
This excerpt occurs during the introduction of Radames. Radames sings of how he would like to be chosen as the commander of the Egyptians. At the same time, he professes his love for Aida. Radames proclaims that Aida rules his soul and he would love to return her to her homeland and make her queen.
The bassoon’s role in this passage is to color the sound of the oboe, cellos, and aria sung by Radames.
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Example 6.2. Aida, Act I, 10 measures before rehearsal C-C.
The passage ten measures before rehearsal C is played with the oboe. In this part of the excerpt the bassoon should support the sound of the oboe and the bassoonist should strive to match the oboist’s timbre, vibrato, and articulations. The accent in this passage should be treated as a breath accent, playing with more intensity and faster vibrato. One common mistake that can occur with the articulation is this passage is to play the eighth note after a quarter note too short. This clips the rhythm and interrupts the musical line.
One must play all of the eighth notes full length to match the oboist. The issue of a clipped eighth note can arise because the player is trying to take a quick breath. In the fifth measure of example 6.2. the player can choose to take a quick breath but should make sure not to clip the preceding eighth note.
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Example 6.3. Aida, Act I, No. 1, 1 measure after C through 22 measures after rehearsal C.
In this passage the bassoon is playing with the cellos and Radames. Once again, the bassoonist should fit within the timbre of the cellos. It can be challenging to find an appropriate play to breathe. After the first eight measures of example 6.3. is a rare instance where it is appropriate to break a tie for a breath. This is the end of a phrase in which Radames will most likely take a breath and the cellos cover the breath by holding over. Another place to take a breath is after the thirteenth bar of example 6.3. This is the end of a phrase and a breath can easily be snuck in, especially if the conductor uses rubato at the end of the measure. The marcato accents should be played as breath accents.
The arrows added to the example show areas of rubato. Lastly, to achieve the pppp dynamic in the last two measures of the example the bassoonist can add the Eb resonance key to the F and Bb. This will mute the notes and darken timbre.
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Act II, No. 4, Reh. K to the end
In this scene Amneris learns that she and Aida are rivals for Radames’ love.
Amneris tricks Aida into revealing her affections by claiming that Radames is dead.
When Aida’s heartbreak is apparent, Amneris reveals that she lied, and that Aida has a princess as a rival. Aida reacts angrily and almost reveals that she is royalty as well. Aida catches herself and then pleads with Amneris explaining that love is the only thing she has. This bassoon solo accompanies Aida’s plea.
Example 6.4. Aida, Act II, No. 4, Rehearsal K for 9 measures, Rubato.
This passage has many instances of rubato. The bassoon is accompanying Aida as she sings about her love for Radames and beseeches Amneris explaining that love is all
77 she has. The arrows indicate places in which the bassoonist should be aware that rubato could occur. Many of the instances of rubato are dictated by Aida’s lyrics. In both measures five after rehearsal K and nine measures after rehearsal K Aida lingers on the word amore, which means love. Aida lingers on the word love to show how deeply she feels for Radames and to convince Amneris of this fact. The most dramatic rubato happens in the ninth measure after rehearsal K where the orchestra enters. When practicing this excerpt, it is important to listen to many recordings to best anticipate where rubato may occur.
Example 6.5. Aida, Act II, No. 4, measures 15-24 after rehearsal K, Rubato.
Example 6.5. shows points that could include rubato. In an audition it is important to express one’s musical ideas. There is nothing indicated in the music to express that this passage would contain rubato. The candidate would not know this unless they have
78 listened to the excerpt. If one were to play this passage without any rubato, they may be dismissed by the audition committee. If a candidate employs rubato, they will show an understanding of typical performance practice.
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Chapter 7 Salome
By Richard Strauss (1864-1949)
Libretto translated by Hegwig Lachmann from Oscar Wilde’s play Salome.
Based on the play Salome by Oscar Wilde.
First performance: December 9, 1905 at the Semperoper Dresden, Germany.
List of Characters:
Herod Antipas Tetrarch of Judea Herodias Herod’s wife Salome daughter of Herodias Jokanaan John The Baptist Narraboth Captain of the Guard The Page of Herodias Five Jews Two Nazarenes Two Soldiers A Cappadocian
Setting: The palace of Herod in the year 30 A.D.
History of Composition
Strauss was first introduced to Salome by the poet Anton Lindner in 1902.
Strauss had set one of his poems to music before, and Lindner gave Strauss a copy of the play in the hopes that he could write the libretto for the opera. Lindner wrote a libretto for
80 the opening scene, but Strauss was unimpressed with his work. 24 Strauss preferred the
German translation of Hegwig Lachmann which had been produced by Max Reinhardt. It is not clear when Strauss began to actively work on the project however, he had completed the majority of Salome by June of 1905. At this point, Strauss had not yet written the famous Dance of Seven Veils scene. Strauss visited Gustav and Alma Mahler and played the composition from a piano score. They enjoyed the work, but Gustav
Mahler commented “that surely it was risky to leave such an important part of the opera to be composed later, when he might not be able to recapture the right mood.”25 Strauss’s jaunty reply was “Oh, don’t worry, I’ll soon fix that!”.26 Strauss soon finished the opera and contacted Ernst von Schuch the conductor at the Dresden opera. Strauss offered
Schuch the premiere and Schuch readily accepted. Rehearsals were not without their struggles; Marie Wittich, who sung the role of Salome, went on strike. She complained that the role was too strenuous and the orchestration too thick for her to sing over.
Ultimately, she performed the opera. Strauss eventually sent a letter to Schuch indicating that he could not guarantee Schuch the premiere past December 9th. Several other parties were interested in the opera including Mahler in Vienna. The letter forced Schuch to move forward with the production and Salome was premiered on December 9, 1905 in
Dresden. The premiere was a success “with thirty-eight curtain calls at the end of the performance”.27 Salome was soon performed around Germany and very quickly made it
24Charles Osbourne, The Complete Operas of Richard Strauss (London: Michael O’Mara Books Limited, 1988), 38.
25 Osbourne, The Complete Operas of Richard Strauss, 38. 26 Ibid., 38. 27 Ibid., 40. 81 to the United States and the United Kingdom. The performances were not without controversy. In Britain, the biblical theme setting had to be changed to Greece. In New
York, the plot was so scandalous that after the first performance, the rest of the performances were cancelled. Mahler was unable to get Salome past the censors and it was not performed until 1918 at the Vienna State Opera. Although controversial, Salome was too sensational for the critics to silence and it became a staple of the opera repertoire.
Synopsis28
Act I
At the palace of King Herod, Narraboth, a young Syrian captain, gazes from the palace terrace at the beautiful princess Salome as she sits at the banquet table. A page warns Narraboth not to stare at the princess too long because the consequences could be dangerous. Narraboth does not heed the page’s advice and continues to stare. A voice is heard from a nearby cistern. The voice is Jochannan who is imprisoned in the cistern for claiming to be the Messiah. Salome appears on the terrace; she is revolted by King
Herod’s advances and seeks fresh air. Jochanaan can be heard speaking again which piques Salome’s interest. She inquires with the soldiers about the mysterious voice. She is told that it is Jochanaan and that no one is allowed to speak with him. Narraboth is tempted by Salome and he allows Salome to see Jochanaan. Salome is captivated by and
28 Fellner, Opera Themes and Plots, 270-281. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Salome,” The Metropolitan Opera, accessed July 23, 2019, http://www.metopera.org/user- information/synopses-archive/salome.
82 frightened of the prophet. Jochanaan is disgusted by Salome and when he finds out that she is the daughter of Herodias, he curses her, telling her to seek the salvation of Christ.
Salome is captivated by his appearance, and desires to kiss Jochanaan. Narraboth, who can not bear that Salome is in love with another, impales himself on his own sword, killing himself. Salome is still desperate to kiss Jochanaan and proclaims that the only way to salvation is through Christ as the gate on the cistern is replaced.
Herod, Herodias, and the court appear. Herod slips in Narraboth’s blood and begins to hallucinate, hearing the beating of wings. Herod then gazes at Salome with lust.
He is obsessed with her despite Herodias’ objections. Joachanaan can be heard cursing
Herodias from the cistern. Herodias requests that he be delivered to the Jews, but Herod is afraid of Jochanaan because he is a holy man. Five Jews and two Nazarens argue in the street about God, the Nazarenes mentioning the resurrection of the dead. This frightens
King Herod, who distracts himself with thoughts of Salome. He offers Salome food and drink which she rejects. Herod then asks Salome to dance for him. She refuses, and King
Herod declares that he will grant her anything that she desires. Salome agrees and prepares to dance the Dance of the Seven Veils. Salome dances for King Herod, slowly removing each of the veils until finishing the dance completely naked at his feet. King
Herod asks Salome what she would like for her reward. Salome sweetly asks for the head of Jochanaan on a silver platter, as Herodias laughs approvingly. Herod is horrified and pleads with Salome to reconsider, offering her great riches. Salome insists that she wants the head of Jochanaan and nothing else. Herod finally gives in to Salome’s demands. The head of Jochanaan is presented to Salome on a platter and she embraces the head with a
83 passionate kiss on the lips. Herod is disgusted by her actions and orders his soldiers to kill her. Salome is crushed to death underneath the shields of the soldiers.
Salome’s Dance
Typical of Strauss’ works, this excerpt requires the bassoonist to play challenging rhythms, in a challenging key, in an extended range on the bassoon. Salome’s Dance requires flawless technique and voicing abilities. The excerpt takes place during Salome’s
Dance of the Seven Veils for King Herod. The dance starts slowly but eventually Salome is whipped into a frenzy before ending the dance at King Herod’s feet. The choice of fingerings can greatly ease the difficulty of this excerpt. To start, a short C# fingering can be helpful not only for the pianissimo dynamic but for technical reasons as well. The short C# fingering frees the right hand and the bassoonist will not have to slide their right pinky when moving to the G#. To help with the G# to D# slur, the bassoonist can use the legato fingering in Fingering 7.1.2. This legato fingering will aid in executing the large slur and help the interval sound smoother. Throughout Salome’s Dance the high C# fingering should be applied. By pressing down both the C and D flick keys at the same time, the high C# has a much higher percentage of coming out smoothly on many bassoons. C# is an unstable note on the instrument and this fingering alleviates the stability issues of the note. The high notes in this excerpt also create a balance issue in addition to the technical issues they present. It is quite easy to play the tenor register notes at a quiet dynamic but as the passage ascends to the high register the player must make sure to not grow in dynamic.
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Example 7.1. Salome, Salome’s Dance, 4 measures after Rehearsal S, Alternate Fingerings.
Fingering 7.1.1. Short C#4 Fingering
Fingering 7.1.2. Legato D#4 Fingering
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Fingering 7.1.3. Slur C#5 Fingering
The legato E fingering works the same way as the slur D#. By lifting the first finger in the right hand, the note has a greater chance of responding. The legato E also requires the proper voicing change from “ah” to “ee”. The voicing and fingering must be coordinated together for the note to respond.
Example 7.2. Salome, Salome’s Dance, 5-6 measures after rehearsal S, Legato fingering.
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Fingering 7.2. Legato E4 Fingering
Exercises
C# major is not a key that bassoonists play in often. To better familiarize oneself with the key, it can be helpful to practice 3rds, 4ths, and 5ths, in the key of C# major. For each exercise start on low A# and play all the way up to D# and back down. Not only will this familiarize your fingers with the key it will help identify which intervals are challenging in C# major. I would suggest using the suggested fingerings above so that you may become accustomed to them. The most challenging part of this excerpt is familiarizing oneself with an uncommon key and the challenging intervals that require special fingering or voicing accommodations.
Act I, 6 before Rehearsal #141 to #142
This excerpt begins right after Jochannan curses Salome and then he is returned to his cell in the cistern. The beginning chord is arguably one of the more dramatic moments
87 of the opera. Naraboth has committed suicide, Salome does not even notice because she is obsessed with Jochanaan and Jochanaan curses Salome to damnation for their treatment of him and the Christians. The German instructions at the beginning of this except are “bedeutend langsamer 4/4 aber immer noch sehr bewegt” and translate to
“Significantly slower 4/4 but still very animated” in English. At rehearsal 141 Strauss writes “mit äusserster Leidenschaft” which means “with the utmost passion”. The quarter note triplet passage before rehearsal 141 can be challenging to play with rhythmic accuracy. To play the passage accurately the player needs to internalize the eighth note triplet rhythm. A helpful exercise is to remove the slur and articulate the eighth note triplet rhythm. Once the rhythm has been internalized, the player can add in the quarter note triplet rhythm and the slur.
Example 7.3. Salome, Act I, Scene 3, 3 measures before Rehearsal 141 to Rehearsal 141.
Example 7.4. Salome, Act I, Scene 3, 3 measures before Rehearsal 141 to Rehearsal 141, Practice with Subdivisions.
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Example 7.5. Salome, Act I, Scene 3, 3 and 4 measures before rehearsal 142. Alternate Fingerings.
Fingering 7.5.1. Short G#4 Fingering.
Fingering 7.5.2. Short A4 Fingering.
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The selected fingerings from example 7.5. will help the player perform the passage up to tempo. The short G#4 and short A4 fingerings eliminate complicated movements in the right hand and allow the bassoonist to have an easier transition to B4.
These fingerings should simplify awkward movements and finger coordination.
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Chapter 8 Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg)
By Richard Wagner (1813-1883)
Libretto by Richard Wagner.
Based on the myth of Die Meistersinger in Georg Gervinus’ book History of German
National Literature.
First performed: June 21, 1868 at the Munich National Theatre in Munich, Germany.
List of Characters:
Hans Sachs shoemaker, mastersinger Veit Pogner goldsmith, mastersinger Sixtus Beckmesser town clerk, mastersinger Fritz Kothner baker, mastersinger Kunz Vogelgesang furrier, mastersinger Konrad Nachtigall tinsmith, mastersinger Balthasar Zorn pewterer, mastersinger Ulrich Eisslinger grocer, mastersinger Augustin Moser tailor, mastersinger Hermann Ortel soap-boiler, mastersinger Hans Schwarz stocking weaver, mastersinger Hans Foltz coppersmith, mastersinger Walther von Stolzing a young knight from Franconia David- Sachs’ apprentice Eva Pogner’s daughter Magdalene Eva’s nurse A Nightwatchman
Setting: Nuremberg during the sixteenth century.
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History of the Composition
While delving into Germany’s medieval past for the creation of his opera
Tännhauser, Wagner became intrigued by the Meistersingers, a group of twelfth century poets and singers. In Wagner’s autobiography he states that he came up with the concept of Die Meistersinger after reading Georg Gervinus’ History of German National
Literature in 1845.29 He began preliminary work on the opera but put it aside to work on
Lohengrin. In 1862, Wagner revisited Die Meistersinger, writing the poem the
Mastersingers and starting to compose the music. Wagner was unable to work on Die
Meistersinger for many years. He endured several hardships, such as the death of his first wife and he did not complete the opera until October 24, 1867. Die Meistersinger von
Nürnberg premiered on June 21, 1868 in Munich, Germany under the baton of Hans von
Bülow. The premiere was well received and “the press notices were more favorable than for any previous production of Wagner’s”.30 Die Meistersinger was an instant success which led to continual performance in the repertoire.
29 Ernest Newman, The Wagner Operas (New York: Alfred A. Knopf, Inc., 1949), 280. 30 Robert M. Rayner, Wagner and Die Meistersinger (Oxford: Oxford University Press, 1940), 136. 92
Synopsis31
Act I
Walther von Stolzing, a young knight, converses with Eva the daughter of a goldsmith at mass at St. Katherine’s Church. Eva tells the young knight that she is to be engaged to whomever wins the song contest held the next day. David, a cobbler’s apprentice explains the complicated rules of the song writing competition to Walther. The other apprentices organize a mock contest in preparation for the song competition. The mastersingers arrive at the hall and Walther reveals his wish to become a mastersinger.
Beckmesser, who is the town clerk is apprehensive of Walther’s presence because he is also in love with Eva. Pogner, Eva’s father and a mastersinger, officially offers Eva’s hand in marriage as the top prize for the singing contest. Pogner explains the rules of the competition and that Eva is free to reject the winner of the competition but that she must marry a mastersinger or she is not allowed to be married. Walther introduces himself to the crowd, explaining that he is self-taught. The crowd including Beckmesser taunt and mock him. Walther sings a song about love and the spring; this breaks many of the rules and Beckmesser keeps track of all of Walther’s infractions. Everyone in the crowd dislikes Walther’s song except for the mastersinger Sachs who is intrigued by the young knight’s tune.
31 Fellner, Opera Themes and Plots, 144-159. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Die Meistersinger von Nürnberg,” The Metropolitan Opera, accessed July 22, 2019, http://www.metopera.org/user-information/synopses-archive/die-meistersinger-von-nurnberg.
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Act II
Later that evening, David the apprentice informs Magdalene of Walther’s poor performance. Magdalene, Eva’s friend then tells Eva the news. Sachs is in his workshop reflecting on Walther’s song. Eva arrives at the shop eager for news about Walther. Sachs tells Eva that Beckmesser plans to win the contest the next day and Eva is disappointed.
