Journal of the Conductors Guild

Volume 22, Nos. 1 & 2 Winter/Spring - Summer/Fall 2001 6219 N. Sheridan Rd., Chicago, IL 60660 Table of Contents T: (773) 764-7563; F: (773) 764-7564 Commentary page 1 E-mail: [email protected] [email protected] The Metronome Indications in page 2 Website: www.conductorsguild.org Beethoven’s Symphonies by Max Rudolf Officers Harlan Parker, President Tonu Kalam, Secretary A Pilot Study of the Expressive page 14 Emily Freeman Brown, President-elect Frederick Peter Morden, Treasurer Gestures Used by Classical Michael Griffith, Vice-President Wes Kenney, Past-President Orchestra Conductors Board of Directors by Thüring Bräm and Penny Boyes Braem Virginia A. Allen Jonathan D. Green* Lawrence L. Smith Beauty’s Plea: An Introduction page 30 Henry Bloch* Murray Gross Mariusz Smolij to the Music of William Alwyn Glenn Block Alan Harler Jonathan Sternberg* by Brian Murphy Mark Cedel Thomas Joiner Alton Thompson Charles P. Conrad* Anthony LaGruth Diane M. Wittry Organizing and Conducting page 45 William H. Curry Michael Luxner Burton Zipser* the College-Community Orchestra Sandra Dackow Kirk Muspratt * ex-officio Allan Dennis Melinda O’Neal by Victor Vallo Jr. Robert Freeman Mark Scatterday Advisory Council A Study of Student Community page 51 Orchestras in the United States Adrian Gnam Charles Ansbacher Donald Portnoy and Canada Michael Charry Samuel Jones Barbara Schubert by Dr. Lynn Schenbeck and Sergiu Comissiona Daniel Lewis Gunther Schuller Harold Farberman Larry Newland Rebecca Jones Rose Lukas Foss Maurice Peress Engaging the Head Voice: page 66 Theodore Thomas Award Winners Simple Exercises for Amateur Claudio Abbado Frederick Fennel Robert Shaw Community Choirs Maurice Abravanel Margaret Hillis Leonard Slatkin by Welborne E. Young Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Francis Poulenc’s Gloria: page 71 Pierre Boulez Max Rudolf Corrections to the New (1969) Thelma A. Robinson Award Winners Full Score by Lee G. Barrow Beatrice Jona Affron Miriam Burns Laura Rexroth Steven Martyn Zike Eric Bell Kevin Geraldi Annunziata Tomaro Books in Review page 78 Max Rudolf Award Winners Gustav Meier Otto-Werner Mueller Gunther Schuller Craig Kirchhoff, Series Advisor, Windependence: A Repertoire ***** Series for Wind Bands Journal of the Conductors Guild reviewed by Tom Erdmann Editor Jonathan D. Green Founding Editor Jacques Voois John Canarina, Uncle Sam’s Production Staff Orchestra, Memories of the Executive Director R. Kevin Paul Seventh Army Symphony Publications Coordinator Sarabeth Gheith reviewed by Henry Bloch Administrative Assistant Sarabeth Gheith Production Quicker Printers Carl S. Leafsteadt, Inside Bluebeard’s Castle, (Music and The publication date of the present double issue of the Journal of the Conductors Guild is Drama in Bela Bartôk’s Opera) July, 2002; consequently the publication date and the issue date do not coincide. Effective Volume reviewed by Henry Bloch 13, the Journal of the Conductors Guild has been published semi-annually, the two issues being numbered 1 and 2; the seasonal references remain unchanged, as is its length.The Conductors Guild reserves the right to approve and edit all material submitted for publica- Michael Stern (Ed.), Max tion. Publication of advertising is not necessarily an endorsement and the Rudolf: A Musical Life, Conductors Guild reserves the right to refuse to print any advertisement. Library of Congress Writings and Letters No. 82-644733. Copyright ©2002 by Conductors Guild, Inc. All rights reserved.ISSN: 0734-1032. reviewed by John Canarina Commentary

This issue of the Journal is a departure from the norm in that a number of articles are specifically dedicated to the topic of community ensembles. This may in fact not be a departure since our goal has been to meet the needs of our membership, and as that membership has grown, we have an ever-larger number of members who conduct community- based, volunteer ensembles.

Victor Vallo has prepared a set of guidelines for establishing and leading a college-community orchestra. Lyn Schenbeck and Rebecca Jones present the results of their broad-based study of such ensembles in the U.S. and Canada. The statistical anomalies are sometimes dumbfounding and sometimes encouraging. If you direct such an ensemble, you may find that the peculiar vagaries of your situation are not unique, and hopefully the integrated anecdotes will prove useful in addressing problems in your own groups. Welborne E. Young offers us some useful exercises to engage the head voice in amateur choirs. Thomas Erdmann reviews a new wind band series that may provide new repertoire and new editions for community band programs. Lee G. Barrow has prepared an errata list for the new edition of Poulenc’s Gloria, a work visited by many community choirs.

You will also find provocative and nostalgic inclusions. John Canarina reviews the new anthology of Max Rudolf’s writings. As many of you know, Max was probably the most prolific contributor of articles to this publication. His essay on Beethoven’s metronome markings, which appeared in our first issue, remains our most requested reprint. We have therefore begun this issue with a reprint of that article and we close with John’s review. Also be sure to read Henry Bloch’s review of John Canarina’s wonderful book about the Seventh Army Symphony. Our thanks go to Tonu Kalam for bringing the Bräm and Braem article to our attention. This is a fascinating study of the conductorial gestures from the perspective of gestural semiotics. You may never look in the mirror the same way again. Brian Murphy has written a valuable introduction to the music of British composer, William Alwyn, whose works are quickly gaining long-deserved recognition.

I hope that as you prepare for your coming seasons, you find some kernels of aid and encouragement in these pages.

Cheers, Jonathan Green

JCG Vol. 22, Nos. 1 & 2 1 The Metronome Indications In Beethoven’s Symphonies

By Max Rudolf

This article first appeared in JCG Volume 1, Number 1 in 1980.

I

After more than a century of unsuccessful attempts to ample testimony to Beethoven’s appreciation of the construct an efficient tool for measuring speed in music, metronome, the one negative remark, “to the devil with Maelzel’s Metronome entered the market in 1816. It met all mechanisms,” does not carry weight. It was made in a with quick and enthusiastic acceptance. Within a few years, moment of nervous tension (Beethoven’s nephew had the abbreviation M.M., followed by note symbol, equal just attempted suicide) and combined with the words “the sign, and number started to appear in printed music. Even metronome markings follow.” before this became a custom, Beethoven had published a list of metronome markings for eight symphonies. Beethoven’s interest in this brand-new invention must be seen in the light of a development that had taken place Beethoven moved to Vienna the same year as Maelzel during the second half of the 18th century. A new desire and was a frequent visitor to the inventor’s workshop. for individual expression had sprung up in the creative While laboring on an earlier model known as a arts. In music, the traditional tempo categories no longer chronometer, Maelzel consulted with the composer who satisfied composers who regarded differentiation in pacing is said to have voiced doubts regarding the instrument’s as an integral part of musical expression and wanted to usefulness. Still, Beethoven’s name was listed together protect the interpretation of their works against with other composers who, according to an official misreadings by performers. Contemporary treatises announcement in 1813, recommended the chronometer warned performers not to express their own feelings but as a device to determine “the correct tempo of every those of the composers. Against this background we can movement at the first reading of a score.” fully understand why the metronome was hailed as the long-awaited device to provide specific information about The metronome, an improved version of the chronometer, tempo. Enthusiastic Viennese musicians predicted that in had Beethoven’s full approval. In addition to a public the future, performers would never again be in doubt about declaration which he co-signed with Antonio Salieri, the pace of music of the past. It was even suggested that Beethoven’s letters, over a period of ten years, tell of his metronome indications should be added to the works of continued interest and satisfaction. Three months before Gluck and Mozart while the true tradition was still alive. his death, he wrote to his publisher who was then printing the first edition of the Missa solemnis: “Metronome These proposals underscore the composer’s obvious markings will follow soon. Wait for them. Certainly, in distrust regarding the performer’s ability to choose the our century they are necessary. Also, letters from Berlin proper tempo. Mozart, who had called tempo the most inform me that the first performance of the symphony important and difficult thing in music, could be highly critical (No. 9) took place with enthusiastic applause, which I of musicians who failed to grasp the right pace. attribute mainly to the metronome markings. We can hardly Beethoven’s attitude was not different. It is said that when have tempi ordinari any longer, because one must be friends reported on performances of his works, guided by the ideas of the free genius.” In the face of Beethoven’s first question was, “How were the tempos?”