She asks Sachs about Walther who pretends that he does not approve of the young knight.
Eva becomes upset and rushes out of the shop. While leaving the shop Eva meets Walther who tells her that he wants to elope. The pair have to hide as the night watchman makes his rounds. Sachs has overheard the pair’s conversation and lights the street lamp so they can not run away. Beckmesser approaches to woo Eva by serenading her. He begins to sing and Sachs interrupts with his own song. This annoys Beckmesser and the pair begin to talk. Sachs suggests Beckmesser should sing and he will hit his hammer to mark
Beckmesser’s mistakes. Beckmesser sings towards Eva’s room and Magdalene appears impersonating her friend. Sachs begins to bang his hammer as Beckmesser breaks many rules. Walther and Eva enjoy the spectacle when all of a sudden David appears. David attacks Beckmesser because he is serenading his girlfriend. As the two fight, the neighbors wake up and the nightwatchman is called. The nightwatchman blows his horn and the fight breaks up. Pogner, Eva’s father beckons Eva inside the house while Sachs grabs David and Walther into his shop. The watchman arrives to an empty street.
Act III
Walther arrives at Sach’s workshop the next morning. He tells Sachs of his dream which Sachs thinks could be the content for a prize-winning song. Sachs writes down the
94 lyrics and helps Walther form a song based on the rules of the mastersinging contest. The men change into their clothes for the contest and Beckmesser arrives. He sees a poem on the table and steals it, thinking that the poem was written by Sachs. Sachs discovers
Beckmesser stealing the poem and tells him to keep it. Beckmesser then leaves, cheerful that he will win the competition. Eva arrives at the workshop to get her shoe repaired.
Walther returns to the shop dressed in his contest clothes and noticing Eva there, sings his contest song for her. Magdalene arrives at which point Sachs decides to promote David to the position of journeyman. The group then happily decides to leave for the contest. The townspeople gather for the contest and the mastersingers enter including Sachs.
Beckmesser starts the competition with his song using Walther’s lyrics. He has clumsily added Walther’s words to his own song, and he is mocked and laughed at for his incoherent song. Walther sings next; his song mesmerizes the crowd who declare him the winner. Walther is bashful at first, refusing to accept the singing master’s necklace. Sachs convinces Walther to accept because he must honor the tradition of art which must always be sustained and improved. Walther accepts and has won the hand of Eva. The people praise Sachs as the mastersinger of Nuremberg.
Act I, Scene 3, 54th measure for 29 measures
This excerpt occurs as Walther introduces himself to the crowd and mastersingers.
The mastersingers reluctantly except the unconventional Walther who is an amateur singer. The excerpt is played in unison with the French horn and shows the committee a candidate’s rhythmic accuracy and ability to match styles with other players.
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Subdivision
The most challenging aspect of this excerpt is the dotted rhythms. In an audition the candidate must make sure to subdivide sixteenth notes to play the dotted eighth sixteenth note rhythm correctly.
Example 8.1. Act I, Scene 3, measures 73-74, Subdivisions.
By thinking the sixteenth note subdivision the player will be able to play the rhythms accurately and in time. Once the bassoonist is able to internalize the sixteenth note pulse, they can add in the written slurs.
Example 8.2. Act I, Scene 3, measures 73-74, played correctly.
In measures 79 and 80 of the first act Wagner writes a repeated dotted eighth two thirty-second note rhythm.
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Example 8.3. Act I, Scene 3, measures 79-80, Dotted rhythm.
A common error that can occur during this passage is to play the thirty-second notes too quickly. If the thirty-second notes are played too quickly the passage will rush and the integrity of the pulse will be lost.
Example 8.4. Act I, Scene 3, measures 79-80, Lyrical 32nd Notes.
If the player treats the thirty-second notes as a pickup to the following beat this will keep the passage in time and give the notes the proper emphasis. This way of thinking helps the player think of the thirty-second notes as part of the musical line instead of thinking about the speed of the notes.
Act II, Scene VI, 80 measures before Scene VII for 17 measures
This excerpt occurs during Beckmesser’s serenade to Magdalen, who he thinks is
Eva. The Mastersinger Sachs marks each mistake Beckmesser makes by hitting the shoe he is working on with a hammer. As the song continues Beckmesser’s errors increase 97 exponentially. This excerpt can be challenging to find in the context of a recording because it happens towards the end of Beckmesser’s song and it is hard to discern the bassoon part when there are so many hammer blows.
Example 8.5. Act II, Scene VI 80 measures before Scene VII for 8 measures, Subdivision and E3-F#3 Trill.
This excerpt is a rhythmical challenge. The bassoonist should subdivide eighth notes throughout this passage so that they can count the rhythms correctly. If necessary, the player can mark vertical lines on the music to show where the eighth note pulse is throughout the passage. The vertical lines will give the musician visual cues as to the pulse and help them play the correct rhythms. It is also important to note that the player should be careful not to breathe during short rests. Breathing during small amounts of rests will result in a late entrance after the breath.
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Fingering 8.5.1. E3-F#3 Trill.
Fingering 8.5.2. Short D#3 Fingering.
The E3 to F#3 trill can most easily be played using the fingering in fingering
8.5.1. If the bassoonist uses the short D# for the nachschlag then they will not have to use
99 the right hand. This simplifies the fingerings and lets the bassoonist concentrate on the left hand and counting the rhythms.
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Chapter 9 Wozzeck
By Alban Berg (1885-1935)
Libretto by Alban Berg.
Based on the play Woyzeck by Georg Büchner.
First performed: December 14, 1925 at the Berlin State Opera in Berlin, Germany.
List of Characters:
Wozzeck Marie Wozzeck’s wife Marie’s son Captain Doctor Drum Major Andres Wozzeck’s friend Margret Marie’s neighbor First Apprentice Second Apprentice Madman A Soldier
Setting: An Austrian town near a barracks in the early 19th century.
History of the Composition
The idea for the opera came after Berg attended two performances of the play Wozzeck by Georg Büchner on May 5 and 6, 1914. Berg determined that Wozzeck would make an excellent subject for an opera but because of the political climate of 101
Europe, he was unable to finish the opera until 1919. In August 1915, Berg enlisted in the
Austrian army. He brought a copy of Büchner’s play with him to the military, but he
“only completed two scenes of his opera in four grueling years.”32 Upon WWI’s conclusion, Berg was able to begin work in earnest on the opera Wozzeck. Berg composed throughout the next several years, but financial burdens made life hard for the
Berg household. Austria experienced extreme inflation and Berg had trouble affording basic necessities such as food and composition paper. Berg, heavily indebted to wealthy benefactors went to Alma Mahler for help, who raised 7,000,000 Krones.33 During this time, Berg’s prestige as a composer was beginning to rise. In 1923, both his Three Pieces for Orchestra, Opus 6 and String Quartet, Opus 3 were premiered to enthusiastic audiences and reviews. The performances of these works put him in contact with the conductor Hermann Scherchen. Scherchen suggested Berg create a selection of the best and most palatable excerpts from his opera to make the public aware of his work and more likely to be performed by an opera company. This collection of excerpts, entitled
Bruchstücke, was premiered in Frankfurt in June of 1924. The opera finally premiered on
December 14, 1925 in Berlin with the Berlin State Opera, more than ten years after starting the project. The opera had mostly positive reviews, but reviewers were more interested in discussing aspects of the work including atonality, Sprechstimme, and the difficulty of the work.
32 Patricia Hall, Berg’s Wozzeck (Oxford: Oxford University Press, 2011), 38. 33 Hall, Berg’s Wozzeck, 50. 102
Synopsis34
Act I
Wozzeck, a soldier is shaving his Captain. The Captain tells Wozzeck to work more slowly. The Captain proceeds to tell him that although Wozzeck is a good man he is an illegitimate child and therefore lacks a moral compass. Wozzeck responds that virtue is not meant for the poor. Later, Wozzeck and Andres, another soldier, are chopping firewood. Wozzeck is terrified by visions of a sinking sun that sets the world on fire.
Marie, Wozzeck’s wife, and their neighbor Margret watch a military band parade through the town. Marie looks longingly at the handsome Drum Major. After the procession,
Marie sings her son a lullaby and Wozzeck returns. He tells Marie of his horrific visions, which he thinks are a bad omen. Marie unsuccessfully tries to comfort her husband but
Wozzeck runs out of the house. Marie is distraught leaving the house and her son by himself. Wozzeck visits the Doctor. The Doctor performs scientific experiments on
Wozzeck in exchange for money. Wozzeck tells the Doctor of his horrific visions which the Doctor dismisses as an overactive imagination. Marie, outside of her house is seduced by the Drum Major. She tries to resist but succumbs to the temptation.
Act II
Wozzeck catches Marie with a mysterious pair of earrings. The earrings are from the Drum Major. Marie attempts to hide the earrings and then claims that she found them
34 Lascelles, Kobbé’s Complete Opera Book, 1073-1081. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Wozzeck,” The Metropolitan Opera, accessed July 7, 2019, http://www.metopera.org/user- information/synopses-archive/wozzeck.
103 on the street. Wozzeck is suspicious of her story but gives Marie his pay and leaves; while Marie feels regretful for her actions. The Captain and the Doctor are talking in the streets when Wozzeck walks by. The pair mock Wozzeck and claim that Marie is cheating on him. Wozzeck responds that they should not mock him about Marie who is the only thing in the world that he has. Wozzeck leaves to confront Marie about her infidelity. She defiantly denies cheating and Wozzeck threatens to hit her. Marie tells
Wozzeck that she would rather die than have him put his hands on her. In a beer garden two drunken apprentices entertain the crowd. Wozzeck arrives at the beer garden and notices Marie dancing with the Drum Major. A fool mentions to Wozzeck that he smells blood and Wozzeck begins to hallucinate with visions of people dancing in blood. Later in the evening at the barracks, the Drum Major brags about sleeping with Marie.
Wozzeck erupts in anger and fights the Drum Major. The Drum Major wins the fight by knocking Wozzeck to the ground.
Act III
Marie is alone with her child, reading from the Bible. She reads about the adulteress who seeks forgiveness and then a passage about Mary Magdalene. Marie prays to God for forgiveness. Later, Marie and Wozzeck go for a walk near a pond. They sit near the pond and Wozzeck kisses her and makes sarcastic statements about Marie’s fidelity. Marie tries to flee but before she can escape, Wozzeck stabs her with a knife.
Wozzeck leaves for the tavern where he drinks heavily and dances with Margret. Margret notices blood stains on his clothing and Wozzeck rushes back to the pond. He finds the knife and throws it in the water. Wozzeck imagines that the moon will show the knife and
104 jumps into the water to hide the knife in deeper water. The Doctor and the Captain hear
Wozzeck drown. The next morning Marie’s son is playing with the town’s children. The children have heard about Marie’s death and run off to see her body, oblivious, Marie’s son follows them.
Act I, Scene 3, measures 441-443
This excerpt occurs when Marie is alone in her room. She has just watched the
Drum Major and the marching band parade through the town. She then sings her son a lullaby before Wozzeck returns. The most challenging aspect of the Wozzeck excerpts is
Berg’s use of atonality and diverse rhythms. The note patterns that one will experience in these excerpts is unlike anything else on an opera bassoon audition. Berg does not utilize a key signature, so it is important to write in reminders of accidentals or any pattern changes that catch you by surprise. The excerpt will require diligent practice to master unfamiliar patterns. The excerpt starts with a sixteenth note pickup followed by a string of thirty-second notes. To practice the correct rhythm one can rearticulate the first sixteenth note to get a sense of the correct rhythm.
Example 9.1. Wozzeck, Act I, Scene 3, measure 441, Re-articulation Practice.
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Once the player can correctly internalize the thirty-second note pulse and play the correct rhythm, they can add the tied note back into the music.
Example 9.2. Wozzeck, Act I, Scene 3, measure 441, Correct Rhythm.
When adding the tie back into the musical context, the player will want to cut the tie off on the downbeat of beat four. This is to ensure that the following thirty-second notes are not late. This should not create a space of silence it should just help the player release in time so that the following sixteenth notes are not late.
Alternate Fingerings, Front Gb
This excerpt requires the use of the Front Gb2 fingering. This can be a little awkward to coordinate at this tempo, but because of the use of Bb followed immediately by Gb, the player has no other choice but to use the front fingering.
Example 9.3. Wozzeck, Act I, Scene 3, measure 442, Front Gb2.
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Fingering 9.3. Front Gb2 Fingering.
In example 9.3., the arrows indicate the two places in this excerpt that the bassoonist may want to use a front Gb2 fingering. The first Gb is the most challenging because the bassoonist will need to slide their right pinky to the low F key when moving from Gb to Db. In addition to the front Gb fingerings, the player can vent the A key on
Ab3. This will help the note respond in the correct octave and without any extraneous noise.
In measures 442 and 443 Berg creates a rhythmic augmentation. To play this accurately, it is helpful to think of the Tabuteau numbering system and his way of using numbers for rhythmic grouping.
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Example 9.4. Wozzeck, Act I, Scene 3, measure 442-443, Rhythmic note grouping.
To create accurate rhythm, one must “think of where the next beat will arrive, instead of where the last beat has sounded.”35 This way of thinking about rhythm works because the player is not reacting to the rhythm. The listener is only able to discern the rhythm from the second note, so when hearing thirty-second notes in example 9.3, the listener will hear the first sextuplet as a thirty-second note until the second sextuplet interrupts the listener’s expectation. If one plays based on where the last note sounds, then the rhythm will be late on the second sextuplet note distorting the rhythm. The bassoonist can practice saying the suggested numbering in example 9.3. aloud with the metronome to attain rhythmic accuracy. Once the player has internalized the numbering and rhythm then they can practice playing the notes. Reading the numbers takes some practice, however your rhythm will flow much better than simply trying to fit all the notes within each beat.
35 David McGill, Sound in Motion: A Performer’s Guide to Greater Musical Expression (Bloomington: Indiana University Press, 2007), 49.
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Act II, Scene 3, measure 288 to 293
The excerpt takes place in the street outside of Marie’s door. The Captain and the
Doctor make fun of Wozzeck taunting him about a hair in his porridge. They ask
Wozzeck if he found a hair in his porridge this morning and that perhaps it belonged to a recruit or possibly a Drum Major. This except tests the audition candidate’s rhythmic accuracy. The part is full of tied notes followed by flurries of sixteenth or thirty-second notes.
Internalized Pulse
Throughout this excerpt it will be necessary to internalize a sixteenth note pulse.
Example 9.5. shows how measures 290 and 291 are written in context. Example 9.6. shows how one can practice internalizing the sixteenth note pulse in measure 290.
Example 9.5. Wozzeck, Act II, Scene 3, measures 290-291.
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Example 9.6. Wozzeck, Act II, Scene 3, measures 290-291, 16th Note Pulse.
Once the sixteenth note pulse has been practiced and internalized, the player can remove the added articulations. Even after the articulations are removed, the bassoonist should continue to think of and internalize the sixteenth note pulse to play the rhythms accurately. This may require the bassoonist to practice adding and removing the articulations several times over multiple practice sessions.
Cutting the Ties
This excerpt has several points in which the bassoonist must negotiate tied notes.
One way to practice these sections is to eliminate the tie and rearticulate the note on the downbeat. This will help the player feel a pulse on the downbeat, which will later be the point of release for the note.
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Example 9.7. Wozzeck, Act II, Scene 3, measures 289-292, Practicing Tied Notes.
Once the rhythmic pulse has been established, the bassoonist can add the slurs back in, making sure to release on the tied note.
Example 9.8. Wozzeck, Act II, Scene 3, measures 289-292, Tied Notes.
By releasing on the downbeat of the tied note, the musician is able to establish a pulse as well as move off the tied note in the appropriate amount of time. If the tied notes are held full length, then the bassoonist will be late, destroying the rhythmic pulse of the line.
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Act I, measures 91-93
This excerpt occurs during the first scene of the opera in the Captain’s room.
Wozzeck is shaving the Captain and the two are talking about the nature of man. The
Captain asks Wozzeck about the weather and Wozzeck responds that bad weather is expected. The Captain says that he can feel a gale blowing from South-North. Wozzeck agrees and the Captain laughs at him and tells him that he is terribly stupid. This is another technically challenging excerpt. Once again Berg has written a pattern that does not follow traditional arpeggiated patterns. Once the player has familiarized themselves with the pattern it is time to choose alternate fingers in order to get the passage up to speed.
Example 9.9. Wozzeck, Act I, measures 91-93, Alternate Fingerings.
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Fingering 9.9.1. Legato Eb4 Fingering.
Fingering 9.9.2. Slur Ab4 Fingering.
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Fingering 9.9.3. Short Eb3 Fingering.
Fingering 9.9.4. Short C#4 Fingering.
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Fingering 9.9.5. Short A4 Fingering.
Fingering 9.9.6. Back Ab2 Fingering.
The suggested fingering in example 9.9. were chosen to alleviate fingering challenges and facilitate speed. The short Ab 4 fingering frees the right thumb from having to be placed on the Bb key. By eliminating the potential thumb slide the player will have an easier time fingering the low E that follows the Ab. The short Eb and C#
115 fingering were chosen simply for expediency and not out of necessity. The short A4 fingering has the tendency to be high in pitch, however if this is adjusted for, the short fingering frees up the right hand for the following low F. Lastly, the back Ab2 fingering eliminates the slide of the right pinky finger. Although this fingering can be awkward at first, eliminating the pinky slide helps the player avoid unnecessary tension in their right hand.
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Chapter 10 Peter Grimes
By Benjamin Britten (1913-1976)
Libretto by Montagu Slater.
Based on the poem Peter Grimes from the book The Borough by George Crabbe.
First performance: June 7, 1945 at the Sadler’s Wells Theatre in London, England.
Characters:
Peter Grimes a fisherman Ellen Orford a widow and Borough schoolmistress Auntie landlady of The Boar Niece 1 Niece 2 Balstrode retired merchant skipper Mrs. (Nabob) Sedley a rentier widow Swallow a lawyer Ned Keene apothecary and quack Bob Boles fisherman and Methodist Rev. Horace Adams the rector Hobson the carrier John- Grimes’ apprentice Dr. Crabbe
Setting: A coastal village in Suffolk during the middle of the nineteenth century.
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History of the Composition
In 1941 a radio program called The Listener aired a lecture by E.M. Forster about
George Crabbe’s work The Borough. This inspired Benjamin Britten to read The
Borough which contained the poem Peter Grimes. Later Serge Koussevitzky commissioned Benjamin Britten to write an opera with plans to premiere it at the
Tanglewood Music Festival in the summer of 1944.36 This opera would become Peter
Grimes; in 1942, Britten asked Montagu Slater to write the libretto for his new opera.
Unfortunately, the occurrence of World War II postponed the Tanglewood Music Festival until the end of the war. Due to the postponement of the festival, Koussevitzky graciously allowed Britten to seek other accommodations for the premiere. Britten was able to secure a performance at the Sadler’s Wells theater because of the singer who would play
Peter Grimes, Peter Pears, and his connection with the theater. This production was a challenge since the war was not officially over and there were reservations about staging a new work for the grand reopening of the theater. Peter Grimes premiered on June 7,
1945 at the Sadler’s Wells Theater in London, England. Critical reception of the work was that the premiere was a success. The American premiere occurred a year later in
1946 at Tanglewood under the baton of Leonard Bernstein, Koussevitzky’s pupil. Peter
Grimes would continue to garner success and become Benjamin Britten’s most famous and most frequently performed opera.
36 Neil Powell, Benjamin Britten: A Life for Music (New York: Henry Holt and Company, LLC, 2013), 233. 118
Synopsis37
Prologue
In a small English fishing village, the townspeople arrive at the town hall to see the inquest into the death of a young fisherman’s apprentice. Swallow, the lawyer, questions Peter Grimes about the death of his apprentice. Grimes explains that the boy died accidently during the storm. The villagers do not believe Grimes’ testimony. Despite the hostility of the villagers, Grimes is declared innocent and the boy’s death is ruled accidental. Swallow warns Grimes against hiring another apprentice and Ellen Orford, a schoolmistress comforts Grimes.
Act I
Days later at the harbor, the townspeople are hard at work with the upkeep of their boats. As a storm approaches, Grimes calls out for help to bring his boat ashore. The townspeople ignore him except for Balstrode, a retired skipper, and Ned Keene, the crazy apothecary. As they work, Keene explains that he has found a new apprentice for Grimes at the workhouse. Grimes asks the carrier Hobson to retrieve the boy for him, but Hobson refuses. Ellen retrieves the boy for Grimes, and as she reenters the town, the townspeople shout abuses until Ellen points out their hypocrisy stating those without fault should cast the first stone. As the storm gathers in intensity, the townspeople meet at Auntie’s tavern.
When Grimes enters the tavern, the tavern becomes instantly silent. Bob Boles, who is
37 Lascelles, Kobbé’s Complete Opera Book, 1434-1444. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Peter Grimes,” The Metropolitan Opera, accessed July 19, 2019, http://www.metopera.org/user- information/synopses-archive/peter-grimes.
119 drunk, lunges at Grimes. Ned Keene begins to sing a sea shanty to restore order. Hobson and Ellen enter with Grimes’ new apprentice John. Grimes quickly takes the new apprentice to his hut.
Act II
The next morning Ellen and John watch the villagers on their way to the church.
As they talk, Ellen notices a bruise on John’s neck. Grimes arrives to take the boy with him fishing. Ellen is worried as Grimes hits her and drags the boy with him. Auntie, Ned
Keene, and Bob Boles have witnessed the scene and tell the congregation when they arrive at the church. The congregation decides to confront Grimes and Boles leads the congregation’s men to Grimes’ hut. At his hut, Grimes and John prepare for work.
Grimes hears the approaching mob and the pair escape out the back door. In the panic,
John slips and falls off the cliff, and Grimes escapes to his boat. The villagers arrive to an empty hut and believe that they have misjudged Grimes. The mob disperses except
Balstrode who senses that something is amiss.
Act III
A dance is taking place at the town hall. Mrs. Sedley speaks with Ned Keene and says she believes that Grimes has murdered his apprentice. Balstrode and Ellen arrive, explaining that Grimes’ boat is back in the harbor but there is no sign of the pair.
Balstrode has also found John’s shirt which Ellen recognized by the embroidery. The townspeople decide to search for Grimes. Grimes is distraught as Ellen and Balstrode try to console him. Ellen wants Grimes to return home and Balstrode convinces Grimes to leave on his boat and take his own life. Balstorde helps Grimes launch the boat and the
120 next day Swallow tells the villagers that the coast guard has reported a sinking boat. None of the villagers listen to, or care about, Swallow’s tale.
Act I, Prologue, beg. for 5 bars
This passage starts at the beginning of the opera as Peter Grimes is being accused of killing his apprentice. The lawyer Swallow is swearing in Peter Grimes so that he may give his testimony about the apprentice’s death. The excerpt occurs in the opening bars and is in octaves with the clarinet. As the second bassoonist, keeping the pitch down is a very important task. Many players have the tendency to raise the pitch when articulating notes quickly. In order to counteract this phenomenon, the bassoonist must keep the back of the tongue low and relaxed, moving the tongue as little as possible when articulating.
To achieve this, player’s need to practice slowly increasing the tempo, maintaining the voicing as they progress in speed. The majority of this excerpt requires the bassoonist to use an “ah” voicing to keep the pitch in tune. This excerpt requires quick tonguing in the low register of the bassoon. To achieve this, the player must keep a light articulation. In an excerpt such as this, it is important to remember that staccato means separate and does not mean to play with a harsh articulation.
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Example 10.1. Peter Grimes, Act I, Prologue, measure 1. Articulation.
In the first measure of the excerpt, pay special attention to the variety of articulations. The first note is marked tenuto and the C on the offbeat of count three is marked with an accent. The rest of the excerpt is marked staccato, so this first measure is the only opportunity to show an audition committee that one understands the differences in articulation.
Act I, Interlude 2, [51] to [54]
This excerpt occurs between Act I and II as the storm is enveloping the town and everyone is meeting at the tavern. It is meant to represent a violent storm that forces all of the inhabitants of the village to take shelter.
Example 10.2. Peter Grimes, Act I, Interlude II, measures 1-5. Hairpins, Ab-Bb Trill.
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In the opening five measures Britten writes hairpins throughout the passage. The tempo is too fast to effectively crescendo and decrescendo within an eighth note’s amount of time. In order to show the effect, one can give a breath accent on the note that the player crescendos to, in this case the Fb. With a breath accent the player makes the Fb louder and more intense without a dramatic crescendo and decrescendo. Secondly, in measures three and four Britten writes what is arguably the worst two notes to trill on the bassoon. The Ab3-Bb3 trill is a challenge because this trill does not work well on most instruments. The easiest possible solution is to have an Ab-Bb trill key. However, if one does not have this extra key on their instrument you can try the following fingerings. The most stable trill fingering is shown in Fingering 10.2. below.
Fingering 10.2. Ab3-Bb3 Trill.
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In Fingering 10.2. the bassoonist will trill using the G key, F key, and Front F# key in the right hand. This fingering can be challenging to coordinate, and it may be easier for certain individuals to simply use the full fingering.
Example 10.3. Peter Grimes, Act I, Interlude II, 6-10 measures after rehearsal 51. Accents.
In the four measures preceding rehearsal 52, Britten has written many accents on every other eighth note. This effect can be achieved by adding intensity to the front of the articulation and releasing the unaccented eighth note early. If one clips the unaccented eighth note it will result in a choppy phrase that will also slow down. If the player plays the second eighth note full length this will also slow down the passage. By releasing the second eighth note, it will create enough space for the player to accent the following note and keep in time.
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Example 10.4. Peter Grimes, Act I, Interlude II, 6-14 measures after rehearsal 53. Accents.
In the third measure of example 10.4. Britten has written accents on the off beats of the measure. When playing this excerpt, it is easy to play the accents on the downbeats, which is not what Britten has written.
Example 10.5. Peter Grimes, Act I, Interlude II, 6-14 measures after rehearsal 53. Incorrect Accents.
This can occur for several reasons. One, it is more typical to accent notes on the downbeat as there is a natural tendency to slightly accent downbeats as a part of phrasing.
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The second reason is that the notes on the downbeats of this passage are lower notes.
Lower notes are easier to emphasize on the bassoon so the player will have to overcompensate accenting the off beats.
Act II, Interlude IV, fig. 71 to fig. 72
This excerpt occurs after Peter Grimes has accidently killed his new apprentice
John. Grimes escapes and the townspeople arrive at Grimes’ hut finding it in order.
Swallow accuses the townspeople of expecting to find a murdered child. He tells the townspeople to stay out of the private affairs of others, the crowd leaves to tell the rest of the village that nothing was afoul.
The bassoons play with Swallow and are accompanied by the tuba. The bassoon is in unison with Swallow. The bassoon part should support Swallow’s melody and not overpower it. The excerpt shows the candidate’s ability to match articulation and style with the principal bassoon. Britten writes a variety of articulations that should all be adhered to.
Example 10.6. Peter Grimes, Act II, Interlude IV, Fig. 71 for 4 measures.
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Within the first four measures Britten has written staccato, legato, slurred notes with a staccato marking and grace notes. Britten has written tenuto markings over the first note in a tie in measures 1 and 4 of the example. I believe this indicates that he wants the tied notes to be held for the full length of time. The tempo is slow enough that the player does not need to cut the ties and there seems no other reason to place a tenuto marking on the first note of a tie.
Dynamic Fingerings
Example 10.7. Peter Grimes, Act II, Interlude IV, 6 and 7 measures before rehearsal 72. Venting.
In order to achieve an effective diminuendo on A3 and Bb3 the bassoonist can vent these notes with the respective vent keys. This will add more resistance to the note which creates a larger threshold for the dynamic. In addition to venting, the player can add the Eb resonance key to Bb3 to help stabilize the note as one makes a diminuendo.
Example 10.8. Peter Grimes, Act II, Interlude, 1 measure for rehearsal 72-rehearsal 72. Muted F#.
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Lastly, the ending F#2 can be a challenging note to diminuendo. If one uses the muted fingering, then the player can achieve the desired dynamic effect and not fear that the note will drop off. A drawback to using this fingering is that it has the tendency to be flat in pitch on a note that is normally flat. If using this fingering, the player must make a voicing adjustment to play the note in tune.
Fingering 10.8. Muted F#2 Fingering.
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Chapter 11 Il Barbiere di Siviglia (The Barber of Seville)
By Gioachino Rossini (1792-1868)
Libretto by Cesare Sterbini.
Based on the play Le Barbier de Seville by Pierre Beaumarchais.
First performance: February 20, 1816 at the Teatro Argentina in Rome, Italy.
List of Characters:
Count Almaviva Dr. Bartolo doctor, and Rosina’s guardian Rosina ward of Dr. Bartolo Figaro a barber Basilio a music teacher Berta a maid
Setting: Seville, Spain in the eighteenth century.
History of the Composition
In November 1815, Rossini travelled to Rome to prepare an upcoming performance of his opera Il turco in Italia and to premiere a new work entitled Torvaldo e
Dorliska. While preparing for these works, Rossini negotiated a contract with the Teatro
Argentina for a new opera on December 15, 1815.38 The contract was with Duke
38 Richard Osbourne, Rossini (Oxford: Oxford University Press, 2001), 28. 129
Francesco Sforza-Cesarini, who owned the Teatro Argentina. As part of Rossini’s obligations, he was to write an opera to a libretto of the impresario’s choosing, modify the score upon the singer’s request, be available during rehearsals, and direct the first three performances from the keyboard. 39 Cesare Sterbini provided Rossini with the libretto and Rossini claimed to have written the opera in thirteen days. The opera was originally entitled Almaviva because Giovanni Paisiello had written an opera entitled Il barbiere di Siviglia which was still popular at the time. This did not stop Paisiello’s supporters from interrupting Rossini’s performance with hissing and jeers. The premiere, which occurred on February 20, 1816 was a disaster. Rossini was even mocked for the new jacket he received as part of his contract.40 Rossini was so dejected by the first performance that he did not conduct the second. The second performance was a success,
Paisiello’s supporters were absent and the audience thoroughly enjoyed the work. The opera would go on to be Rossini’s most known work, it slowly gained popularity over the years. Eventually the title was renamed Il Barbiere di Siviglia as Paisiello’s work faded from popular consciousness.
39 Osbourne, Rossini, 28. 40 Ibid., 30. 130
Synopsis41
Act I
The opera opens with Count Almaviva in disguise. He has travelled to the house of Bartolo, who has Rosina, his ward confined to the house. The Count disguised as a young student named Lindoro, serenades Rosina. Figaro, the barber, explains to the
Count that Rosina is the doctor’s ward, not his daughter, and that the doctor plans on marrying her. Count Almaviva intends to woo Rosina so Figaro devises a plan. His plan is for the Count to disguise himself as a soldier and demand to be quartered at the
Doctor’s house. This will give the Count access to Rosina since she is not allowed to leave the house. Rosina is enthralled with the student Lindoro and plans to marry him.
Dr. Bartolo is warned by Rosina’s music teacher Don Basilio that Count Almaviva who is known to be interested in Rosina has been seen in town. Bartolo plans to marry Rosina as soon as possible and plans to slander Almaviva to keep him away from Rosina. Figaro overhears the plan to slander Almaviva and finds Rosina. Figaro offers to smuggle a note from her to the student Lindoro. Almaviva, now in disguise as a drunken soldier, arrives at the residence creating a distraction in which he passes Rosina a note. Bartolo is upset with the drunken soldier’s antics and claims that he is exempt from having to quarter soldiers. A crowd gathers when they hear the ruckus happening inside Bartolo’s house.
41 Fellner, Opera Themes and Plots, 20-29. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Il Barbiere di Siviglia,” The Metropolitan Opera, accessed July 16, 2019, http://www.metopera.org/user-information/synopses-archive/il-barbiere-di-siviglia.
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Guards burst into the house to arrest the drunken soldier. Once in custody, Almaviva reveals his true identity and the captain of the guard releases him from custody.
Act II
Bartolo believes that the drunken soldier was a spy for Almaviva. The Count, this time disguised as a music teacher named Don Alonso, returns to Bartolo’s home. Don
Alonso claims to be a pupil of Basilio and will administer Rosina’s singing lesson because Basilio is ill. Alonso gains Bartolo’s trust by producing a letter from Rosina. He offers to tell Rosina that the letter he possesses was given to Lindoro by another woman, to make Rosina jealous. Bartolo allows Alonso to teach the music lesson, and during the lesson the count and Rosina declare their love for one another. Figaro gives Bartolo a shave and while doing so steals the key to Rosina’s room. Don Basilio arrives and looks healthy. Figaro, Almaviva, and Rosina bribe Don Basilio to pretend to be sick. Bartolo overhears Almaviva and Rosina conspiring to elope that night and he is sent into a rage.
Bartolo summons Basilio and requests that he bring back a notary so he can marry Rosina later in the evening. Bartolo then shows Rosina the letter she sent to Lindoro to prove that
Lindoro is just playing with her emotions. Upset, Rosina agrees to marry Bartolo. Later that evening, Figaro and Almaviva climb a ladder onto Rosina’s balcony. Rosina confronts Lindoro and he reveals himself to be the Count. Basilio enters Rosina’s room with the notary. Figaro convinces the notary to marry Rosina and the Count bribes
Basilio into being a witness to the union. Bartolo arrives after the pair has been married and with no other choice blesses the couple as the Count and Rosina celebrate.