2 JCG Vol. 22, Nos. 1 & 2 II transforms the movement into an easygoing Allegro ma non tanto, a tempo category that Beethoven chose for a Thanks to composers who had steadfastly believed in section in Symphony No. 9 with the marking h = 120. the metronome’s usefulness, Maelzel’s mechanism and its modern equivalents have been thriving for more than Measuring musical speed is a ticklish, often frustrating 160 years. Its function has never been better defined than venture. Technical questions, such as playability, are part by Berlioz who used it consistently and, in his essay on of the problem, but most of the time the uncertainty must “The Conductor’s Art,” presented his thoughts on the be attributed to psychological factors. A tempo may metronome clearly and strongly. He pointed to the appear perfect today, but uncomfortable when tested conductor’s plight caused by vague tempo markings; he tomorrow; after a week’s lapse a third tempo may turn wondered whether the “various degrees of slowness” out to be more satisfactory. It is not surprising, then, that within a tempo such as Largo should be determined by Beethoven, in letters to his publisher, pleaded for more the conductor’s individual feelings. His answer was: “This time to prepare metronome markings. Unfortunately, due is a question of the composer’s, not the conductor’s to procrastination some of them were never delivered. feelings. Composers must therefore not neglect metronome indications in their works and conductors are No matter how much time and care is given to obliged to study them well. To neglect this study would experimentation in the studio, the only place where the be an act of dishonesty on the part of the conductor.” speed of orchestral music can be successfully measured is in the concert hall. Even then, metronome figures ought Berlioz’s request “study them well” must not be to be tested on several occasions. Problems caused by understood in the sense of subjecting music to an inflexible untested printed metronome figures are well known to beat. In the same essay, he warned against lifeless time- conductors who have discussed tempos with composers beating. Only in rare cases does a metronome figure fit a during rehearsals or after concerts. Igor Stravinsky, a most movement “like a glove” from start to finish as, for instance, articulate composer, once remarked that he did not in the Allegretto scherzando of Beethoven’s Eighth observe to the letter all of his printed metronome Symphony. When Beethoven began using the metronome, indications when conducting his works. Apparently, some he made it clear that music in need of tempo flexibility of his ideas had changed in the course of repeated ought not to be hampered by metronome-like rigidity. In performances. It is true that metronome alterations made February, 1817, he wrote on the autograph of a song: by composers rarely exceed a few metronome degrees “100 according to Maelzel, but this applies only to the and do not affect the music’s basic conception. Yet, the first measures, since feeling (Empfindung) also has its very need for changing printed markings proves that the measure. This, however, cannot be expressed quite well originals do not necessarily provide exact information. at this rate, namely 100.” Although Beethoven referred For this reason, some composers now indicate a tempo here to a strophic song, contemporary reports on his range between two given metronome figures, or add performing habits indicate that he was not averse to tempo modifying markings during the course of a movement. modifications, if they remained within a generally steady pulse. In modern scores, metronome indications are readily Musicians may disagree on where to draw the line accepted as an essential and welcome guide to a between minor and major tempo fluctuations, yet their composer’s intentions. By contrast, they are frequently judgment is usually unanimous in cases where the choice ignored in works written in the 19th century. One must of tempo unquestionably affects the music’s fundamental assume, therefore, that performers either believe that w character. If, for instance, Beethoven’s marking = 80 metronome readings of former times are unreliable, or for the Allegro vivace in Symphony No. 4 was not prefer to choose a tempo without regard for the w followed to the letter, but reduced to = 76, the intended composer’s wishes. Beethoven’s symphonies are among liveliness and excitement would be preserved. However, the works whose metronome markings are still being given a reduction to h = 126 (suggested by Weingartner) a low credibility rating by many conductors. In fact,

JCG Vol. 22, Nos. 1 & 2 3 prominent members of the profession have recommended and-a-half years after the work’s premiere. It is extant that these markings be disregarded altogether. Before and available in photocopy. Though written by his nephew, considering the case in detail, it seems proper to seek it bears the composer’s signature. Furthermore, a basic information concerning the reliability of Beethoven’s conversation book reveals that uncle and nephew had metronome indications. taken pains to recheck the figures before mailing the list.

III For the other symphonies, the sole source is the aforementioned list printed in the Allgemeine (1) Were metronome readings in Beethoven’s time Musikalische Zeitung of December, 1817; it bears the significantly different from those derived from sub-heading “determined by the author himself according modern instruments? Some - though not all - electric to Maelzel’s metronome.” In Symphony No. 3, one metronomes, come close to being accurate. However, misprint (also found in some printed scores) is probable. the performance of spring-driven models, be it the time- The concluding Presto is marked e = 116, though there q honored Maelzel type or the watch-like pocket is little doubt that it should read = 116. Whether this is metronome, is hardly ever free of irregularities. The beat the only error on the list cannot be verified. The list’s may be lopsided, the calibration inexact, or the tick may general appearance however gives the impression that it slow down as the spring unwinds. Moreover, metronomes was prepared with reasonable care. deteriorate unless kept in perfect condition. With these and other uncertainties in mind, scholars have examined Incorrect metronome markings that, due to printing errors, existing original models built by Maelzel and have have been perpetuated in various editions of Beethoven’s established that their readings were not significantly at symphonies, are not mentioned here. In this article, all variance with those derived from modern metronomes. figures are quoted from the original lists.

(2) Was Beethoven’s metronome faulty? Only a single (4) Was Beethoven less skillful in handling the model existed in his day. At first, it was enclosed in a metronome than later composers? First, we should metal box, later in a wooden box, though of identical ask by what criteria such a skill is to be judged. Playability construction, with a notched pendulum calibrated from is an important consideration; an overly fast metronome 50 to 160 (The story of two different models was one of speed that prohibits clear execution of all the notes the numerous fabrications by Anton Schindler.) obviously calls for adjustment. Technical problems, Beethoven, after years of discussions with Maelzel, was however, seldom interfere with the application of certainly familiar with the metronome’s action and keenly Beethoven’s metronome markings. Their validity has been aware of calibration problems. It can, therefore, be taken questioned mainly because conductors believe them to for granted that the 60-tick on his metronome be incongruous with the appropriate musical expression. corresponded exactly to one second although we have For an illustration, we turn to Weingartner’s much-read no way of knowing that he checked every notch on the essay On the Performance of Beethoven’s Symphonies. scale. We know also that he cared about his metronome’s In it, he defines the Trio in Symphony No. 7 as a “radiantly performance. In 1825, shortly after having complained cheerful and movingly heartfelt song” while recommending that its readings were still “shaky”, he brought it to a as “the right tempo” a metronome speed of h . = 60, a h . watchmaker’s shop to have it “regain its steady pulse.” rather drastic deviation from the original = 84. Other On all counts, there is no reason to suspect that conductors have performed the same music at h . = 76- Beethoven’s personal metronome was not handled with 80, a relatively insignificant reduction that leaves the basic care, or that it was less reliable than other instruments of character of the Trio unchanged. its kind. Similar examples that demonstrate the relationship (3) Are the metronome figures in Beethoven’s between a movement’s metronome marking and its symphonies free of misprints? For Symphony No. 9, intrinsic meaning can be drawn from all nine symphonies. Beethoven prepared a list of metronome markings two- It seems, therefore, that in fairness to Beethoven, one