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Overture 2 bars before Rehearsal F to Rehearsal G
The excerpt from the overture poses several technical challenges for the bassoonist. First, the triplet figure two bars before rehearsal F can be awkward because of the coordination between the tongue and fingers. The repeated notes can tongue tie the bassoonist and make the passage fall apart. To simplify the fingering, I would suggest venting the C all the way through the A. Venting will make the passage easier and eliminate the thumb as an issue allowing the player to focus more on the articulation.
Example 11.1. Il Barbiere di Siviglia, Overture, measures 113-115. Venting C-A.
The articulation must remain crisp however, the notes are just staccato. They should be separate, not clipped. Clipping the staccato notes can result in the player becoming tongue-tied and creating a finger and tongue coordination issue. In an effort to combat the coordination issues of this passage, one can practice different rhythms.
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Example 11.2. Il Barbiere di Siviglia, Rhythm Exercises for Overture measures 113- 115.
For the rhythm exercises in example 11.2 the dynamic and articulations are kept the same as the written excerpt. This is to help with transitioning back to the original context.
The thirty-second notes in measure 125 and subsequent iterations can be a challenge to finger. E to F# to G# in the tenor register is hard to negotiate because of the cross fingerings and half holes. To alleviate the coordination issue, the bassoonist can use the fingering in Fingering 11.3 for the F#. The fingering does not have much resistance, so the player needs to adjust with the proper “ee” voicing to prevent the F# from
134 cracking. However, I believe this is easier then moving from a cross fingering to a fingering with a half hole.
Example 11.3. Il Barbiere di Siviglia, Overture, measures 129-130. Alternate F#.
Fingering 11.3. F#4, Quick Fingering.
Lastly, remember the poco a poco crescendo means to gradually crescendo. The crescendo happens over seventeen measures and the whole orchestra is increasing in volume with you. You must show a difference in the dynamics, but it will be helpful to hold on to the softer dynamic for as long as possible. As woodwind players are not able
135 to match the dynamic range of other instruments, it may be necessary to retake the dynamic to show the illusion of large dynamic growth.
Overture measures 189-197
This excerpt requires a light articulation and precise rhythm. The first three eight notes should lead to the next downbeat. If the player tries to treat the first eighth note as an upbeat, they will respond late.
Example 11.4. Il Barbiere di Siviglia, Overture, measure 129, Treatment of the Upbeat.
An audition committee chooses this excerpt to judge a candidate’s rhythmic accuracy. The dotted eighth sixteenth note rhythm is challenging to execute and can easily turn into a triplet rhythm.
Example 11.5. Il Barbiere di Siviglia, Overture, measures 131-133, Triplet Rhythm Representation.
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Example 11.5. is a rhythmic notation of what happens when the player’s articulation is inaccurate. In order to have the correct rhythm, the bassoonist must subdivide the sixteenth notes. To practice this, put the metronome on a slow tempo with the sixteenth subdivision on. The player can then check their rhythm with the metronome to see if the fourth sixteenth note lines up on time.
Example 11.6. Il Barbiere di Siviglia, Overture, measures 131-133, Sixteenth Subdivision.
Once the fourth sixteen note is in time with the metronome, the player can test to see if their rhythm is accurate without the subdivisions by putting a dotted eighth sixteenth rhythm on the metronome. In music, when a repeating note occurs, the phrase is either moving forward or backwards. In this case the repeated notes lead to the proceeding downbeat which moves up a half step before resolving. Each time this phrase is played the notes should lead in intensity and dynamic towards the proceeding downbeat.
Otherwise the phrase will sound stagnant and boring.
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Example 11.7. Il Barbiere di Siviglia, Overture, measures 131-133, Phrase direction.
Rossini emphasizes the direction of the phrase by placing a decrescendo on the
E#. The phrase leads to this point and quickly falls away. Rossini gives the same markings when this phrase is repeated a whole step higher two measures later.
Example 11.8. Il Barbiere di Siviglia, Overture, measures 195-197, Phrase direction.
Largo al Factotum
This excerpt occurs when Figaro makes his first entrance. This aria is perhaps one of the most famous show pieces for tenors because of technical proficiency needed to execute this aria well. The barber introduces himself and explains his daily duties as a factotum, or servant that does a variety of work for his employer. This excerpt is also highly technical for the bassoonist. In order to play this excerpt well, the bassoonist needs a light articulation, proper voicing and a few alternate fingerings.
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Voicing
Although the repeated articulated eighth notes of this passage may not be the most pressing concern in the player’s mind, it is important that the tenor register notes do not crack. E, F, and G in the tenor register of the bassoon all have the propensity to crack.
Attacks on E and F may be cleaner by using an “ee” voicing. G can be alleviated by using a fingering with a half hole on the second finger as well as the first finger. In addition to voicing, the player should also make sure they are engaging the corners of their embouchure. Engaging the corners of the embouchure will help prevent the tenor notes from cracking. Rossini writes these troublesome notes on the third eighth note of each beat. If these notes crack, then they create a lilt to the rhythm and slow down the tempo.
Example 11.9. Il Barbiere di Siviglia, Largo al Factotem, measures 19-20, 23-24, 26- 27. Tenor Register Notes.
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Fingering 11.9. G4 with half hole on 2nd Finger Left Hand.
When one practices the same piece of music for an extended duration of time, the ear can adjust to our playing and hide mistakes. To help with this problem, a player can listen to a recording of themselves. Because this is a busy excerpt, it can be easy to allow the tenor register notes crack without realizing. If you record yourself, you will be able to tell if the notes are cracking or not.
Alternate Fingerings
The second iteration of the phrase creates several technical problems because of the E natural and C#. As a suggested fingering, I would finger the first E natural with the full fingering. For the duration of the measure the player can hold down the Eb resonance key to make the fingerings simpler. The player can then finger the C# using a short fingering and a trill fingering for the second E natural.
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Example 11.10. Il Barbiere di Siviglia, Largo al Factotem, measures 21-22, Alternate Fingerings.
Fingering 11.10.1. Full E4 Fingering.
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Fingering 11.10.2. Short C#4.
Fingering 11.10.3. E4 Trill Fingering.
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Chapter 12 Tannhäuser
By Richard Wagner (1813-1883)
Libretto by Richard Wagner.
Based on Der getreue Eckart und der Tannenhäused (The Faithful Eckart and
Tannenhäser) by Ludwig Tieck and Der Kampf der Sänger (The Singers’ Contest) by
Ernst Theodor Amadeus Hoffman.
First performance:
Dresden edition: October 19, 1845 at the Court Opera of Dresden, Dresden, Germany.
Paris edition: March 13, 1861 at the Paris, Opera Paris, France.
Vienna edition: November 22, 1875 at the Vienna State Opera, Vienna, Austria.
List of Characters:
Heinrich von Ofterdingen/Tannhäuser Minnesinger Wolfram von Eschenbach Minnesinger Biterolf Minnesinger Walther von der Vogelweide Minnesinger Heinrich der Schreiber Minnesinger Reinmar von Zweter Minnesinger Hermann Landgraf of Thuringia Elisabeth Hermann’s niece Venus A Young Shepherd
Setting: Wartburg, Germany in the thirteenth century.
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History of the Composition
In the early 1840’s, Wagner was living in Paris trying to make his way among the elite of Parisian society. Unable to do so, and with mounting debts, Wagner abandoned
Paris for Dresden in 1842. Wagner left largely because a theater in Dresden wanted to perform his works Rienzi and Der fliegende Holländer. In 1843, Wagner became the kapellmeister at the Dresden court. During this time Wagner began to embrace German culture and aesthetics. He wanted to create an opera that embraced German ideals. To create this German opera, Wagner combined two medieval German legends, Tännhauser and the song contest at the Wartburg. Wagner based his plot on two sources, Ludwig
Tieck’s Der getreue Eckart und der Tannenhäused (The Faithful Eckart and
Tannenhäser) and Ernst Theodor Amadeus Hoffman’s Der Kampf der Sänger (The
Singers’ Contest). Wagner completed the first draft of the opera in April of 1845. The first performance of the Dresden version occurred on October 19, 1845. Years later in
1859, Wagner desired to return to Paris to bolster his musical reputation by having his opera Tristan und Isolde performed. This dream would never come to fruition, and
Wagner instead decided to revive Tännhauser. Wagner’s friend Princess Pauline
Metternich pressured Emperor Napoleon III to produce Tännhauser in a Parisian theater.42 Rehearsals began in March of 1860. Wagner changed several elements of the opera, most notably the addition of a ballet, which was standard practice at the time.
Rehearsals were extensive with “at least 164 rehearsals”.43 The first performance of the
42 Leah Garrett, A Knight at the Opera: Heine, Wagner, Herzl, Peretz and Legacy of Der Tannhäuser. (West Lafayette: Purdue University, 2007), 61. 43 Ibid., 62. 144
Paris version took place on March 13, 1861. Wagner continued to rework Tännhauser as it proved to be very popular. On May 12, 1872, Wagner “conducted the first performance of what we know now as the Tännhauser overture”.44 This is the version that the modern audience would recognize as it is the most commonly performed version today.
Synopsis45
Act I
Tännhauser, a minnesinger, is living in the Venusberg, a mystical realm under the control of Venus. Tännhauser sings a song to honor the goddess Venus and after the song
Tännhauser asks to return to the real world. Venus tempts Tännhauser with greater pleasures, but Tännhauser insists on returning to the real world. Venus curses Tännhauser and he prays to the Virgin Mary for salvation. Tännhauser is magically transported to a valley outside the castle at Wartburg. A procession of pilgrims pass by Tännhauser on their way to Rome. In the distance horns announce a hunting party. Landgrave Hermann arrives with a party of knights. The party recognize Tännhauser and invite him to come to the castle. Wolfram, one of the knights, mentions Elisabeth whom Tännhauser used to be in love with. Tännhauser joins the party in order to gain Elisabeth’s love once more.
44 Newman, The Wagner Operas, 101. 45 Fellner, Opera Themes and Plots, 282-291. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Tännhauser,” The Metropolitan Opera, accessed July 26, 2019, http://www.metopera.org/userinformation/synopses-archive/tanhauser.
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Act II
Elisabeth enters the Hall of Song at the Wartburg castle. Tännhauser enters; and
Elisabeth is shy and tells Tännhauser that she has suffered since his departure. She eventually sings a duet with Tännhauser in praise of love. Upon hearing the song,
Wolfram gives up on pursuing Elisabeth. Landgrave Hermann enters and announces the upcoming song contest. Hermann declares that the subject of the song contest will be love and the winner of the contest can ask anything of Elisabeth. Wolfram starts the contest and sings about ideal love. Tännhauser, who is still thinking of Venus, begins singing a song about pleasure in tribute to Venus. The guests are horrified, and the knights draw their swords. Elisabeth throws herself between Tännhauser and the knights and begs for mercy. The Landgrave announces that Tännhauser will be spared but he must travel to Rome to atone for his sins.
Act III
Months later, Wolfram finds Elisabeth in prayer. She prays for the pilgrim’s safe return and the return of Tännhauser. A procession of Pilgrims passes by and Elisabeth is heartbroken that Tännhauser is not amongst them. She prays to the Virgin Mary to accept her into heaven. Elisabeth returns to the castle alone. A lone pilgrim travels on the road, it is Tännhauser, who is haggard and feeble. He tells Wolfram of his pilgrimage to Rome and the joy of his penance and the salvation of the other pilgrims. However, he is in despair because the Pope proclaimed that he could no more receive salvation than his staff sprout green leaves again. Tännhauser has no hope and wants to return to Venus. He calls on Venus to take him back and she appears. Wolfram brings Tännhauser back to his
146 senses by invoking Elisabeth’s name. A funeral procession passes by; Elisabeth has died.
Stricken with grief, Tannhauser begs for Elisabeth to save his soul. Tännhauser collapses at her grave and dies. At dawn a pilgrimage arrives telling stories of a miracle. They carry with them the Pope’s staff which has sprouted leaves.
Overture Beginning to Rehearsal A
There are three prominent editions of this work, candidates should be aware of which edition they are asked to prepare. Many opera companies will ask for a specific edition, if not you can email or contact the audition coordinator and request more information. There are slight deviations in the parts and as an audition candidate, you do not want the added pressure of sight reading a different edition of the excerpt, when that is preventable. This excerpt is the most frequently asked second bassoon excerpt from the survey. It highlights the candidate’s ability to play quietly and in tune in the low register of the bassoon. The passage that is typically asked is the beginning of the overture to rehearsal A. The excerpt is thirty-six measures long at a slow speed, quarter note equals fifty. This excerpt will test the candidate’s endurance and the player must have an embouchure that is not too tight as this will cause fatigue and sharp pitch. In the context of the overture, this passage is played with the first bassoon, clarinets, and the horn section. The overture begins with a quarter note pickup on count three in the principal
French horn part. By imagining the horn line, the player can not only find the excerpt’s tempo but also enter confidently. In this context, it is easier to play because the second bassoonist can play out and fit within the French horn timbre. In the context of an
147 audition, the player must exaggerate the dynamics and play quieter than the context of the overture. The music of the excerpt comes from the Pilgrim’s Chorus in the third act of the opera. Originally, the Pilgrim’s theme occurs in Eb, but Wagner has put the theme in E major in the overture.
Pitch Tendencies and Muted Fingerings
Throughout the course of the excerpt, the player should pay special attention to the pitch of F#3, and G#3. These pitches can be problematic as they have the tendency to be low in pitch while the surrounding notes have the tendency to be high in pitch. During the course of the excerpt, it is recommended to add the low C# key to both E3 and A3.
The addition of this key will lower the pitch and darken the timbre helping these two notes balance with the phrase.
Example 12.1. Tännhauser, Overture, measures 1-8, Pitch Adjustments.
The addition of alternate fingerings can make the pitch and dynamic tendencies easier. By adding the low C# key to E2 and A2, the pitch will be lowered, and the dynamic will be softer. F#2 is a note that can stand out in dynamic and timbre. A muted
F# fingering can be used for a softer dynamic and darker timbre. Unfortunately, this fingering will not raise the pitch.
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Example 12.2. Tännhauser, Overture, measures 3-7, Alternate and Muted Fingerings.
Fingering 12.2.1. A2 with low C# key.
Fingering 12.2.2. E2 with low C# key.
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Fingering 12.2.3. Muted F#2 fingering.
Once the player has used a tuner to identify their individual pitch tendencies within this excerpt, they should practice the passage with an E drone. By practicing the excerpt with a drone, the player will learn the relationship of the notes to the key and will play in tune with the orchestra when the excerpt is played in context.
Triplet and Sixteenth Note Subdivisions
Wagner considered the triplet to be the pulse of life, and in the overture, the triplet subdivision will keep the pulse and keep the phrase alive and flowing. The player can think of the triplet subdivision for the first two measures. This will ensure that the bassoonist does not slow down during the longer notes and keep the rhythm from becoming ambiguous. The player can practice lightly articulated triplets during the first two measures, then remove the articulation once the triplet pulse is internalized.
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Example 12.3. Tännhauser, Overture, measures 1-2, Triplet pulse.
The sixteenth note subdivision becomes important from the pickup to measure seven through measure eight. The player should start the sixteenth subdivision on the pickup to measure seven, where the phrase begins. Having an internal subdivision prepares an accurate dotted eighth sixteenth rhythm in measure seven. Once again, the player can practice articulating the sixteenth rhythm and then remove the articulation once the pulse has been internalized.
Example 12.4. Tännhauser, Overture, pickup to measure 7-8, Sixteenth note pulse.
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Chapter 13 Pagliacci
By Ruggiero Leoncavallo (1857-1919)
Libretto by Ruggiero Leoncavallo.
Based on the play La Femme de Tabarin by Catulle Mendès and Paul Ferrier.
First performance: May 21, 1892 at the Teatro Dal Verme in Milan, Italy.
List of Characters:
Canio head of the troupe, plays Pagliaccio, Colombina’s husband in the play Nedda Canio’s wife, plays Colombin, Pagliacco’s wife in the play Tonio a fool, plays Taddeo, Colombina’s severvant in the play Beppe an actor, plays Arlecchino, Colombina’s lover in the play Silvio Nedda’s lover
Setting: Calabria, near Montalo in the 1860’s.
History of the Composition
Pagliacci was not always a production that was destined for greatness.
Leoncavallo had a very challenging time getting the opera produced. Years earlier he signed a terrible contract that guaranteed Casa Ricordi the rights to all of his future works. He signed this contract in the hopes that he could get his opera I Medici produced.
Instead, Ricordi payed him 2,400 lire for the opera and promised him thirty percent of the
152 proceeds for every subsequent performance for a decade.46 These performances never materialized, and Leoncavallo wasted three years waiting for I Medici to be performed.
He then began work on Pagliacci which was inspired partly by the D’Alessandro murder trial that took place in his household as a child and partly from La Femme de Tabarin by
Catulle Mendès and Paul Ferrier.47 As he began work on Pagliacci, Leoncavallo was warned by his lawyer to present the work to Ricordi before proceeding further.
Leoncavallo was forced to offer Ricordi first rights to a performance but, if Ricordi rejected the work he was able to seek performances elsewhere. He decided to read the script for Ricordi in the presence of witnesses so that he would have legal recourse later.
Leoncavallo read the script and the gathered audience’s reaction was disapproving, they thought the work too complicated and convoluted for an audience to appreciate. This was exactly the news Leoncavallo wanted to hear. He then took the opera to Edoardo
Sonzogno who happily offered to produce the opera at the Teatro Dal Verme. The rehearsals were a challenge as Leoncavallo wrote parts much more difficult than the singers would normally perform. The premiere occurred on May 21, 1892 at the Teatro
Dal Verme in Milan, Italy. The audience thoroughly enjoyed the performance, demanding many numbers to be repeated. The press was not as enthusiastic about the premier, they thought the work too old fashioned. Pagliacci was soon staged in Vienna where it was also well received but only after its performances at the Metropolitan Opera in New York did the opera enter the canon. It was in New York that Pagliacci was first
46 Konrad Dryden, Leoncavallo: Life and Works (Lanham, Maryland: The Scarecrow Press, Inc., 2007), 32. 47 Ibid., 35. 153 paired with Cavalleria Rusticana. The New York audience loved the pairing so much that
Pagliacci was performed 121 times between 1900-1921.48 These performances cemented the opera into the canon and made Pagliacci Leoncavallo’s most famous work.
Synopsis49
Prologue
Tonio, a clown dressed as his character Tadde, makes an announcement to the audience that what they are about to see is a true story and that the actors are real people with feelings.
Act I
A travelling theater company arrives in a Sicilian village to the delight of the villagers. As a crowd gathers, Canio, the leader, begins to describe the night’s performance a play entitled Pagliaccio. The villagers suggest that the troupe join them at the tavern.
Canio accepts but Tonio decides to stay. The villagers mock Canio, telling him that Tonio has plans to meet his wife, Nedda. Nedda is alone when Tonio appears suddenly, confessing his love for the married woman. Nedda rejects him which enrages Tonio. Tonio grabs Nedda who grabs a whip and drives him away. Silvio, a young peasant and Nedda’s lover, appears and the pair kiss. Silvio convinces Nedda to run away with him that evening.
48 Dryden, Leoncavallo: Life and Works, 55. 49 Fellner, Opera Themes and Plots, 184-191. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Cavalleria Rusticana/Pagliacci,” The Metropolitan Opera, accessed July 26, 2019, http://www.metopera.org/userinformation/synopses-archive/cav-pag.
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Tonio overhears the conversation and rushes to the tavern to inform Canio. The enraged
Canio leaves the tavern to catch Nedda in the act. Silvio escapes unrecognized and Canio interrogates Nedda who refuses to reveal her lover. The other members of the troupe calm
Cannio down and tell him that they can catch the perpetrator later that evening. Canio prepares for the performance, lamenting that he must play the laughing clown even though his heart is broken.
Act II
Later that evening, the townspeople gather to watch the play. While in costume,
Nedda collects the admission fees for the performance and warns Silvio to be careful as the play begins. In the play Pagliaccio, played by Canio, leaves and will return the next morning. Arlecchino sings to Columbine who is Pagliaccio’s wife, played by Beppe and
Nedda respectively. Taddeo played by Tonio vies for Columbine’s affection. Columbine mocks Taddeo and he leaves. Arlecchino enters Columbine’s house through the window and the two eat dinner. During dinner the pair plan to murder Pagliaccio with poison.
Pagliaccio unexpectantly appears and Arlecchino runs away, Taddeo, the servant, sarcastically reassures Pagliaccio that his wife is faithful. Canio loses his temper and screams at Nedda to reveal the name of her lover. Nedda tries to continue with the play and the audience is amazed by the realistic acting. Canio explodes and stabs Nedda. Silvio, who is in the audience tries to save Nedda but is also stabbed by Canio. Tonio rushes to the stage and announces that the comedy is finished.
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Rehearsal 135- 138
This excerpt occurs in the aria No! Pagliaccio non son and takes place at the end of the opera. Canio dressed as Pagliaccio comes out on stage declaring he will no longer play the clown. He explains that he loved Nedda and has given her so much and that she does not reciprocate his love. As the excerpt ends the audience remarks about how realistic the acting is before Canio stabs Nedda and eventually Silvio.
Rhythmic Accuracy
The most challenging aspect of this excerpt is to play the parts with rhythmic accuracy. The excerpt is full of a variety of rhythms that the player must distinguish between and negotiate. The most challenging rhythm is the double dotted eighth note followed by a thirty-second note.
Example 13.1. gives an example of how to practice and conceptualize this rhythm.
Example 13.1. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures. Subdivision.
This example shows how the player should subdivide the double dotted eighth note thirty-second rhythms. Slowly, the player can play with the metronome until they are able to internalize the pulse. As the tempo increases it may be challenging to
156 subdivide thirty-second notes and the player may need to subdivide sixteenth notes instead.
It is also helpful to conceptualize the thirty-second note as a pickup to the following downbeat. If one conceptualizes the thirty-second note as part of the preceding beat, then they will most likely play the thirty-second note late which will create a triplet rhythm.
Example 13.2. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures. Leading thirty-
second notes.
If the thirty-second notes belong to the next downbeat the rhythm will keep its integrity and stay in time. This concept can be applied to any other passages in this excerpt with double dotted eighth note thirty-second note rhythm and dotted eighth note sixteenth note rhythms.
Front Gb
Throughout this excerpt the bassoonist will likely employ the front Gb fingering.
Using the front Gb fingering allows the bassoonist to transition from Eb to Gb without having to slide their right thumb. This helps the bassoonist play these notes without any
157 extraneous noise or notes between notes and allows the player to play the passage up to tempo by simplifying the finger technique.
Example 13.3. Pagliacci, Act 2, No. 9, Rehearsal 135 for 2 measures.
Example 13.4. Pagliacci, Act 2, No. 9, Two measures before Rehearsal 138- Rehearsal 138. Front Gb3 Fingering.
Fingering 13.3./13.4. Front Gb3.
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In example 13.4. a front Gb should be used because the following note is a Bb.
Using the front Gb eliminates the technical issues created by using the back Gb fingering.
If the back Gb fingering is used the right thumb must jump over the pancake key to reach the Bb key. This is inefficient and challenging to execute. Using the Front Gb ensures that the right thumb can easily move to the Bb that follows the Gb.
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Chapter 14 I Vespri Siciliani
By Giuseppe Verdi (1813-1901)
Libretto by Eugène Scribe and Charles Duveyrier.
Based on the opera Le duc d’Albe by Gaetano Donizetti.
First performance: June 13, 1855 at the Académie Impériale de Musique in Paris,
France.
List of Characters:
Governor Monforte Governor of Sicily Lord of Bethune a French Officer Count Vaudemont a French Officer Arrigo a young Sicilian Giovanni Procida a Sicilian doctor Duchess Elena sister of Duke Frederick of Austria Ninette the Duchess’ maid Danieli the Duchess’ servant Tebaldo a French soldier Roberto a French soldier Manfredo a Sicilian, adherent of Procida
Setting: Palermo in the year 1282.
History of Composition
Early in 1852, Verdi decided that he would need to produce a Grand
Opera at the Paris Opéra in order to bolster his fame. In February of 1852, he signed a
160 contract with the Paris Opéra that put the resources of the theater at his disposal and would pay him handsomely if it were a success. The choice of libretti would be given to
Verdi no later than June 30, 1852 and Verdi would have to complete the music by the end of the year.50 Augustin Scribe, one of the librettists, did not send Verdi a libretto by the
June deadline. Scribe suggested recycling an older libretto that he had written a decade earlier Le Duc d’Albe. The libretto for Le Duc d’Albe was originally given to Fromental
Halévy whom rejected it. The libretto was then given to Gaetano Donizetti, who wrote two acts of the opera but ultimately abandoned the project, which was left unfished when he died. Verdi accepted the libretto but decided that it would be best to use the plot but change the setting and characters. Instead of the Duke of Alba who ruled over the
Netherlands, the subject was changed to Charles de Montfort the governor of Sicily. The
Sicilian Vespers was a popular legend at the time in which the Sicilian people rose up and disposed the French out of Sicily. Scribe rewrote the libretto and sent it to Verdi at the end of 1853. Verdi began writing the music in 1854, but because of revisions the opera was not performed until 1855. I Vespri Siciliani premiered on June 13, 1855 to favorable reviews. Not long after the premiere, Verdi contacted Giulio Ricordi about purchasing the rights to the Italian translation, pending a change of subject as to be acceptable to the
Italian censors.51 The setting was changed from Sicily to Portugal in 1640 and the French oppressors were changed to Spanish. The Italian premiere occurred on December 26,
1855 to a tepid response. The Italian audience did not appreciate the ballet, which was a
50 Julian Budden. The Operas of Verdi, Vol. 2. (Oxford:Clarendon Press, 1992), 169. 51 Budden, The Operas of Verdi, Vol. 2, 238. 161 standard part of French Grand Opera. The Italian version would eventually receive prominence after the reunification of Italy in 1861. The Italian version is now more commonly known and the version that is typically performed today.
Synopsis52
Act I
In Palermo, occupying French troops enjoy the town square. The Duchess Elena mourns for her brother, who was executed by the French. A drunk French officer approaches Elena, demanding that she sing a song. She sings a song that asks Sicilians to rise up and cast off their oppressors. The Sicilians in the square then begin to riot. The
French governor Monforte appears, breaking up the riot. Arrigo, a young Sicilian patriot is released from prison. Governor Monforte asks Arrigo his name, history, and offers him fame and fortune if he helps the French. Arrigo rejects Monforte’s offer and leaves for
Duchess Elena’s castle.
Act II
Procida, an exiled patriot leader, returns from exile outside the city. Elena and
Arrigo arrive and Procida tells them that if Sicily rises up against the French, Spain will support the rebellion. Arrigo professes his love for Elena, and she promises to marry him if he can avenge her brother’s death. Monforte sends a messenger to Arrigo, asking him
52 Lascelles, Kobbé’s Complete Opera Book, 579-585. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: I Vespri Siciliani,” The Metropolitan Opera, accessed July 26, 2019, http://www.metopera.org/userinformation/synopses-archive/i-vespri-siciliani.
162 to attend a ball. Arrigo refuses the invitation and is taken away by French soldiers. Many young couples dance in the town square. The French soldiers drag many young women away, enraging the Sicilians. They are further enraged when they see the French nobles on their way to the ball. Procida plans to exact revenge.
Act III
Alone, Monforte mourns that his long lost son, Arrigo, does not love him. Arrigo is brought to Monforte and Monforte explains that he is Arrigo’s father. Arrigo is disgusted and rejects his father, while Monforte pleads for forgiveness. In the ballroom, the guests begin to dance. Procida and his compatriots wear green ribbons to identify the other conspirators. Procida puts a green ribbon on Arrigo, and he is unsure to whom his allegiance lies. Arrigo warns Monforte and the conspirators including Elena, attempt to assassinate Monforte. Monforte escapes and orders everyone to be arrested besides
Arrigo.
Act IV
Arrigo is allowed to visit the prisoners. Elena is upset that Arrigo betrayed her and Arrigo explains that Monforte is his father. Arrigo declares that he will rejoin the rebellion and Elena professes her love for him. Monforte orders the execution of the prisoners and Arrigo pleads for clemency. Monforte says he will pardon the prisoners if
Arrigo recognizes him as his father. Arrigo is hesitant at first but finally agrees. The prisoners are spared, and Monforte announces that Elena and Arrigo are to be married.
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Act V
The wedding is about to begin. Procida tells Elena that when the wedding bells ring, the Sicilians will rise up and attack. Elena is shocked and refuses to marry Arrigo, in order to stop the attack. Arrigo is devastated and Monforte orders the wedding to continue regardless. The bells are rung and the Sicilians attack, killing the French.
Overture Beginning to Rehearsal A
The second bassoon excerpt from I Vespri Siciliani is asked by audition committees to test a candidate’s response and intonation in the low register at a soft dynamic. This is a challenging passage for intonation for several reasons. The bassoon parts are in octaves with the two clarinet parts. The player must match pitch and timbre with both clarinet players. The two bassoon parts are in octaves with each other. In this range of the bassoon the upper octave and lower octave have drastically different pitch tendencies. The pitch tendencies for the notes F#3,G3, and G#3 are to be sharp. F#2, G2, and G#2 an octave lower has the tendency to be flat. It is advisable to practice long tones on the beginning note of each passage. This is critical because the candidate must be able to enter on time, in tune, and at the appropriate dynamic.
Example 14.1. I Vespri Siciliani Overture, measures seven and eight, How to adjust for the pitch tendencies.
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Because this passage is in octaves, there is no room for error in pitch, the interval must be played perfectly in tune. Example 14.1 shows how I adjust for the pitch tendencies of measures seven and eight.
Addition of the Low C# Key
Throughout this excerpt, it is helpful to add the low C# key to the notes A2 and
E2. This will help lower the pitch of these notes as well as darken the timbre which will help the notes blend with the other notes of the passage.
Example 14.2. I Vespri Siciliani Overture, measures ten and eleven, addition of the low C# key.
Fingering 14.2.1. A2 with low C# key.
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Fingering 14.2.2. G2 with low C# key.
Fingering 14.2.3. E2 with low C# key.
In the second iteration of the theme in measure seven, an alternate D# fingering can be used to achieve a quiet start to the note. If this fingering is used, the bassoonist will have to adjust their voicing as this fingering has a low pitch tendency.
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Example 14.3. I Vespri Siciliani Overture, measures seven and eight, alternate D# and F# fingerings.
Fingering 14.3.1. D#3 Darker fingering.
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Fingering 14.3.2. F#2 Front Fingering.
Fingering 14.3.3. Muted F#2 Fingering.
In measure seven, you can use a front F# fingering because of the preceding A#.
This is not ideal because it will lower the pitch on a note that already has the tendency to be low in pitch. The front F# fingering also makes it more challenging to move to G# because the bassoonist must slide their right pinky. An alternative to these F# fingerings in measures four and seven would be to use a muted F# fingering. If the bassoonist
168 chooses to use a muted F# fingering, then they must work to make the muted fingering have a similar timbre quality as the other notes. The muted F# fingering also has a low pitch tendency and the player must adjust accordingly. Lastly, each iteration of the theme has an interval of a fifth to end each phrase. It is important to approach these intervals with as little tension as possible. By keeping strong air support and relaxing the embouchure into the lower note, the player has a higher chance of the note speaking and being in tune.
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Chapter 15 Billy Budd
By Benjamin Britten (1913-1976)
Libretto by E. M. Forster and Eric Crozier.
Based on the novel Billy Budd by Herman Melville.
First performance: December 1, 1951 at the Royal Opera House, Covent
Garden, England.
List of Characters:
Captain Vere Captain of the HMS Indomitable Billy Budd John Claggart Master-at-arms Mr. Redburn First Lieutenant Mr. Flint Sailing Master Lieutenant Ratcliffe Red Whiskers an impressed sailor Donald Dansker an old seaman A Novice The Novice’s Friend Squeak Bosun First Mate Second Mate Maintop Arthur Jones Cabin Boy Four Midshipmen
Setting: On board the H.M.S. Indomitable during the French Revolutionary War.
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History of the Composition
In 1948, Benjamin Britten attended an E.M. Forster lecture at the
Aldeburgh Festival on George Crabbe and Peter Grimes. At one point, Forster would mention how he would have changed Slater’s libretto and plot if it was up to him. Britten would remember this sentiment when he contemplated his next opera Billy Budd. Britten asked Forster if he would write the libretto for his latest opera. The “septuagenarian novelist and essayist agreed to set out on a new and hazardous career as opera librettist.”53 Because of Forster’s lack of experience as a librettist, Eric Crozier was added to help write the libretto. Billy Budd is a novella written by Hermann Melville and published posthumously. The inspiration for the plot came from the USS Somers, whose
Commander, Alexander Mackenzie condemned three sailors to die for their intent to mutiny. The sailors were executed even though they claimed that they only pretended to be pirates and the ship was close to port. Melville’s cousin, Guert Gansevoort served as a lieutenant on the ship. The three men met at Britten’s home in Aldeburgh in January of
1949 to begin work on Billy Budd.54 Over the coming year, the three men would meet at
Britten’s Aldeburgh home to reconvene and work out issues in the work. Britten had wanted to premiere Billy Budd with the Sadler’s Wells company at the 1951 Edinburgh
Festival. This did not come to fruition because of financial constraints. The Assistant
53 Eric Walter White, Benjamin Britten: His Life and Operas (London: Faber and Faber Limited, 1970), 150. 54 Mervyn Cooke and Philip Reed, Benjamin Britten: Billy Budd (Cambridge: Cambridge University Press, 1993), 46.