4 JCG Vol. 22, Nos. 1 & 2 should not question his results without first investigating markings or at least by staying close to them. This how he arrived at a given metronome figure. While acceptance rate may seem low, but other 19th century handling the metronome, he probably proceeded like any composers do not fare much better. Beethoven, however, other musician, namely singing, humming, gesturing, or for unexplained reasons has been singled out for unusually perhaps “thinking” the music, except when he used the severe and persistent criticism. The following example piano, as he did while working on the list for Symphony demonstrates that this judgment is not easily supported No. 9. Understandably, none of those methods were by logic. In the Marcia funebre in Symphony No. 3, foolproof. On the other hand, by the end of 1817 prominent conductors (as their recordings prove) Beethoven had obviously gained valuable experience accepted Beethoven’s marking e = 80 for the through having conducted, or listened to, numerous recapitulation at bar 105, thereby endorsing the soundness performances of his symphonies. It has been suggested of the composer’s judgment. Yet, the same conductors that by 1817, he had lost the proper feeling for works rejected this marking at the start of the movement for composed between 1800 and 1812. It seems absurd which they chose a speed of e = 52. One cannot help that he could have misjudged his own music to the point wondering whether the vision of a funeral march calls for of distorting its character. Moreover, performances of a much livelier gait a few minutes after the march has Symphonies Nos. 7 and 8 had occurred fairly recently. It begun. Apparently, Beethoven had not visualized it this appears unlikely, therefore, that Beethoven could have way. In any event, an interpreter’s questionable idea been significantly afield when measuring the pace for these should not result in criticism of Beethoven’s handling of two works. Stated differently, it would seem logical that his metronome. the ten metronome figures appearing in these two scores (measured at the same time with the use of the same (5) Can disregard for Beethoven’s metronome instrument!) were either all inaccurate or all sufficiently indications be related to shifting performance valid to warrant careful study. habits? By the middle of the 19th century, a new approach to the interpretation of Beethoven’s music was Not all conductors have shared this view. Weingartner, set into motion by the “New-German” school. Wagner for one, accepted only four of the ten markings without and Liszt were its protagonists, joined later by Hans von reservation. He challenged the remaining six. For the Bulow. In 1844, a music journal reported that under Allegretto in Symphony No. 8, he called Beethoven’s Liszt’s direction Beethoven’s symphonies were played e = 88 a “well-chosen tempo”. Yet, assuming the 88- more slowly than had been customary. Musicians notch on the scale of Beethoven’s metronome (hardly supporting the new movement gave praise to Liszt, which distinguishable in performance from 84) functioned by inference criticized Mendelssohn, who represented satisfactorily, how then could the 84-notch indicated for the older tradition. Schumann, in his reviews of the the Trio of Symphony No. 7 be completely false as Gewandhaus Concerts, largely agreed with Mendelssohn Weingartner believed! regarding Beethoven’s tempos. On the other hand, he disliked Wagner’s treatment of the master’s music. After Various theories have been proposed to explain how and a performance of Fidelio, Schumann reported: “bad why Beethoven bungled his metronome readings. Some claim that he missed the right notch when moving the performance and unbelievable choice of tempo by R. pendulum’s weight; others that he looked at the scale Wagner.” Wagner, in turn, violently criticized from a wrong angle. Aside from the fact that speculations Mendelssohn’s interpretations of Beethoven’s of this sort imply a low opinion of Beethoven’s symphonies, calling them superficial and finding the tempos intelligence, they by no means explain how, in the same unduly rushed. score, one figure can be judged faulty, another perfect— unless we attribute the latter to “potluck.” We do not know how fast Mendelssohn’s tempos were nor how slow were those taken by Wagner and Liszt. Of the 60 metronome indications in Beethoven’s Nonetheless we can draw conclusions from the fact that symphonies, about 20 are currently observed in most Mendelssohn, like Schumann, was a traditionalist. Even performances, either by literally heeding the original before taking charge of the Gewandhaus Concerts eight

JCG Vol. 22, Nos. 1 & 2 5 years after Beethoven’s death, he had associated with marking that the music was indeed to be felt in one beat musicians who had heard Beethoven perform his to the measure. Weingartner should not have assumed symphonies. Besides, Mendelssohn had an integrity which that Beethoven’s markings were always related to beating respected a composer’s wishes (he declined to edit a patterns. This, after all, was a strictly technical matter Handel score unless his additions were clearly discernable with which the composer was unconcerned. Actually, if from the original version) while Wagner, a strong-willed this “Allegro” were to be felt in two beats “ma non tanto” individualist, was indifferent to stylistic considerations as would not have made sense. Through the addition of h = demonstrated by his romanticized arrangement of 66, Beethoven made it clear that the “ma non tanto” Palestrina’s Stabat Mater. referred to a whole-bar meter. N. B. Long stretches in this movement can be directed with one leisurely beat to It must be remembered that this new approach to musical the measure; some conductors might prefer to begin the interpretation coincided with a radical change in concert movement with a slightly slower two beat in preparation programming. For the first time in music history, the for the fermata in bar four. masterworks of the past began to play a dominant role in orchestral concerts. Consequently their interpretation was Beethoven’s metronome indications can also be used to increasingly subjected to shifting performance habits. By dispel the notion that every classic symphony ought to the end of the century, the interpretive ideas of conductors include a slow movement characterized by quiet belonging to the New-German school had been widely contemplation and emotional depth. Actually, a fairly large accepted. These ideas include a proclivity for a ponderous number of classic symphonies, sonatas, and ensemble treatment of the slower movements in classic music. works do not contain movements of this type, as we see in Beethoven’s symphonies Nos. 1, 7, and 8. During the In our time, the interpretation of Beethoven’s symphonies 18th and into the 19th century, composers used the still shows the influence of these late-romantic ideas, a designation Adagio for movements whose expression practice that would undoubtedly lose ground if the warranted a really slow pace. This did not apply to music composer’s metronome indications were taken seriously. marked Andante or even Larghetto, especially when written in 3/8 time. Beethoven documented this by his IV choice of metronome speeds for the so-called slow movements in symphonies Nos. 2 and 5. Musicians who denounce the validity of Beethoven’s metronome indications argue that many of them contradict Some conductors maintain that all slow introductions must his own Italian tempo markings and that the resulting be in a mathematical ratio to the adjoining fast sections of tempos are often incompatible with the musical context. a symphony. To apply this theory to the five examples in Those taking an opposite view believe that Beethoven’s Beethoven’s symphonies would be contrary to his dislike for the traditional tempo designations was justified intentions. The metronome markings clearly show that and that his metronome markings are safer in preventing he preferred the element of surprise to that of misunderstandings. predictability.

In reference to the Allegro ma non tanto that opens V Symphony No. 6, Weingartner declared categorically, “The metronome indication ( h = 66) is too fast and also The following list of Beethoven’s metronome figures gives the erroneous impression that this movement is to corresponds to the authentic sources. The comments that be conducted with one beat to the bar. I suggest about are added to the listing for each symphony are not meant q = 108.” Weingartner apparently ignores the fact that to infringe upon the conductor’s prerogative to interpret Beethoven could have written q = 132 (as he did in the music as he deems best. After all, his decisions regarding same symphony for an Allegro that requires a duple the choice of tempo should be influenced by a variety of meter) but rather wanted to indicate by his metronome factors including such practical considerations as the

6 JCG Vol. 22, Nos. 1 & 2 players’ ability and the hall’s acoustics. The three abbreviations are: ML (refers to Beethoven’s metronome list of 1817); L (refers to the letter concerning Symphony No. 9); and ? (refers to textual problems).