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Secretary of the Arts Council then approached Britten about commissioning a new opera for the Festival of Britain. The opera was to be performed by the Royal Opera House,
Covent Garden and would occur by the end of the year. Rehearsals began in October under the direction of Josef Krips. Krips proved to be a disaster. He complained that the score he was sent was too small and strained his eyes. He was unable to properly prepare because he was unable to read from the score. In addition to the score problems, Krips was a nervous wreck. He relinquished his position in November leaving Britten to conduct his own opera, as he was the only conductor that knew the score at such a late date. The premiere occurred on December 1, 1951 at the Royal Opera House, Covent
Garden. Critical reception was mixed. Most notably critics complained of the opera’s length. The four-act opera was so long that the premiere had three intermissions. Britten would revise the opera creating a two-act version in 1960. Although not as frequently performed as Peter Grimes, Billy Budd does stand out in the repertoire and is still performed today because it is so unique.
Synopsis55
Prologue
Captain Vere reflects on his life as a sailor. He contemplates good and evil and his thoughts drift to 1797 when he captained the H.M.S. Indomitable.
55 Lascelles, Kobbé’s Complete Opera Book, 1464-1476. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Billy Budd,” The Metropolitan Opera, accessed July 15, 2019, http://www.metopera.org/userinformation/synopses-archive/billy-budd.
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Act I
The opera opens aboard the H.M.S. Indomitable in 1797. The crew begins their daily work, and a cutter (small boat), is sent to board a merchant ship, Rights o’Man, and impress several sailors. The cutter returns with three impressed sailors including Billy
Budd. The master-at-arms, John Claggart questions the three men. The three men tell
Claggart their names, Joseph Higgins, renamed Red Whiskers, Arthur Jones, and Billy
Budd. Budd is revealed to have a stammer as he explains that he was an orphan. He shouts goodbye to the Rights o’Man, his former ship. The officers misconstrue this statement taking it for a sardonic comment and immediately distrust Budd thinking he could be an agitator. Claggart instructs corporal Squeak to actively bully Budd. An old seaman named Dansker warns Billy to be wary of Claggart.
In the Captain’s quarters the officers speak of the mutinies onboard the Spithead and Nore. The officer’s mention that they believe Billy to be a troublemaker. Captain
Vere dismisses their comments and explains that Billy is just young. Below deck the men sing songs to pass the time. Billy attacks Squeak as Squeak rifles through Billy’s belonging. Claggart breaks the two men apart and orders Squeak’s arrest. Upset that
Squeak was caught, Claggart tells the Novice to convince Billy to lead a mutiny. The
Novice enrages Billy and Dansker calms Billy and warns him once again to beware of
Claggart.
Act II
Days later, the Indomitable encounters a French ship, which slips into the mist.
Claggart talks to Vere and accuses Billy of instigating a mutiny. The fog clears and the
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French ship is spotted. The Indomitable fires at the French vessel but misses. The fog returns and the French ship escapes. Claggart again speaks with Vere, claiming that Billy is planning an uprising. Vere does not believe Claggart and summons Billy so that he can explain himself.
Vere sits in his cabin and awaits the arrival of Claggart and Billy. Claggart accuses Billy of insubordination and Vere asks Billy to defend himself. Billy has a stuttering fit because of the pressure and strikes Claggart, killing him. Billy is arrested and Vere announces that because of the proximity of the French fleet, Billy must be tried immediately at a drumhead court-martial, a trial conducted in the field. Billy admits to the offense of murder but maintains his innocence in regard to instigating a mutiny. The court finds Billy guilty and he is sentenced to death.
The next morning Billy sits in his cell awaiting his death. Dansker brings Billy food and informs him that because of the conviction the crew is close to mutiny to prevent his death. Billy urges Dansker to tell the men to stand down, he must face his death. At dawn, the crew is gathered to witness the execution. Billy blesses Captain Vere and is hanged.
Epilogue
Vere as an old man, questions his decisions. He had the ability to save Billy’s life.
Finally, Vere feels respite at the thought of Billy’s blessing.
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Act I, [6]- 9 before [10]
This excerpt occurs with the introduction of the H.M.S. Indomitable and its crew.
The crew members are scrambling around the deck performing their daily duties. The music represents the chaotic conditions on the ship which is teeming with life. The novice slips on the deck and bumps into an officer. For this accident he is to be flogged.
The frantic pace of the music shows the disparity between the crewman and the officers and that there is an underlying tension between the two groups.
This passage shows a candidate’s ability to play articulations crisply and in time.
The aspect of time is crucial to this excerpt because the thematic material moves throughout the instruments in the orchestra. As an audition excerpt this is an odd choice because of the number and length of rests. Typically, one should count the rests in an excerpt but in this case the number of rests is high enough to warrant skipping the rests for the sake of time. This is a personal decision and if uncertain of the best way to precede during an audition a candidate can always ask the proctor if it is acceptable to skip long portions of rests.
Double Tonguing
Although the articulated passages are short, the candidate should consider whether or not they should double tongue. The passage’s tempo is quarter note at 132 bmp. The candidate must consider whether or not they can play the articulation cleanly and in time.
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Example 15.1. Billy Budd, Act I, Rehearsal 6 for 12 measures. Double Tonguing.
Although every player strives to have their double tongue sound indistinguishable from their single tongue in this excerpt it is advisable to use the same tonguing technique for the duration of the excerpt. If the player is double tonguing in measures 11 and 12 after rehearsal 6 then they should double tongue the two sixteenth notes in the first two measures of example 15.1.
Act I, [49]- 4 after [51]
At this point in the opera the novice has returned from being flogged. He is barely able to walk, and the crewmen commiserate with the poor boy and his condition. Billy
Budd explains that if he follows the rules then nothing bad will happen to him and the crewmen nickname him “Baby Budd” for his naivete.
The excerpt is frantic and a counting challenge. The first bassoon part is written a whole step apart from the second bassoon part throughout the excerpt. The two bassoons have the same rhythm but only share the same note for an eighth note’s duration during brief suspensions.
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Example 15.2. Billy Budd, Act I, Rehearsal 49 for 7 measures, 1st Bassoon Part.
Example 15.3. Billy Budd, Act I, Rehearsal 49 for 7 measures, 2nd Bassoon Part.
This excerpt is a great example of a passage that should be played with another bassoonist prior to an audition. Counting and subdividing are crucial to playing this excerpt well however without playing the excerpt with another bassoonist the candidate may not be prepared for an audition. This excerpt is an example of a passage that would be asked in the later rounds of an audition. In this passage the two bassoonist’s parts interlock and each bassoonist must rely on the other to play their part. The candidate could be asked to play with the first bassoon player and show an audition committee how well the two players play together.
Act I, 13 after [74]- 1 before [76]
This excerpt takes place during an orchestral interlude after the officers meet with
Captain Vere and discuss the possibility of a mutiny. The music expresses the rising
177 tension between the officers and enlisted men, foreshadowing the eventual breaking point. The bassoons play much of this passage in unison with the cellos and double basses. It is important for the player to create a warm sound and use a large amount of vibrato to fit within the low string sound.
Breath Accents
Throughout this excerpt Britten writes many quick decrescendos. The quick decrescendos should be treated as breath accents. They should have more intensity and vibrato and then quickly lessen in dynamic and intensity. This figure has a lilting quality that emulates the sound of the ocean and reminds the audience that this dramatic plot is taking place at sea.
Example 15.4. Billy Budd, Act I, 18-21 measures after Rehearsal 74. Breathe Accents.
Large Interval Slur to F4
Example 15.5. Billy Budd, Act I, 1 measure before Rehearsal 75. Large slur to F4.
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Fingering 15.5. Large Slur F4.
G3-F4 is a large interval that is challenging to play smoothly. This is because these notes are in two different registers of the bassoons and require drastically different voicing requirements. To aid in the response of the F4, one can flick the C# key. When flicking this key, it is different than flicking a traditional flick key. The bassoonist only needs to put down the key enough to open the C# hole. If one presses down the key fully the note will squeak. By quarter flicking this note the interval should come out smoothly.
This solution does not excuse the player from using proper voicings on the G and F. If one does not have the proper “ee” voicing on the F4 the note will not come out or the interval may not be smooth.
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Chapter 16 Falstaff
By Giuseppe Verdi (1813-1901)
Libretto by Arrigo Boito.
Based on the play The Merry Wives of Windsor and parts of King Henry IV by
William Shakespeare.
First performance: February 9, 1893 at the Teatro alla Scala in Milan, Italy.
List of Characters:
Sir John Falstaff a fat knight Ford Alice’s husband Alice Ford Ford’s wife Nennetta their daughter Fenton Nennetta’s suitor Dr. Caius Bardolfo a follower of Falstaff Pistola a follower of Falstaff Mistress Quickly Meg Page Mine Host of the Garter Landlord of the Garter Robin Falstaff’s page
Setting: Windsor, England during the reign of Henry IV.
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History of the Composition
Verdi had longed to write a second comic opera for many years. Finally, at
the age of 80, he would attempt his second comic opera. In his old age, Verdi
became more interested in the works of Shakespeare. He had set operas to both
Macbeth and Otello. In the summer of 1889, the librettist Arrigo Boito sent Verdi
a synopsis of Falstaff as a possible subject for an opera. Verdi was excited by the
subject but had reservations about writing another opera at his age. Boito convinced
Verdi that writing a comedy would not tire him out and he began working on the
libretto in August of 1889. After nearly a year of work, Boito had finished the
libretto for the opera and Verdi had written the music for the first act and a sizeable
portion of the second act. Word was eventually leaked to several publications that
Verdi was once again writing an opera. This annoyed Verdi, as he had originally
started this opera as a fun exercise and did not want any outside pressures to
complete the opera. Within another year, Verdi had orchestrated all three acts and
was ready to decide on the conductor and casting. Piano rehearsals with Verdi
began in November of 1892. The premiere was a star-studded event which drew
attention from all of Europe. In attendance was Princess Letizia Bonaparte, the poet
Giosuè Carducci, and the composers Pietro Mascagni and Giacomo Puccini.56 The
performance was well received but the expectations for the opera were so high that
the general impression was that Verdi’s attempt fell flat. The opera was neglected
56 Budden, The Operas of Verdi, Vol. 3, 438. 181
in the opera repertoire until Toscanini championed and revived the work in the
1920’s.
Synopsis57
Act I
The opera opens at the Garter Inn in Windsor England. Dr. Caius bursts into the inn screaming at Falstaff. Falstaff’s drinking buddies, Bardolph and Pistol, have stolen from him. Falstaff unperturbed, continues to drink at the bar. Caius threatens to bring the matter before the royal court. He continues to accuse Bardolph and Pistol of robbing him, and the pair deny any culpability. Caius leaves frustrated that the thieves would not admit their crimes. Falstaff tells the pair that he has a plan to acquire some money. He has written two rich women love letters and he asks Bardolph and Pistol to deliver them. The pair refuse because Falstaff is dishonorable for writing married women. Falstaff gets his page to deliver the letter and then begins pontificating about honor in the current times.
Alice Ford, Meg Page and Mrs. Quickly meet in the Ford’s garden. They read
Falstaff’s love letters and become angry when they discover that Falstaff has written each woman identical letters. The women plot to take revenge on Falstraff. On the other side of the garden Bardolph and Pistol tell Ford of Falstaff’s plan to seduce his wife. Dr. Caius and Fenton, Nannetta’s suitor also listen to the conversation. While the men and women
57 Lascelles, Kobbé’s Complete Opera Book, 653-662. Although Lascelles was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Falstaff,” The Metropolitan Opera, accessed August 1, 2019, http://www.metopera.org/userinformation/synopses-archive/falstaff.
182 discuss their plans, Nannetta and Fenton slip away to spend time with each other. Ford decides to meet with Falstaff to gain his trust and discover his plans.
Act II
Bardolph and Pistol meet Falstaff at the Garter Inn. They apologize to Falstaff and also brought Mrs. Quickly with them to give Falstaff their replies. Mrs. Quickly tells
Falstaff that both women are in love with him and would like to meet. When Mrs.
Quickly leaves, Ford disguised as a businessman named Fontana gives Falstaff a wallet full of money. Fontana gives him the money to help him seduce Alice. Falstaff tells
Fontana that Alice’s husband is away, and that Fontana’s plan should succeed. Ford is enraged but calms himself to capture his wife in the act. At the Ford estate, the merry wives have met to prepare for Falstaff’s arrival. Falstaff, dressed in fine clothes appears and begins to seduce Alice. Mrs. Quickly enters the room to warn that Meg is on her way.
Falstaff hides and Meg warns Alice of her husband’s arrival. Ford arrives with a group of witnesses. Ford searches for Falstaff but, unable to find him, leaves to search other rooms. Falstaff is hidden by the women in a laundry basket. During the commotion
Nannetta and Fenton hide behind a screen to be alone with each other. Ford hears kissing noises and tears apart the screen only to find his daughter and her suitor. Angry, Ford rushes off in his search for Falstaff. Alice has her servants dump the laundry basket out into the gutter. She brings her husband to see the disgraced Falstaff.
Act III
Falstaff returns to the Garter Inn humiliated. Falstaff drinks wine to lift his spirits when Mrs. Quickly arrives with a letter from Alice. Mrs. Quickly explains that the
183 unfortunate event earlier was out of Alice’s hands and that she wanted to see Falstaff later that night at Herne’s Oak in Windsor Park. She goes on to tell him to dress as Herne the Hunter, who hanged himself at the oak. No one will bother the spirit of the deceased hunter. The Ford family has planned to dress as witches, fairies, and other supernatural creatures. Ford plans to marry his daughter to Dr. Caius and do so at the park that night.
Mrs. Quickly overhears Ford’s plan and plots to foil it. At midnight Fenton finds
Nannetta in the park, Alice interrupts the pair and tells the couple to listen to her. Falstaff arrives dressed as Herne the Hunter and finds Alice whom he fawns over. Suddenly the pair are surrounded by creatures and Alice slips away. They attack Falstaff casting spells on him and mocking him. They finally reveal their identities one by one. Falstaff realizes that he has been duped to the enjoyment of all present. Ford triumphantly celebrates his victory over Falstaff and then brings a couple before him announcing that Nannetta and
Caius have been engaged during the ceremony. To his dismay the couple reveal themselves to be Bardolph and Caius. Alice reveals Nannetta and Fenton have been engaged as well. Falstaff triumphantly asks Ford “Who is the dupe now?” Ford accepts the engagement of his daughter. The entire cast then sings about how the world is a jest and he who laughs last, laughs best.
Act 2, Scene 2, #40- #41
This excerpt is asked on both principal and second auditions because it is a trio between Falstaff and the two bassoons. The passage occurs when Falstaff is trying to seduce Alice while they are alone in her room. The use of the bassoon matches the
184 comedy of Falstaff. This excerpt shows a candidate’s ability to follow and establish the correct pitch center on second bassoon. The second bassoonist must play in tune with the principal player who is playing the same part an octave higher. In addition to pitch, the second player should match the articulations and style of the principal player.
Example 16.1. Falstaff, Act 2, Scene 2, #40 for 6 measures. Pitch tendencies.
These six measures are in octaves with the first bassoon. Three notes in this passage have the tendency to be low in pitch; Gb2, G2, and Ab2. This can be problematic because in the first bassoon Gb3, and G3 have the tendency to be high in pitch. The second bassoonist must compensate for the low pitch tendencies of these notes and play them in tune. The rest of the notes in the passage tend to be high in pitch. This is only exacerbated by the forte dynamic which typically makes the pitch even higher. To correctly compensate for the high pitch tendencies the player needs a reed that will play in tune in the low register while making the necessary voicing adjustments. The bassoonist will need an “ah” voicing or a voicing syllable that will lower the back of the tongue. Without the voicing adjustments, the pitch will be too high.
At the Allegretto marking the two bassoons take on an accompaniment role. The bassoon part is no longer in octaves and the parts are independent of each other. The
185 second bassoon’s role is to provide the harmonic structure on the downbeats of each measure.
Example 16.2. Falstaff, Act 2, Scene 2, 7-10 measures after rehearsal #40, 2nd bassoon role.
Each downbeat should be played full length. Although the first low F eighth note is the only downbeat marked with a tenuto marking the subsequent F’s should also be played the same way. In the context of the opera, the measure before the Allegretto slows down. The second bassoon establishes the beginning of the new section and the first bassoon fills in the rest of each measure. Both bassoons need to establish the tempo of the subito Allegretto.
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Chapter 17 The Bartered Bride
By Bedřich Smetana (1824-1884)
Libretto by Karel Sabina.
First performance: May 30, 1866 at the Provisional Theatre in Prague, Czech
Republic.
List of Characters:
Krušina a peasant Ludmila his wife Mařenka their daughter Mícha a landowner Háta his wife Vašek Mícha’s younger son Jeník Mícha’s older son from a previous marriage Kecal a marriage broker Ringmaster Esmeralda a dancer
Setting: A small Bohemian village in the seventeenth century.