SYMPHONY NO. 1

1. Adagio molto 4/4 e = 88 2. Allegro con brioC h = 112 3. Andante cantabile con moto 3/8 e = 120 4. Menuetto. Allegro molto e vivace 3/4 h . = 108 5. Adagio 2/4 e = 63 6. Allegro molto e vivace 2/4 h = 88

1. The designation “Adagio molto” could be misunderstood without the metronome marking. For the “Molto Adagio” 4/4 in the String Quartet Op. 59, II, Beethoven indicated an even faster pace, q = 60.

3. Because of the triplets and dotted rhythms that occur in this movement, conductors are inclined to reduce the speed by 6-8 metronome degrees, even though the music suggests a lyric scherzando, not a slow movement.

6. This extreme metronome speed tells the conductor to play the movement at the maximum pace his players can master.

SYMPHONY NO. 2 1. Adagio molto 3/4 e = 84 2. Allegro con brio 4/4 h = 100 3. Larghetto 3/8 e = 92 4. Scherzo. Allegro 3/4 h . = 100 5. Allegro molto C h = 84

1. ML: “Adagio” (without “molto”), also in the first printed edition of the score. The autographs for symphonies Nos. 1, 2, and 3 unfortunately are lost. This void causes numerous uncertainties.

2. This metronome marking gives the impression of a “keyboard tempo.” An ever-so-slight reduction from 100 to 98 creates an “orchestra tempo.”

3. Here, the metronome speed seems to have been chosen to apply to the entire movement. If we are to believe Anton Schindler, the composer wanted the passage beginning at measure 75 to be treated as an “Allegretto.” Most conductors begin the movement slightly slower than e = 92. However, it must be remembered that “Larghetto” belonged traditionally to the Andante group and that Beethoven, in his arrangement of the symphony for piano trio, changed the marking to “Larghetto quasi Andante.”

5. A very minor adjustment from 152 to 146 establishes a tempo with which the players can feel more comfortable.

JCG Vol. 22, Nos. 1 & 2 7 SYMPHONY NO. 3

1. Allegro con brio 3/4 h . = 60 2. Marcia funebre. Adagio assai 2/4 e = 80 3. Scherzo. Allegro vivace 3/4 h . = 116 C w 4. Alla breve = 116 5. Finale. Allegro molto 2/4 h = 76 6. Poco Andante 2/4 e = 108 7. Presto 2/4 e = 116

1. The metronome marking is appropriate for an “Allegro con brio”, though it is unlikely that Beethoven intended, the beat to be relentlessly maintained throughout the movement.

2. See Chapter III, 4.

5. It must be assumed that the metronome speed refers to the first eleven bars. It does not indicate the movement’s main tempo. The finale of Beethoven’s Prometheus ballet, which utilizes the same thematic material, is marked “Allegretto.” The absence of an applicable tempo marking for this movement is only one of the textual problems in the Eroica score caused by the lack of reliable sources (see comment 1, Symphony No. 2).

6. At present, conductors perform this passage at about e = 88, a metronome speed which Beethoven selected for a “Poco Adagio” (String Quartet Op. 18, V). Obviously, by choosing “poco”Andante” for this music, he was thinking of a more flowing pace. We have here yet another instance in which a noticeable deviation from the metronome marking affects the musical expression in a manner not intended by the composer.

7. The designation “Presto” as well as the musical context (including the measured 32nd-notes in the strings) support the assumption of a misprint: it should read q =116.

SYMPHONY NO. 4 C 1. Adagio q = 66 C w 2. Allegro vivace = 80 3. Adagio 3/4 e = 84 4. Allegro vivace 3/4 h . = 100 5. Trio. Un poco meno Allegro 3/4 h . = 88 6. Allegro ma non troppo 2/4 h = 80

2. See comment 2, Symphony No. 2.

6. See the paragraph discussing the first movement of Symphony No. 6 in Chapter IV. Here again, “ma non troppo” would not make sense unless applied to the meter of a whole bar. Still, a reduction to h = 76-74 will be appreciated

8 JCG Vol. 22, Nos. 1 & 2 by the solo bassoon. Regardless of the tempo, a 2-beat is needed for the start, even though a 1-beat is appropriate for certain passages SYMPHONY NO. 5 1. Allegro can brio 2/4 h = 108 2. Andante con moto 3/8 e = 92 3. Più moto 3/8 e = 116 4. Allegro 3/4 h . = 96 5. Allegro 4/4 h = 84 C 6. Presto w = 112

1. Conductors must decide for themselves whether to take Beethoven’s metronome speed literally. Such an interpretation would mean storming through the movement with unflagging vehemence. The alternative is to treat this metronome figure as among those which are “on the fast side.” See also comment 2, Symphony No. 2.

2. Before deciding on a noticeably slower tempo than the one indicated, one ought to remember that the “Larghetto” in Symphony No. 2 received an identical marking. Practically speaking one must be aware that while testing the speed for these two movements, the composer used the same metronome and arrived at the same pulse!

5. It is worth noting that Beethoven was not “on the fast side!” The metronome figure indicates a moderately fast Allegro.

SYMPHONY NO. 6

1. Allegro ma non troppo 2/4h = 66 2. Andante molto moto 12/8 q . = 50 3. Allegro 3/4h . = 108 4. a tempo Allegro 2/4q = 132 5. Allegro 4/4h = 80 6. Allegretto 6/8q . = 60

1. See comments in Chapter IV.

2. ML: “Andante con moto.”

3. ML: “Allegretto.”

6. Conductors who like to increase the speed in the course of the movement may feel encouraged by reports that Beethoven took liberties when performing his piano music.

JCG Vol. 22, Nos. 1 & 2 9 SYMPHONY NO. 7

5. See comment in Chapter III, 4.

6. ML: “Allegro.” In this movement, we cannot tell whether “con brio” was omitted by the printer or missing in the copy prepared by the composer. If we compare this metronome figure with h = 108 chosen by Beethoven for the “Allegro con brio” in Symphony No. 5 (also written in 2/4 time), we would discover that his distrust of Italian tempo markings appears to be justified.

SYMPHONY NO. 8

1. ML: “Allegro vivace.” see comment 2, Symphony No. 2.

3. This metronome figure has been disputed although the pace is typical of a “Tempo di Menuetto” [compare q = 120 in the Septet Op. 20, and the “Menuetto (Grazioso)” in the String Quartet Op. 59, III marked q = 116]. For the Trio, however, this tempo does seem rushed. Interpretively, conductors have three choices: 1) to apply Beethoven’s marking literally (causing the Trio to sound rough and hectic); 2) to reduce the speed slightly for the entire movement; or 3) to reduce tempo only in the Trio. w 4. This movement has been performed by virtuoso orchestras at = 80-82 which is quite close to Beethoven’s w optimistic marking. Any good professional group should be able to play the movement at = 76.

SYMPHONY NO. 9

The handwritten list (see Chapter III, 3) was sent to Beethoven’s publisher, B. Schott in Mainz, on October 13, 1826. It was accompanied by a letter which read; “I am using the remaining part of the summer for recreation in the country, because it was impossible for me to leave Vienna this summer. During this time I have prepared metronome indications for the entire symphony and enclose the tempos herewith.”

The list is clearly written and constitutes the only original source for Beethoven’s metronome figures. Dots, missing after some half-notes in 3/4 time have been added here. Had Beethoven doubted the validity of the list, he would not have spoken of its good effects on the Berlin performance.

Despite these favorable circumstances, some of the metronome indications for this symphony are problematic, in fact more so than the markings in other symphonies.

1. L: “Allo ma non troppo.” The writing in the autograph seems to indicate that Beethoven wrote the tempo designation in three stages: Allo / ma non troppo / e un poco maestoso. Also, on the right upper corner of the autograph is a penciled note “108 or 120 Maelzel.” Scholars have tried to explain this cryptic note. However, unless further research can shed light on the circumstances under which this entry occurred, we have to content ourselves with the marking q = 88, even though this speed is not convincing and seems to fit only certain passages which occur later in the movement.

3. This marking has been disputed. Beethoven’s list leaves no doubt about the half-note! To assume that his nephew mistakenly wrote it in place of a whole note would be absurd. Nonetheless, h = 116 gives the impression of a tempo “on the slow side.” Interestingly, the autograph reveals that the Trio was originally written in 2/4-time. Beethoven C then erased some of his writing and changed the time-signature to , combining two 2/4-bars into one alla breve bar. “Presto” had been the marking for the 2/4-time and, indeed, within this meter h = 116 is a reasonable speed for a “Presto.” Nevertheless, this still does not solve the problem of how to handle the preceding stringendo which is supposed to lead into the tempo of the Trio. Conductors have little choice but to continue grappling with this puzzling situation (unless of course they believe they have found the “only right” solution). Certainly the orchestral texture and the pastoral nature of the Trio are well served by an unhurried pace.

10 JCG Vol. 22, Nos. 1 & 2 SYMPHONY NO. 7

1. Poco sostenuto 4/4 q = 69 2. Vivace 6/8 q . = 104 3. Allegretto 2/4 q = 76 4. Presto 3/4 h . = 132 5. Assai meno presto 3/4 h . = 84 6. Allegro con brio 2/4 h = 72

SYMPHONY NO. 8

1. Allegro vivace e con brio 3/4 h . = 69 2. Allegretto scherzando 2/4 e = 88 3. Tempo di Menuetto 3/4 q = 126 C 4. Allegro vivace w = 84

SYMPHONY NO. 9

1. Allegro, ma non troppo, un poco maestoso 2/4 q = 88 2. Molto vivace 3/4 h . = 116 C 3. Adagio molto e cantabile h = 116 4. Presto 4/4 q = 60 5. Andante moderato 3/4 q = 63 6. Presto 3/4 h . = 66 7. Allegro ma non troppo 2/4 q = 88 8. Allegro assai 4/4 h = 80 9. Allegro assai vivace. Alla Marcia 6/8 q . = 84 10. Andante maestoso 3/2 h = 72 11. Adagio, ma non troppo, ma divoto 3/2 h = 60 12. Allegro energico, sempre ben marcato 6/4 h . = 84 C h 13. Allegro ma non tantoC = 120 14. Prestissimo h = 132 15. Maestoso 3/4 q = 60

JCG Vol. 22, Nos. 1 & 2 11 4. “E cantabile” is a later addition in the autograph. Making a melody singable does not call for slowing the pace. When considered in the light of the style change that Beethoven underwent in his later years, this metronome marking does not appear excessively fast.

5. Beethoven was surely aware of the very minor difference between 60 and 63 on the metronome scale!

8. L: this tempo is listed only once whereas it appears twice in the printed score. In bar 77, the autograph has “Allegro” only.

9. This metronome speed has stirred up much controversy. It seems to be slow. Perhaps Beethoven intended it to be a warning of “not too fast, please” in order to create an atmosphere of tension at the beginning of the “Turkish” march. Here again, conductors will have to accept the fact that we all must “live with doubt”!

14. “Prestissimo” is crossed out in the autograph and replaced by “presto.” Another entry, apparently made at the same time, reads “Maelzel 132.” Aside from this and the metronome marking mentioned in No. 1, no other such indications are found in the autograph.

CONCLUDING REMARKS

My comments in the last chapter of this article leave no doubt that I am partial to the kind of interpretation that grants the composer first rights. Some people call this, wrongly I believe, a literal approach. No one would seriously suggest that performances of the past can be duplicated. Yet, a difference exists between using a score simply as a blueprint for an interpreter’s “creation” (as proposed by Ernest Ansermet), and trying to utilize all available evidence to ascertain a composer’s intentions. In the first instance, we rely mainly on our intuition, in the latter we make a genuine effort to stay within the framework of the composer’s ideas.

Ours is the first century that has searched for historically-correct practices of former performance styles. It was during my student years that musicologists formed collegia musica at German universities to promote a re-examination of baroque musical performance practices. I remember the indignation of the performing community, accustomed to make Bach and other baroque masters more palatable to the modern listener by infusing romantic devices into their works. Today, sixty years later, concert attendance and record sales prove that “the modern listener” enjoys baroque music even more when it is presented with the stylistic requirements of its time.

At present, we are witnessing another attempt which, if continued, will surely intrude into other established performance standards. I am referring to the work of those solo artists and chamber music players who are developing an approach to the early Viennese classics that utilizes performance customs of the late 18th century. To date, few conductors have shown a similar interest. However, having observed how slowly and reluctantly most musicians parted with their cherished baroque performance habits, I am inclined to believe that in the course of time the late- romantic concepts of the Viennese classics will give way to an approach that is germane to the spirit of the classical era.

Admittedly, the choice of tempo is only one part of the interpretive process. However, it is of predominant importance in the case of Beethoven’s symphonies since, as I have tried to show, the music’s meaning can undergo a drastic change by shifting from one speed range to another. In other words, this article was not written to dictate how Beethoven’s music ought to be performed, but rather to suggest to my younger colleagues that the instructions of a great master deserve, at least, the benefit of the doubt. Recent performance traditions must not prevent us from investigating such pertinent information as Beethoven’s metronome indications. By accepting them as a guide to his intentions we might discover a new identification with his music.

12 JCG Vol. 22, Nos. 1 & 2 SELECTED BIBLIOGRAPHY

Beethoven, Sämtliche Briefe, 5 volumes (F. Prelinger) Leipzig, 1907-11 (English translation: Anderson, Beethoven’s Letters).

Beethoven, Symphony No. 9, Facsimile Edition Leipzig, 1924.

Beethoven, Das Problem der Interpretation in Musik-Konzepte No. 8 München, 1979 (valuable information on Beethoven’s use of the metronome).

Berlioz, Le Chef d’Orchestre, Théorie de son Art in Traité d’ Instrumentation.

Harding (Rosamund E.M.), The Metronome and its Precursors in Origins of Musical Time and Expression London, 1938.

Nottebohm (Gustav), Beethoveniana, Vol. I, Leipzig, 1872.

Schünemann (Georg), Geschichte des Dirigierens, Leipzig, 1913.

Thayer, Life of Beethoven, New Edition by E. Forbes, Princeton, 1967.

Weingartner, Ratschläge für Auffführungen von Beethoven’s Symphonien Leipzig, 1928 (English edition: Dover paperback).

JCG Vol. 22, Nos. 1 & 2 13 A Pilot Study of the Expressive Gestures Used by Classical Orchestra Conductors