History of the Composition
The Bartered Bride began as a sketch by Karel Sabina. Sabina had been
Smetana’s librettist for his first opera The Brandenburgers in Bohemia. Sabina gave the sketch to Smetana for which he was given ten gulden. The plot was originally one act and
187 written in German. As Smetana began working on the opera, he found the plot and characters insufficient and asked Sabina to rework the libretto. While Sabina revised,
Smetana began work on the overture. On November 18, 1863 Smetana most likely gave the first performance of The Bartered Bride Overture on piano for the thirtieth anniversary of the actor Jan Kaser at the Umělecká beseda.58 Smetana put The Bartered
Bride aside until after the premiere of The Brandenburgers in Bohemia in January of
1866. The opera was well received, and Smetana was approached by the František
Thomé, the director of the Provisional Theatre in Prague to conduct and premiere a new opera. This work became the Bartered Bride which Smetana completed scoring on March
16, 1866 and rehearsals began in April.59 The premiere occurred on May 30, 1866 at the
Provisional Theatre in Prague. The premiere and subsequent performances were a disaster. The audience did not appreciate the low-class characters and plot about true love, they much preferred stories about the aristocracy. The premiere also occurred during a national holiday where many of the potential patrons were vacationing. Prague also suffered a sudden heat wave which discouraged patrons from attending the theater which would have been quite stuffy and hot.60 The opera was so ill received that Thomé was forced to cancel subsequent performances because of lack of attendance and was unable to pay the overhead costs. War broke out between the Prussians and the Austrians, and the Smetana’s were forced to flee. Upon his return, Smetana was named the new conductor of the Czech Theatre in Prague. Over the next four years Smetana reworked
58 Brian Large, Smetana (New York: Praeger Publishers, 1970), 161. 59 Idib., 164. 60 Large, Smetana, 165. 188
The Bartered Bride. The opera became his most performed work, eclipsing all of his other operas, which he considered to be better compositions.
Synopsis61
Act I
The opera opens in a Bohemian village. The villagers have gathered to celebrate a holiday at the fair. Everyone is excited except for Mařenka and Jeník. The young couple is upset because Mařenka has found out that her parents intend to marry her off to a rich husband even though she is in love with Jeník who is poor. Mařenka professes her love for Jeník even though she knows very little about him. They sing a love duet where they affirm their unwavering love for one another. The pair leave for their respective homes.
Mařenka’s parents Ludmila and Krušina take their daughter to their meeting with Kecal the marriage broker. The group begins discussing Mařenka’s prospects and Kecal declares that he has found a good groom for Mařenka. Vašek, who is the younger son of a wealthy landowner, has excellent virtues and would make a nice husband. Kecal explains that the older brother is no good and would make a terrible husband. Mařenka interrupts and explains that he has already found a man to be her husband named Jeník. The four argue but nothing is resolved. As the meeting ends Kecal decides that the only way to get
Mařenka to marry Vašek is to convince Jeník that he does not want to marry Mařenka. As
Mařenka and her parents leave the meeting the villagers dance a lively polka outside.
61 Lascelles, Kobbé’s Complete Opera Book, 963-968. 189
Act II
The villagers are all celebrating at the local inn singing and drinking beer. Kecal enters the inn looking for Jeník. Vašek enters the inn. He has been sent by his mother to woo his new bride to be. He is shy, has a stutter and is unsure of himself, worried that he will be made a laughingstock. Mařenka finds Vašek all alone and realizes who he is. She does not reveal her identity and begins talking with Vašek. She laments how such a handsome young man could be married off to Mařenka who she says is flighty and will make a fool out of him. She begins flirting with him and immediately falls for her. He pledges to give up Mařenka and tries to kiss her. Mařenka avoids his kiss and escapes out of the inn. Kecal meets Jeník at the bar. Kecal will make a substantial amount of money from Mařenka’s marriage and he will do whatever it takes to get Mařenka to sign the marriage certificate. Kecal tries to convince Jeník to marry another girl. He explains that there are plenty of other girls out there and that he could even arrange a marriage in which Jeník would receive a substantial amount of money. Kecal offers Jeník money,
Jeník turns it down. Kecal offers even more money and Jeník agrees on the condition that
Mařenka marries one of Mícha's sons. Kecal leaves the negotiation happy as Mícha’s eldest son is presumed dead leaving only Vašek. However, Kecal does not know that
Jeník is the long lost son of Mícha. Kecal gathers the villagers to witness the marriage deal that he has just made. The townspeople find out that Jeník has been payed off and denounce him.
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Act III
Vašek is upset about his marriage prospects when a travelling circus enters the village. Vašek is enthralled with the Spanish dancer Esmeralda. The dancing bear has collapsed from being drunk and needs to be replaced. Esmeralda flirts with Vašek and convinces him to don the bear costume. Vašek’s parents Mícha and Háta arrive ready to marry off their son. Vašek tells his parents that he no longer wants to marry Mařenka because he has met a beautiful girl that is much better. Mařenka arrives and she is upset because she has learned of the deal between Kecal and Jeník. Vašek decides to change his mind about the marriage once he discovers that the strange girl at the bar was actually
Mařenka. Mařenka must think over the proposal and she leaves. Later that night she meets Jeník. Mařenka who is upset declares defiantly that she will marry Vašek instead.
Jeník tries to rectify the situation and explain but Mařenka is too upset. The wedding ceremony is about to start and the whole village is present. Mařenka has made her decision to marry Vašek. Jeník interrupts and addresses Mícha as father. To the surprise of everyone. It is revealed that Jeník was the long lost son from a previous marriage. He was kicked out of the house when his father married his stepmother Háta. Mařenka realizes that she is now able to marry Jeník due to Kecal’s contract and is overjoyed. A townsperson bursts in and announces that a bear has escaped from the circus. The villagers panic until the bear appears and is revealed to be Vašek. The village then celebrates the marriage of the bartered bride.
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Overture
This passage is asked on auditions to ascertain the candidate’s single or double- tonging skills. The excerpt from Rehearsal B to twenty-three bars before Rehearsal C utilizes the low register in the second bassoon part. This excerpt requires a proficiency in double tonguing, the excerpt spans from C4-D2. To play this excerpt successfully, the bassoonist must have a reed that responds well in the low register as well as be able to adjust the internal voicing from an “ee” to an “ah”. There can not be any tension in the players embouchure as they approach the lower register. The sF’s should be approached as a breath accent and can serve as an anchor point for the bassoonist’s rhythm. It is important to give an emphasis breathe accent on the sF’s. To play the first bassoon excerpt, the bassoonist needs a reed that responds well in the tenor register. The opening excerpt is the same for the first and second bassoon. As the notes descend, the bassoonist must change their internal voicing to an “ah”.
Example 17.1. Bartered Bride, Overture, 4 measures through 8 measures after rehearsal B. Voicing.
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Measures four and five after rehearsal B require an “ee” voicing while measures six and seven after rehearsal B require a more open “ah” voicing. If the player fails to make the voicing transition on the lower notes they will crack or not respond.
Fingering Stabilization
Although double tonguing this excerpt presents unique challenges for the bassoon player, the bassoonist must make sure that their fingers are moving correctly without any hitches. One way to practice the double tonguing section is to slur the articulated notes.
This helps the performer keep the airstream adequate without the interruption of the tongue. It also helps the bassoonist access any finger issues. Double tonguing can disguise potential finger issues making the bassoonist think that the double tonguing is causing the mistakes. One must make sure that all the other elements of the passage are correct before adding the double tonguing back in. When slurring the articulated passages, the player can practice mixed rhythms to smooth out any potential rhythm issues caused by the fingers.
Single vs. Double Tonguing
As the excerpt progresses Smetana writes several measures where there are three note motives. The bassoonist should decide whether or not to single tongue or double tongue the motives.
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Example 17.2. Bartered Bride, Overture, 16-21 measures after rehearsal B, Articulation Choice.
Although single tonguing can be effective in these short bursts it can be challenging to switch between the two articulation techniques. The player can choose to single tongue to have an easier time articulating the low notes or they can choose to double tongue the three note figures as a warm up for the extended double tonguing passage. If the player chooses to double tongue the short figures, then they will have practiced the start of the extended passage eliminating the hitch that can occur with time when transitioning from single to double tongue.
Tied Notes
Though the articulated sections of the excerpts are quite challenging one would be remiss to ignore the rhythmic complexity of the first three measures of rehearsal B.
Example 17.3. Bartered Bride, Overture, rehearsal B for 3 measures, cutting ties.
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The excerpt requires the player to cut the ties because of the excessive speed of the passage. If the bassoonist does not release the ties on the downbeat, they will play the ensuing notes late.
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Chapter 18 Boris Godunov
By Modest Mussorgsky (1839-1881)
Libretto by Modest Mussorgsky.
Based on the play Boris Gudonov by Alexander Pushkin.
First performance: January 24, 1874 at the Mariinsky Theatre in St. Petersburg, Russia.
List of Characters:
Boris Godunov Tsar of Russia Fyodor Boris’ son Xenia Boris’ daughter Xenia’s nurse Prince Vassili Ivanovich Shuiski Andrei Shchelkaloff Clerk of the Duma Pimen a monk and chronicler Grigori monk training with Pimen, the false Dmitri Marina Mnishek daughter of the Lord of Sandomir Rangoni a Jesuit The Innkeeper Varlaam a vagabond Missail vagabond The Boyar In Attendance Lavitsky a Jesuit Chernikoffski a Jesuit Khrushchoff a Boyar
Setting: Russia and Poland from 1598-1605.
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History of the Composition
Boris Godunov was Mussorgsky’s only completed opera. The theme of the opera loosely follows the life and times of Tsar Boris Godunov. Godunov became a fixture in
Russian popular culture after the publication of Alexander Pushkin’s play Boris
Godunov. The opera’s plot is based off of Pushkin’s play. The libretto was written in
Russian by Mussorgsky. He completed the initial version of Boris Godunov in 1869. The
Imperial Theaters rejected this version and Mussorgsky revised the opera. The revised edition was premiered in January 27, 1874 at the Mariinsky Theatre in St. Petersburg
Russia. The opera did not gain popularity until Nikolai Rimsky Korsakov revived the work in 1896. Later in 1906, Korsakov revised his version for a production by Serge
Diaghilev. These performances popularized Boris Godunov in opera literature which gave rise to create a revival of Mussorgsky’s original version. Over the years,
Mussorgsky’s opera was then edited and revised by Pavel Lamm, Dmitri Shostakovich,
Karol Rathaus and David Lloyd-Jones.62 These editions combined various combinations and aspects of Mussorgsky’s original two versions.
62 Caryl Emerson and Robert William Oldani, Modest Mussorgsky and Boris Godunov Myths, Realities, Reconsiderations (Cambridge: Cambridge University Press, 1994), 68. 197
Synopsis63
Prologue
The opera opens on a crowd outside the Novodievichy monastery near Moscow, which is where Boris Godunov has arrived. The Steltsy police force the crowd to plead for Boris Godunov to become Tsar of Russia. He refuses; the following day, bells ring for the coronation of Tsar Boris Godunov as he accepts the title. A feast ensues to celebrate the coronation.
Act I
The first act opens with two monks, Pimen and Grigori in the Chudov Monastery.
Boris Godunov has been Tsar for several years. Grigori laments to Pimen that he has not grown in station nor experienced the glory of war. Grigori then brings up the rightful heir to the throne, who was murdered, Tsarevich Dimitri. (The title Tsarevich means the son of the Tsar.) Pimen describes the details of Dmitri’s assassination and the confession procured from the assassins before they died. The assassins implicated Boris Godunov as the facilitator of the assassination plot. Pimen also mentions that Grigori and the late
Tsarevich Dimitri would have been similar in age. Grigori hatches a plan to impersonate
Dmitri and ascend to the position of Tsar. Grigori leaves the monastery and meets two travelling monks Varlaam and Missail at an inn. A police officer enters the inn with a
63 Fellner, Opera Themes and Plots, 40-51. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Boris Godunov,” The Metropolitan Opera, accessed July 10, 2019, http://www.metopera.org/userinformation/synopses-archive/boris-godunov.
198 warrant to arrest Grigori. Grigori cunningly reads the description of the wanted man to the officer, who is illiterate. Grigori describes Varlaam and is able to escape.
Act II
In Boris’s home, Boris is tormented by the thought of Dmitri’s death. A boyar, a high-ranking member of the Russian aristocracy, enters and tells Boris of an imposter posing as the late Dmitri. The imposter is supported by the aristocracy of Poland. The news bothers Boris, who overcome by guilt, hallucinates with visions of the dead Dmitri.
Act III
The imposter, Grigori has arrived in Poland to court the noblewoman Marina
Mnishek. Marina wants to wed Grigori to gain power and rule Russia. Grigori and
Marina meet and Marina waits until she is sure of Grigori’s intention to become Tsar before professing her love for him.
Act IV
Outside the cathedral in Moscow, peasants discuss the news that Tsarevich
Dimitri lives and his troops are on their way to reclaim the throne. The clergy and Boris exit the cathedral and begin to distribute bread to the starving peasants. A holy fool disrupts the procession accusing Boris of killing Dmitri. The holy fool is apprehended, and Boris lets him go. He asks the fool to pray for him and the fool proclaims Russia will have a dark future. In the Duma (the Russian Assembly) the council of boyars declares to kill the imposter Dmitri. Boris enters, disoriented, crying out to Dmitri. Boris sends the boyars away and names his son heir before dying. Meanwhile, in a forest nearby, a mob attacks several boyars and policemen. They are beaten by the crowd, when Grigori and
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Marina arrive with their army. The crowd cheers the false Dmitri as he asks the mob to follow him to Moscow. As the crowd leaves the holy fool laments for Russia’s future.
Prologue, Beginning to Rehearsal 3
The most common bassoon excerpt in Boris Godunov is from the opening to rehearsal three. The whole work opens with a simple folk melody played by solo bassoon. The five-bar phrase is repeated a total of three times in its original form, first by the bassoon, then solo clarinet, and finally by the low strings and bassoons. In the final statement of the initial melody a second theme is added in the violins. This “changing background” technique is a common practice used in Russian music.64 The melody is simply repeated against a backdrop of varying orchestrations, harmonization and decorative counterparts. The melody is a somber plaintive folk melody. The melodic line should utilize vibrato to maximize the plaintive feeling of the folk melody. The difficulties of this excerpt are tuning and response of notes. This melody employs many notes that are unstable in pitch. The bassoonist must choose which fingerings provide the most reliable pitch and timbre. The opening note starts on a C#3. Using the short C#3 fingering will result in a duller timbre but lower pitch. If the bassoonist uses the long C# the timbre will match the other notes of the melody, but the pitch will most likely have to be adjusted to lowered as the long C# fingering has the tendency to be sharp.
64 Emerson and Oldani, Modest Mussorgsky and Boris Godunov: Myths, Realities, Reconsiderations, 37. 200
Example 18.1. Boris Godunov, Prologue, measure 1, Opening C# fingering choices.
Fingering 18.1.1. Short C#4 Fingering.
Fingering 18.1.2. Long C#4 Fingering.
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The high A natural must be approached with care. If not, the articulation could be too harsh resulting in an accent or cracked note. In measures four and five, if the bassoonist has chosen the full C# fingering earlier in the passage, they should use the slur
C# fingering from F# to C#. Using this slur fingering will result in a clean transition from note to note, and also have similar timbres which will not interrupt the melodic line. If the bassoonist uses a short C# fingering, they will need to compensate for the timbral difference between notes.
Example 18.2. Boris Godunov, Prologue measures 3-6, Slurred C# passage.
Fingering 18.2. Slur C#4 fingering.
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This excerpt occurs at the opening of the opera in which the peasants are standing around the monastery gates. In measure five, it is important to hold the last eighth note the appropriate length. The eighth note can be clipped or held too long. If clipped, the end of the phrase is abrupt. If held too long, the eighth note obscures the downbeat of the following measure.
Example 18.3. Boris Godunov, Prologue rehearsal 2-3, Low register pitch tendencies.
The next entrance, rehearsal two, is with the addition of another bassoon and the lower strings. The melody at rehearsal two is two octaves lower than the opening melody.
In this melody, the bassoonist should focus on pitch. The pitch tendency in the low register is to be high. The bassoonist must have an open voicing to accommodate the pitch tendencies, particularly because the dynamic is forte in this passage which could make the pitch even higher.
Act IV, Scene 2, 8 measures before rehearsal 46 to rehearsal 47
The second excerpt asked from Boris Gudonov is in the fourth act second scene.
This excerpt occurs while the peasants are attacking and humiliating the captured boyars and policemen. It occures from eight bars before rehearsal forty-six to rehearsal forty- 203 seven. The passage has a quick tempo which underlies the growing hostility of the angry mob. The difficulty lies in the tempo and the repeated use of Gb to Bb combination.
Example 18.4. Boris Godunov, Act IV, Scene 2, measure 5 before rehearsal 46.
Fingering 18.4. Front Gb2 fingering.
In five measures before rehearsal forty-six, the bassoonist must move from Eb2 to
Gb2 to Bb2. To execute this combination of notes, the bassoonist must slide their pinky from the low f key on the Eb2 to the front Gb key on the Gb2. This combination of fingerings is uncomfortable and must be executed with as little tension as possible.