By Thüring Bräm & Penny Boyes Braem

ABSTRACT research questions are the following: Is there a repertoire of ‘expressive’ gestures? If so, how do they compare Traditional studies of orchestral conductors’ gestures have with the hand gestures, which accompany speech, and been limited to the gestures of the dominant hand, which with the more highly coded sign language of the deaf? is used to indicate the beat and other structural aspects Are conducting gestures systematized in any way beyond of the music. The gestures of the non-dominant hand the organizing, structuring patterns of the classical have been typically simply described as being ‘expressive’ orchestral conductor? and ‘idiosyncratic’. In this pilot project, we (a sign language researcher and an orchestral conductor) have The music historian, Harvey Sachs (1993), in his focused on these ‘expressive gestures’, specifically “Reflections on Toscanini” gives an anecdote which looking at the formational sub-components of the gestures: directly concerns these topics. The incident occurred handshape, hand orientation, location and movement. In during a performance of Pictures at an Exhibition by our detailed analyses of videotapes of the conducting of the Vienna Philharmonic Orchestra in Budapest. two conductors with very different conducting styles Toscanini, who always conducted from memory, began (Bernstein and Celibidache), we have found a shared and to conduct the wrong episode. The principal bassoonist limited set of gestures which reflect categories also found of the orchestra recounted the following: in ‘classifying handshapes’ of polymorphemic verbs in Deaf sign languages. These gestural components are then Not one musician started to play! It was ghost-like, a little analyzed as being surface representations of metaphors like a nightmare: Toscanini conducted in the air, and not one or metonyms similar to those which have been found to sound occurred! Toscanini, for a tenth of a second, was flabbergasted and stony-faced: how come nobody plays? But underlie many spoken language forms for cognitive and in another tenth of a second he realized that instead of Tuileries emotional concepts, the signs of Deaf sign languages as he had conducted the beginning of Bydlo, which was very well as gestures which hearing persons use to accompany different in dynamic character. And with an almost speech. indiscernible nod, he gave the right dynamic sign for the beginning of Tuileries, and then the orchestra, most harmoniously, as if nothing had happened, started to play. INTRODUCTION Afterwards he said: ‘This is the greatest compliment an orchestra can pay me: I make a mistake, and the orchestra at once realizes The purpose of this study is to extend the traditional I am wrong.’ Why? Because his Zeichengebung, his gesture for analysis of the gestures which the orchestral conductor communication and conducting, is so unmistakable in its one makes with the dominant hand, to those ‘expressive’ possible meaning that you cannot take it as meaning anything gestures which are usually made with the non-dominant else... (quoted in Sachs, 1993, p. 148) hand. It is clear that, in addition to manual gestures, facial and body expressions as well as eye gaze are very There are two relevant observations in this incident: First, important in the conductor’s communication. This pilot there was a gestural communication from the conductor study will, however, concentrate on the manual gestures, that was so clear that a hundred players reacted with the acknowledgement that the other factors ‘correctly’. Second, there is something in addition to the mentioned above deserve studies of their own. Our organizational signs which operate as a communicative

14 JCG Vol. 22, Nos. 1 & 2 entity, whether it be an ‘indiscernible nod’ or the ‘stony- dependent on a thorough knowledge of the piece’s face’, that in a tenth of a second can give an unambiguous structure and musical intent. Given that the conductor signal. has this background knowledge, the dominant hand gestures are generally used to ‘direct the musical traffic’. The conductor George Szell describes Toscanini’s Examples for this ‘directing’ function of the right hand technique as ‘deceptively simple’: are shown in the fundamental beating patterns represented in Figure 1. Toscanini...made a distinction between the responsibilities of the right and left arms. His right arm generally moved in broad, clear, compelling strokes, not merely beating time but drawing the musicians into the music and helping them to progress through it, persuading them to bring it to life; it activated and shaped the music. His left hand was responsible for the fine- tuning: from a position directly in front of him, where it was invisible for much of the audience, it cautioned and exhorted. (Sachs, 1993, p. 150)

The Traditional Description of the Conducting Gestures of the Dominant Hand

Equally important to what is shown by the conductor, is what is not shown. The conductor does not indicate all the important elements of the music, which can be found in the printed score: the pitches and the rhythmic values. Fig. 1: Dominant hand (from the conductor’s perspective): (a) The dominant hand indicates the organization (the traditional division of the conducting space, showing the beginnings and ends), the tempo, and the rhythmic raster, temporal organization of the music (b) 2 beats; (c) 3 beats; (d) or tact. The non-dominant hand shows special dynamics, 4 beats. sound colors, uniquely occurring events, entrances and In books on conducting and in conducting courses, the articulation. Naturally, all of these parameters influence use of the non-dominant hand has usually been mentioned each other and whether they are signaled by the dominant in a more general way, giving the impression that it is up or the non-dominant hand is more of a general tendency to the individual conductor to develop gestures which than a firm rule. However, most books on conducting will show other aspects of the music such as sound texture, describe a general division of labor between the hands, foregrounding of instrumental voices, ‘density’, an asymmetry of movements and functions which is one ‘atmosphere’, and ‘expression’. Exactly how the non- of the difficult techniques which students of conducting dominant hand (together with the facial and body must master. expression and eye gaze) actually manage to communicate all these aspects of the conductor’s message have never, This view is also found in one of the most authoritative to our knowledge, been studied in detail. treatments of conducting, “The Grammar of Conducting” by Max Rudolf (1994). A conductor himself, Rudolf was also the musical director of the Metropolitan Opera in ANALYSES OF THE CONDUCTING GESTURES New York in the 1940s and thus was in constant contact OF THE NON-DOMINANT HAND with other conductors such as Toscanini, Walter and Szell. Rudolf treats the basic patterns of the right hand (the Theoretical Bases neutral pattern, the staccato and the legato beats) and the organizational ‘details’ shown by the left hand. The In this pilot study of the gestures of the non-dominant musically most impressive interpretations are, of course, hand of the conductor, the theoretical starting point is not not solely due to these learnable techniques, but are historical or technical but is based rather on the

JCG Vol. 22, Nos. 1 & 2 15 componential analysis of the signs of deaf sign languages In other combinations of the parameters, the handshapes as well as of gestures hearing people use to accompany shown above can convey other, non-grasping, meanings. speech. These gestural components are then considered The fist handshape in illustration 2a, for example, when from the point of view of cognitive linguistic theories, combined with a repeated linear movement can mean which postulate the metaphoric underpinnings of much ‘pounding’ or ‘beating’. The ‘pincer’ handshape in of human conceptualization. illustration 2b if combined with repeated short, sharp downward movements could mean ‘pecking’. In other The Componential Analysis of Hearing Gestures words, the handshapes themselves are not tied to any and Deaf Signs one meaning, but are polysemous, capable of conveying several meanings, depending on the context of the other Linguists who have studied the visual-corporal sign parameters. languages used by deaf persons have found that the signs in these language are not global, non-analyzable units but Calbris (1990) has found this same polysemy in her study are instead composed of several distinct parameters, some of the gestures which hearing French people use with of which are manual and others of which are nonmanual. speech, as has Boyes Braem (1998) for the interpretation (Cf. for example Stokoe et. al. 1965, Klima and Bellugi, of signs from Italian Sign Language by non-signing hearing 1979, Boyes Braem, 1995). The manual parameters, persons from several European countries. which have been found to be important for this form of language, include the location of the hand, its handshape The Metaphoric Basis of Conceptual Thinking and orientation as well as its movement. The significant nonmanual parameters include the facial expression, While speech-accompanying gestures are polysemous, position and movements of the head and trunk and this does not mean that any one handshape can be direction of eye gaze. Within these parameters, there are substituted for another. One would not use a ‘fist’ limited sets of sub-components used in the individual sign handshape, for example, to accompany a meaning that languages. For example, of the many handshapes, which had to do with ‘small, fine detail’, ‘precision’, and so the human is physically capable of making, only a limited forth. number are used linguistically in any one sign language. Polysemous gestures are thus constrained by a more basic In a subset of signs (‘productive’ or ‘polymorphemic’ system which, we propose, is the same which several verbs with classifier handshapes) the handshapes can cognitive linguists have argued structures most of our convey distinct meanings, depending on how they are conceptual thinking and spoken language. (Johnson, combined with the other parameters and the context of 1987; Lakoff & Johnson, 1980; Lakoff & Turner, 1989; the message. For example, the concept of ‘grasping an Sweetser, 1990). object’ can be denoted by some of these verbs, in which the category of object being grasped is indicated by a According to Lakoff and Johnson (1980), much if not all specific handshape (cf. Fig. 2). thinking and communication about abstract concepts is made possible through the use of metonymic and metaphoric structures. Of particular relevance to this study of conducting gestures are their comments on the concepts humans have of ‘object’, ‘substance’ and ‘container’:

We experience ourselves as entities, separate from the rest of the world - as containers with an inside and an outside. We also experience things external to us Fig. 2: ‘Grasp’ handshapes for different kinds of objects (a) for as entities- often also as containers with insides and heavy objects, e.g. a suitcase; (b) for small, light, thin object (a outsides. We experience ourselves as being made up thread); (c) for fairly large, roundish objects (a ball, a pipe) of substances - e.g., flesh and bone - and external

16 JCG Vol. 22, Nos. 1 & 2 objects as being made of various kinds of substances The examples given here will be primarily from two - wood, stone, metal, etc. We experience many things, conductors who have very different performing styles: through sight and touch, as having distinct boundaries, the American, Leonard Bernstein and the Rumanian, and, when things have no distinct boundaries, we of- Sergiu Celibidache.2 ten project boundaries upon them - conceptualizing them as entities and often as containers (for example, The non-dominant hand gestures used by these forests, clearings, clouds, etc.). (p. 58) conductors were notated according to their sub- components as well as their musical meaning. The Several researchers have proposed that this kind of compositional analyses of the gestures was done by the metaphoric-metonymic thinking not only underlies spoken co-author, who is a sign language researcher (P. Boyes language but also Deaf signed languages and speech- Braem); the interpretation of the musical intent of the accompanying gestures used by hearing persons (cf. e.g., gesture was made by the co-author Bräm, who is a Boyes Braem, 1981; Brennan, 1990; Taub, 1997; classical orchestra conductor and a teacher of conducting. Wilcox, 1993. For the illustrations, Bräm has also reproduced examples of all the gestures discussed. Here, we will argue that this kind of basic metaphoric thinking is also the basis for the communicative gestures Compared to the relatively large number of different which conductors make with their non-dominant hand. handshapes, which are phonological components of sign The gestural space of the conductor is like a small stage, languages, the number of handshapes regularly used by on which the actors are the conductor’s hands, body, conductors seems to be quite limited (cf. Fig. 3). In this face and eye gaze, all of which play out specific aspects respect, conducting gestures are similar to gestures used of the musical score through the indication of basic to accompany speech. The limited set of handshapes metaphors. The size of this stage is about the same as includes those, which are found in most sign languages of that of the ‘signing space’ of deaf sign language, ranging the world, and those, which are used first by young deaf vertically from the top of the head to the waist, horizontally, children learning sign languages. It is quite probably the an arm length to either side and to the front. The effective fact that this is a basic, limited set of handshapes which conductor typically does not move his whole body much, makes the conducting gestures so easily interpretable by as this would make it difficult for the musicians who are musicians in orchestras around the world, even when they also concentrating on their scores to quickly focus on the are confronted by a conductor that has never directed conductor standing in front of them. them before and might be from a different culture. Most of these handshapes are also sufficiently different from The conductor’s stage is often a metaphorical container each other, that they can be easily distinguished. This is in which there are objects which one can manipulate: e.g. important, as in large orchestra formations, many hold (‘tenuto’), ‘pick-up’, ‘drop’, ‘push-away’, ‘pull musicians are seated at some distance from the conducting towards oneself’, ‘touch’, ‘stroke’, ‘scratch’, etc. The podium. As the dominant hand of most conductors of orchestra is the primary public for this gestural theater. It classical music is usually grasping a baton and beating understands the gestural message and translates the the musical structure, most of the gestures for indicating underlying metaphors into sounds for the audience, a ‘expression’ are one-handed. process of translating a theater for the eye (Greek ‘theaomai’ = to see) into one for the ear.1 Essential for this transfer of the musical message from the printed score to the musicians’ musical thinking is a conceptual system of essentially body-based metaphors.

METHODOLOGY AND GENERAL FINDINGS

The data for this study are based on transcripts of the Fig. 3: The limited set of handshapes used by the conductor videotaped gestures of a variety of different conductors. in non-dominant hand gestures.

JCG Vol. 22, Nos. 1 & 2 17 A REPERTOIRE OF NON-DOMINANT ‘Pulling out an object’ HAND GESTURES In this gesture, a rounded ‘pincer’ handshape The gestures which were used repeatedly by the moves in a straight line from a musician towards conductors in this data seem to be based on the kinds of the conductor, who is metaphorically pulling a metaphoric association which have been found in studies sound, like a thread, from the musicians’ mouth of the lexicon of sign languages and in speech- (Fig. 4a). The pincer handshape indicates that a accompanying gestures used by hearing persons. thin sound is desired and is typically used for flute sounds and vocalists. For the drawing out of a They can be grouped into the following categories, ‘fuller’ sound (for example, from a brass according to the source domain of the metaphor upon instrument), all the components of the gesture which they are based: remain the same (location, movement, orientation of the hand), but a full ‘cupped’ grasp handshape would (a) Manipulating objects be used instead of the pincer handshape (Fig. 4b). (b) Showing the path or form of an object (c) Indicating direction ‘Taking out of view’ (d) Portraying an object (e) Indicating a body part Another common left hand gesture used by many (f) Holophrastic interjections conductors is based on the metaphor of ‘taking something away from the visual field’ (see Fig. (a) Manipulating Objects = Sound Quality, 5). In this case, what is being metaphorically Structure, Articulation, Musical taken away is all the sound. The gesture is used Development, Psychological Motivation at the end of the piece or of sections to indicate ‘stop the production of sound’. For this purpose, A great many conducting gestures fall in the category of an open hand closes to a closed grasp hand and manipulation of objects. These are gestures which can be combined with a movement towards the represent a grasping of an object, a touching, holding or conductor or with a movement to ‘off-stage’, letting go of an object, hitting or chopping, painting, playing which can be in a direction out of the conducting something. space (i.e. below the waist, to the side, even to

(a) (b)

Fig. 4: ‘pulling out an object’ (a) thin sound and (b) a full sound

18 JCG Vol. 22, Nos. 1 & 2 behind the back). Which of these movements are used seems to be up to the personal preference of the individual conductor, many of whom seem to have their trademark ‘taking out of view’ gesture. The manner of the closing of the hand into the grasp handshape can indicate more precisely how the music should end: an abrupt cut-off with a fast movement; a slowly dying sound if the fingers close successively while the hand moves out of sight.

Several other types gestures have been observed in the data that involve the handling of an object are described briefly next.

Fig. 5: ‘taking out of view” = stop playing!

Fig. 7: ‘supporting an object’ = sustained sound

Fig. 6: ‘gathering objects’ = homogenous sound quality

JCG Vol. 22, Nos. 1 & 2 19 (a) (b)

Fig. 8: ‘hitting an object’ = (a) hard; (b) hacking sound quality

Fig. 9: ‘pushing an object’ = point and strength of attack Fig. 10: ‘touching a surface’ = sound quality (e.g. homogeneous sound quality)

Fig. 11: ‘feeling a substance’ = sound quality (e.g. thick, dense)