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Unfortunately, there is not an alternate way to finger this passage since the front Gb fingering is required to move smoothly to the Bb3.
Two measures later, three measures before rehearsal forty-six the bassoonist must slide their right hand pinky from Ab to the front Gb fingering following Bb.
Example 18.5. Boris Godunov, Act IV, Scene 2, 1 measure before rehearsal 46, Gb fingering.
This motion will be repeated in the two measures before rehearsal forty-seven, this time an octave higher.
Example 18.6. Boris Godunov, Act IV, Scene 2, 2 measures before rehearsal 47, Gb/F# fingering.
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Fingering 18.6. Front Gb/F#3 fingering.
This excerpt starts at pianissimo and does not grow dynamically larger until two measures before rehearsal forty-seven. This passage must remain soft, it is not the main focal point for the audience and only serves to add tension to the scene. The crescendos given must be accompanied by more drastic decrescendos in order for the passage to remain quiet. In the first half of the excerpt, the player must make a voicing adjustment so that the pitch does not rise in the lower register. Lastly, the player should pay attention to the many accidentals. The key signature has three sharps, but Mussorgsky uses flats negating the sharps in the key signature.
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Chapter 19 Madama Butterfly
By Giacomo Puccini (1858-1924)
Libretto by Guiseppe Giacosa and Luigi Illica.
Based on the short story Madame Butterfly by John Luther Long.
First Performance: February 17, 1904 at Teatro alla Scala in Milan, Italy.
List of Characters:
Cio-Cio-San called Madama Butterfly Suziki her servant B. F. Pinkerton Lieutenant in the U.S. Navy Sharpless U.S. Consul Goro a marriage broker Prince Yamadori Il Bonzo Butterfly’s Uncle Kate Pinkerton Pinkerton’s American Wife Dolore Pinkerton and Butterfly’s child
Setting: Nagasaki at the turn of the 20th century.
History of the Composition
Puccini had the idea of creating Madama Butterfly into an opera when he saw the play Madame Butterfly in London while working on a performance of Tosca. The play was based on a short story by John Luther Long. Though the play was in English, a language he did not understand, Puccini was so impressed by the play that he chose to 207 make it the subject of an opera.65 Puccini contacted the director of the play, David
Belasco, for a copy of the story. Belasco eventually supplied the text and permission to use the work. Puccini used Guiseppe Giacosa and Luigi Illica to translate and write the libretto. Madama Butterfly premiered on February 17, 1904 at the Teatro alla Scala in
Milan. The premiere was an unmitigated disaster. The reaction was so bad that “at the end of the first act the applause had to compete with audible hissing”.66 The crowd’s reaction continued to sour, using any excuse to audibly denounce the performance.
Puccini withdrew subsequent performances of Madama Butterfly because he was under contract with Ricordi to do so if the performance was a flop. However, Puccini soon began to rewrite the work breaking up the second act with an orchestral interlude and adding or subtracting parts that he saw fit. On May 28, 1904 the new version premiered at the Teatro Grande in Brescia, Italy. The crowd reacted with thunderous applause and the new version was crowned a success. Within a year, Madama Butterfly was premiered in
Argentina, England, and the United States. The opera was a worldwide success a distinction that it is has enjoyed ever since.
65 Richard Specht, Giacomo Puccini: The Man His Life His Work, trans. Catherine Alison Phillips (New York: Alfred A. Knopf, Inc., 1933), 154. 66 Ibid., 181. 208
Synopsis67
Act I
In Japan in the early 1900’s, the American Lieutenant Pinkerton is touring his new home that overlooks the Nagasaki harbor. Pinkerton is leasing the home from Goro a marriage broker; the house comes with three servants and a geisha who will also be his wife. The wife’s name is Cio-Cio-San but she is typically called Madame Butterfly. Goro is showing Pinkerton the house and the sliding doors that segment the various rooms of the house when three servants appear and are introduced. Pinkerton is to be married in a ceremony with the American Consul, the bride, and a handful of the bride’s family members in attendance. The American Consul (Ambassador), Sharpless, arrives at the house and the three men sit for a drink. Pinkerton describes his life’s philosophy about his pursuit of pleasure; he is unsure of the marriage but will go through with it anyways.
Sharpless warns Pinkerton that his bride to be will take the marriage very seriously.
Pinkerton dismisses Sharpless’ warning and says that one day he will marry an American bride. Butterfly arrives with her companions for the wedding ceremony. Pinkerton and
Butterfly are introduced, and Butterfly explains that she is 15 and that her family was once wealthy but has lost their fortune because of unfortunate events forcing her to work as a geisha. She also informs him that she has secretly converted to Christianity to please her husband. The marriage ceremony finishes, and everyone present congratulates the
67 Fellner, Opera Themes and Plots, 122-131. Although Fellner was the primary resource, a synopsis from the Metropolitan Opera was also consulted. “Synopsis: Madama Butterfly,” The Metropolitan Opera, accessed August 3, 2019, http://www.metopera.org/userinformation/synopses-archive/madama-butterfly.
209 couple. Unexpectedly, a voice can be heard in the distance. It is butterfly’s Uncle Bonze, who is cursing Butterfly for converting to Christianity. Butterfly’s relatives are shocked at the revelation and denounce her. Pinkerton demands that everyone leave and he consuls Butterfly. Butterfly changes into her wedding kimono and the pair avow their love for each other in the garden.
Act II
Three years later Butterfly is awaiting her husband’s return from his voyage.
Suzuki, her servant, prays to the Japanese gods for help, and Butterfly berates her for not believing in Pinkerton’s American god. Butterfly has become very poor since Pinkerton’s absence and she has no other family to support her. Sharpless arrives at the house with a much anticipated letter from Pinkerton. Before he is able to read the letter, Goro appears with a suitor, Prince Yamadori. Butterfly serves the guests tea and explains to Goro and
Yamadori that Pinkerton will return. Unlike Japan, American husbands are legally obligated to take care of their wives. Butterfly asks Goro and Yamadori to leave and
Sharpless begins to read the letter. As he reads, he suggests that Butterfly should reconsider Yamdori’s offer. She refuses and explains that Pinkerton will still return as they have a child together. She brings in her son and explains that his name is sorrow but once Pinkerton returns, he will be renamed joy. Suddenly, a cannon shot is heard in the harbor. Butterfly grabs a telescope to see if she can identify the ship. Overjoyed, she discovers that it is Pinkerton’s ship, the Abraham Lincoln. The sun goes down and
Butterfly anxiously awaits the return of her husband.
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Act III
The next day Sharpless, Pinkerton and his American wife Kate, arrive at the house. Suzuki, realizing who Kate is tries to break the news to Butterfly. Pinkerton feels guilty and leaves the house. Butterfly meets Kate and immediately realizes who she is.
She agrees to give up her son to Pinkerton. Butterfly grabs the knife her father committed suicide with and decides to do the same. Her child enters the room and Butterfly blindfolds him. She stabs herself and dies as Pinkerton returns to the house.
Act I, 1 measure after [1]- 8 measures after [2]
The opening of Act I is a riveting technical excerpt. The excerpt itself lasts twenty seconds and is full of technical difficulties. To start with, Puccini writes alternating Eb to
D throughout the main theme. The Eb contains a forked fingering which can be eliminated by using the short alternate fingering. By eliminating the right hand, the player will have an easier time reaching the performance tempo of 140bpm.
Example 19.1. Madama Butterfly, Act I, Rehearsal 1 for 4 measures, Alternate Eb3.
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Fingering 19.1. Short Eb3 Fingering.
When playing this excerpt time is especially crucial, there are many figures that can slow the player down. The grace notes and the tied notes create this problem. The bassoonist should aim for the grace note to proceed the downbeat and for the Eb to land on the downbeat. Verdi indicates that the Eb is to emphasize the downbeat because it has an accent on the note. The player should also cut off on the downbeat of any ties. By doing so they will be prepared for the notes that follow and will not slow down.
Example 19.2. Madama Butterfly, Act I, Rehearsal 1 for 4 measures, Grace notes and Ties.
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Because of the speed of the excerpt, the bassoonist will need to decide whether they should single tongue or double tongue. This can be a challenging decision as many of the sixteenth runs come off of ties, requiring the bassoonist to start on the guttural syllable.
Example 19.3. Madama Butterfly, Act I, measures 4 and 5 after rehearsal 1. Double tonguing.
In example 19.3. Ka represents the guttural articulation and Ta represents the normal way of articulating. Ka and Ta are syllables used for the example and the player may choose whichever syllables fit them best, especially because notes in different registers have a slightly different voicing. The player will need to accommodate the syllable based off the written notes and what works optimally for them.
Example 19.4. Madama Butterfly, Act I, measures 12 and 13 after rehearsal 1. Double tonguing.
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In measures 12 and 13 after rehearsal 1 the player may not be able to use the aforementioned articulation. Low D is a challenging note to articulate with the guttural syllable. If that syllable does not work the bassoonist can use the normal articulation followed by the guttural articulation. This can make a crisper articulation and the player will land on the downbeat that will have a normal articulation.
Example 19.5. Madama Butterfly, Act I, measures 12 and 13 after rehearsal 1. Double Tonguing Syllables.
Act II, 12 measures before [28]- downbeat of [29]
The most challenging aspect of this excerpt is to have a consistent and clear articulation in each register and dynamic. The most challenging register to achieve this goal is the tenor register. Typically, tenor register notes are not stable notes and we must either flick or vent. In the case of this excerpt, venting can be particularly helpful because the bassoonist only needs to hold down one vent key.
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Example 19.6. Madama Butterfly, Act II, measures 5-7 after rehearsal 28, Venting.
By holding down the C vent key, the player eliminates the technical difficulties of using the left thumb and is also able to have a clear response to the note.
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Chapter 20 Contrabassoon
I have chosen to not write about contrabassoon opera excerpts. Through my research only two opera companies responded with a contra bassoon excerpt list; the Los
Angeles Opera and the Austin Opera Company. This is not a large enough sample size particularly because the Austin Opera Company list did not contain any excerpts from operas. Their list contained contra bassoon repertoire from the orchestral literature and bassoon orchestral literature. Only one work on their list was from opera literature,
Donizetti’s L’elisir d’amore. In addition, the Los Angeles Opera’s list of contra bassoon excerpts only included three contrabassoon opera excerpts; Fidelio, Salome, and Don
Carlo. Three excerpts are not a large enough sample size to draw a conclusion. The low sample size may be due to the fact that contra bassoon auditions do not occur as often as other instrumental auditions. There are less contrabassoon positions than bassoon positions in opera and symphony orchestras. Another reason may be that orchestras may not have a full-time position for contrabassoon. Not all operas have a contrabassoon part so the contrabassoon player may be hired as needed; or the contrabassoon duties may be performed by the second bassoonist or an assistant player.
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Chapter 21 Ideas for Further Research
In the course of my research I discovered how little information exists about opera bassoon excerpts. One idea to expand upon would be to gather more repertoire lists from opera companies. Many opera companies did not respond and collecting additional repertoire lists would make for a more thorough understanding of the excerpts that are asked for at auditions. In addition, by collecting more audition lists, a list of standard contrabassoon opera excerpts could be established. As I stated in the previous chapter, I did not have a large enough sample of contrabassoon excerpt lists to warrant writing about the standard contrabassoon opera excerpts. The audition excerpts that are asked by committees change over time. Many excerpts that are in vogue currently may no longer be asked for in ten years’ time. In the future it may be necessary to resurvey opera companies to ascertain opera bassoon excerpts and to create a more current list.
Another course for further research is the implementation of opera excerpts within the current pedagogical curriculum. What can a student learn from incorporating the study of opera repertoire beyond what they would learn from the typical orchestral excerpt? Student perspective and potential career possibilities may be broadened through enhanced study of opera repertoire.
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Chapter 22 Conclusion
After studying opera bassoon excerpts, it became clear that these excerpts require different skills than their orchestral counterparts. The following criteria must be considered when studying opera bassoon excerpts; rhythmic accuracy, knowledge of fingerings, knowledge of phrasing, knowledge of balance issues, knowledge of the plot, and flexibility when playing with singers. Rhythmic accuracy is paramount to playing a successful audition. Without rhythmic accuracy one cannot expect to play in time with others. The knowledge of fingerings will help a bassoonist manage the technical challenges presented by opera excerpts. There are certain excerpts that require a knowledge of phrasing and tradition, without this knowledge an audition candidate risks disappointing the audition committee. In orchestra, the bassoon plays a much more soloistic role. In opera, the bassoon is mainly accompanying the singers. Bassoonists must be aware of balance issues with the singers and other instrumentalists. This change in role also requires the bassoonist to be more flexible in regard to time and balance issues. The bassoonist must be sensitive to how the singer’s phrase, and articulate.
Furthermore, singer’s treat phrases with a greater sense of rubato and knowing the emotional content and lyrics of an aria will help the bassoonist give a more informed performance.
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Bibliography of Music
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Bizet, Georges. Carmen: in Full Score. New York: Dover Publications, Inc., 1989.
Britten, Benjamin. Billy Budd. London: Boosey & Hawkes Music Publishers Ldt., 2016.
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Moussorgsky, Modest Petrovich. Boris Godunov: in Full Score. New York: Dover Publications, Inc., 1987.
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Wagner, Richard. Tannhäuser: in Full Score. New York: Dover Publications, Inc., 1984.
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Appendix: Fingerings
Fingering # Pitch Location on Fingering Page # Staff Fingering E4-F#4 Trill 27 2.3.1. Fingering
Fingering D4-E4 27 2.3.2. Fingering
Fingering 2.4. G4 Slur 28 Fingering
Fingering 2.5. F#4 Slur 29 Fingering
225
Fingering E3-F#3 Trill 31 2.6.1. Fingering
Fingering D#3 Short 31 2.6.2. Fingering
Fingering 3.3. D3 Quiet 43 Fingering
Fingering 3.6. D#3 Short 45 Fingering
226
Fingering 5.3. C#4 Short 58 Fingering
Fingering C#4 Short 60 5.5.1. Fingering
Fingering D#4 Short 61 5.5.2. Fingering
Fingering 5.6. F#4 Stable 62 Fingering
227
Fingering 5.7. C#4 Long 63 Fingering
Fingering Gb3 Muted 72 6.1.1. Fingering
Fingering Fb3 Muted 72 6.1.2. Fingering
Fingering Eb3 Darker 73 6.1.3. Fingering
228
Fingering Db3 Muted 73 6.1.4. Fingering
Fingering C#4 Short 85 7.1.1 Fingering
Fingering D#4 Legato 85 7.1.2. Fingering
Fingering C#5 Slur 86 7.1.3. Fingering
229
Fingering 7.2. E4 Legato 87 Fingering
Fingering G#4 Short 89 7.5.1. Fingering
Fingering A4 Short 89 7.5.2. Fingering
Fingering E3-F#3 Trill 99 8.5.1. Fingering
230
Fingering D#3 Short 99 8.5.2. Fingering
Fingering 9.3. Gb2 Front 107 Fingering
Fingering Eb4 Legato 113 9.9.1. Fingering
Fingering Ab4 Slur 113 9.9.2. Fingering
231
Fingering Eb3 Short 114 9.9.3. Fingering
Fingering C#4 Short 114 9.9.4. Fingering
Fingering A4 Short 115 9.9.5. Fingering
Fingering Ab2 Back 115 9.9.6. Fingering
232
Fingering Ab3-Bb3 Trill 123 10.2. Fingering
Fingering F#2 Muted 128 10.8. Fingering
Fingering F#4 Quick 135 11.3. Fingering
Fingering G4 Slur 140 11.9. Fingering
233
Fingering E4 Full 141 11.10.1. Fingering
Fingering C#4 Short 142 11.10.2. Fingering
Fingering E4 Trill 142 11.10.3. Fingering
Fingering A2 with low 149 12.2.1. C# Key Fingering
234
Fingering E2 with low 149 12.2.2. C# Key Fingering
Fingering F#2 Muted 150 12.2.3. Fingering
Fingering Gb3 Front 158 13.3. Fingering
Fingering Gb3 Front 158 13.4. Fingering
235
Fingering A2 with low 165 14.2.1. C# key Fingering
Fingering G2 with low 166 14.2.2. C# key Fingering
Fingering E2 with low 14.2.3. C# key Fingering
166
Fingering D#3 Darker 167 14.3.1. Fingering
236
Fingering F#2 Front 168 14.3.2. Fingering
Fingering F#2 Muted 168 14.3.3. Fingering
Fingering F4 Large Slur 179 15.5. Fingering
Fingering C#4 Short 201 18.1.1. Fingering
237
Fingering C#4 Long 201 18.1.2. Fingering
Fingering C#4 Slur 202 18.2. Fingering
Fingering Gb2 Front 204 18.4. Fingering
Fingering Gb3 Front 206 18.6. Fingering
238
Fingering Eb3 Short 212 19.1. Fingering
239