20 JCG Vol. 22, Nos. 1 & 2 ‘Gathering objects’, i.e. individual sounds, in holding a small brush or pen, when combined order to elicit an homogenous sound quality or with repeated, short jabbing movements, marks an increasingly focused one; (Fig. 6) important points in the musical passage, which ‘Supporting an object’ to sustain a solid sound often are turning points in the musical quality; (Fig. 7) development (Fig. 13b). ‘Hitting a hard object’ which, depending on (b) Showing the Path or Form of an Object = Structure the type of movement with which it is combined, is used for a hard/precise or heavy sound quality Some gestures are indicators of musical paths in that they (Fig. 8a). If the orientation of the hand is turned, show where a musical development begins and in which the association becomes more specifically one direction it develops. These paths can be the of ‘hacking, as in hacking wood’ and is used for development of the content or motive of the music, or be different grades of staccato. (Fig. 8b) If a less a purely ‘geographical’ indication of the movement of the hard attack is desired, the handshape component playing of the motive first by one musical group, then of this gesture can be changed to that of a open another. The significant components here are the locations flat hand, palm oriented downward. where the gesture begins (for ‘geographical’ indications, ‘Pushing an object’ which pushes the sound the group of musicians who play the beginning of the away (out in front, upwards or downwards) to development) and the location where it ends (the group where in the beat the point of playing, the attack, which continues the development). The handshape can begins, as well as how strong the attack should be a traditional deictic index finger or a flat whole hand be. (Fig. 9) handshape with digits together or separated, or even a ‘Touching a surface’ which, depending on the lightly cupped handshape. The manner of movement as type of movement and the handshape can the hand moves from group to group can be varied to indicate, for example, a smooth, homogenous indicate more details of the development (slow, brisk, sound with the full flat handshape (Fig. 10), or a abrupt change, etc.) (Fig. 14) scratchy sound (claw handshape). ‘Feeling a substance’ such as moving the hand The general structure of a musical ‘form’ is indicated either through flour, honey, kneading bread dough, by an index finger alone to stress the sound ‘line’, or by a squeezing clay, etc. to elicit specific sound qualities full flat hand in an arcing movement to indicate a fuller as ‘feather light’, ‘sticky’, ‘thick’, etc. (Fig. 11) structure, usually a combination of harmony and ‘grain’. ‘Playing an instrument’ mimics the hand and (Fig. 15) body motions as well as facial expressions typically used by players of particular instruments (c) Vertical Direction = Dynamics (bowing for strings, beating for timpani, showing an embouchure for winds, strumming strings for Vertical levels within the conducting space can indicate harp, rippling a keyboard, etc.) to encourage the the dynamics of the music: high level = more = louder; musicians to thoroughly savor and ‘play out’ this low level = less = softer. These levels are indicated by a passage on their instrument; (Fig. 12) gesture with an open flat hand, moving upwards or ‘Drawing or painting’ in which an open flat downwards, palm held horizontally. (Fig. 16a, b) An hand is held downwards and moves like a brush accompanying lateral spreading or closing of the digits between two locations to ‘smooth together the can augment the ‘louder’ or ‘softer’ effect. (An analogous surfaces’ (Fig. 13a); a pincer handshape, as if ‘opening = louder’ and ‘closing = softer’ metaphor can

JCG Vol. 22, Nos. 1 & 2 21 (a)

(b)

Fig. 12: ‘playing an instrument’ = play out your instrument (a) strings; (b) brass

Fig. 13: ‘drawing, painting’ = (a) connected musical sequence; (b) important points, pivots in musical passage

Fig. 14: ‘path’ = movement of musical material between Fig. 15: ‘form’ = harmony and ‘grain’ of a musical motive instruments

22 JCG Vol. 22, Nos. 1 & 2 (a) (b)

Fig. 16: (a) upwards = louder; (b) downwards = softer be indicated by the arms moving horizontally apart or (e) Indicating a Body Part = Intensity, Focusing, together.) Intonation

(d) Portraying an Object = Sound Quality Gestures, which involve pointing to particular parts of the body, can metonymically refer to functions of that body part or, in further derivation to metaphoric meanings associated with it in particular cultures.

Heart /Solar plexus: In pointing to these parts of the body, the conductor is indicating that at this passage of the music, there should be an emotional intensity, or (in the case of the solar plexus), that a ‘concentrated / centered’ quality of playing is desired. (Fig. 18a) Ear: When a conductor points to, touches or grabs his ear, he is making an association with the ear’s biological function, which is hearing, and thereby indicating to the musicians, ‘Listen!’. Specifically, this gesture is used when the conductor wants the musicians to pay closer attention to or correct their intonation (Fig. 18b). Fig. 17: ‘rays’ = sound quality (radiating, bright timbre) Lips: The indication of the lips can have at least two different meanings: A gesture in which a closed hand, palm oriented up, opens - The widely conventionalized meaning of ‘shh, into a spread-5 handshape is used for a particular timber keep quiet’ is used by the conductor to of the sound, a light, radiating quality. (Fig. 17) In many indicate ‘play softer!’ (Fig. 18c). sign languages, this opening gesture is the metaphoric base -If a ‘pursed’ (as in Fig.18d) or ‘grasping’ of signs associated with ‘radiating’ objects (streams of handshape is used and the hand is brought water, rays of light, etc.). In the conducting gesture, the close to the lips, the association is that of metaphor is ‘radiating sound’. If the movement something which tastes good. The gesture is component of the hand is changed, from moving upward used by the conductor when a ‘sensuous’ to moving out towards the orchestra, and is combined sound quality is wished. with a sharp, emphatic opening of the digits, the gesture Nose: The indication of the nose by conductors is means, ‘louder and more brilliant’. interesting, in that - unlike the largely negative associations

JCG Vol. 22, Nos. 1 & 2 23 which the nose has in gestures used by speakers kind of gesture in the conducting data: (‘stinks’, ‘odious’, ‘snotty’, ‘snobby’ etc.), the association for an orchestra is generally that of a A gesture meaning ‘keep moving!’ in which the most positive sensuous quality. A pursed or grasping important component is a repeated forward circling handshape is used, often together with a slight intake movement of the hand. If tempo of repetitions of breath, to indicate that a lightly ‘perfumed’ sound is is increased, it means ‘move faster’. (Fig. 19) desired (Fig. 18d). The vertically extended index finger, which in many cultures means ‘pay attention!’ is usually used by the (f) Holophrastic ‘Interjections’ = Tempo, conductor as a preparation for something new or Structure, Motivation important which is coming up in the music. (Fig. 20) The ‘offering’ gesture seems to have a psychological Another kind of category of conducting gestures is function of encouraging the musicians to whom it based on more culturally encoded gestures used by is directed to ‘take this passage’, in the sense, speakers for ‘holophrastic interjections’, such as ‘it’s your turn, carry it on’. (Fig. 21). The form exhortations to the addressee to ‘go on, continue’, of this gesture is the flat hand held with palm or‘be careful’.3 The following are examples of this of facing upward, the fingertips pointed

(a) (b)

(c) (d)

Fig. 18: body parts = sound quality (a) heart / solar plexus = play with emotion / concentrated (b) ear = correct intonation; (c) lips = softer or more sensuously; (d) nose = light ‘perfumed’ sound.

24 JCG Vol. 22, Nos. 1 & 2 forward,sometimes simply held or combined with slight movement towards the orchestra. Important to this gesture are the simultaneous eye contact, raised eyebrows and positive facial expression. This ‘offering’ gesture is similar to one of the first gestures which young children use in their prelinguistic communications. Adam Kendon (personal communication, Berlin, April 1998) has suggested that in its derived sense (‘it’s your turn’), it is used by speakers as a kind of conversational regulator, which is also how it seems to function in the context of the orchestra. The ‘pursed’ handshape, with palm oriented upward, (Fig. 22) is, according to Kendon (1995) used in some European cultures by speakers to focus upon some aspect of the accompanying speech. Some conductors use this gesture in an analogous way to indicate a focus upon some aspect of a musical passage.

Fig. 19: ‘keep moving!’ = continue playing as you are Fig. 20: ‘pay attention’ = important change is coming up

Fig. 21: ‘offering’ = take it, it’s your turn Fig. 22: ‘pursed’ handshape = focused element

JCG Vol. 22, Nos. 1 & 2 25 Another more culturally encoded gesture used by some many of the ‘handling’ gestures in which aspects of the conductors is similar to the ‘cut-off’, or ‘finish’ music are metaphorically conceptualized as concrete gesture used by umpires in sport matches. This objects or and lines to represent musical paths and turning is a two-handed gesture, in which the open flat points. Instead of the line, some Japanese-trained hands, palm down are initially crossed over each conductors prefer gestures, which indicate the turning points other in front of the torso, then the arms move as dots in a pattern. (Seiji Osawa, for example, is known rapidly out to the side. The conductor uses this among conducting students as having a ‘painterly’ style.) gesture for indicating abrupt endings to musical passages. Even for conductors from the same culture, there are clearly different styles of conducting, a different selection Most of these gestures can be produced successively to of the gestures in the repertoire described above, and a make gesture strings; for example, a ‘moving through a difference in the frequency of use of non-dominant hand thick substance’ gesture followed by a ‘radiating burst’ gestures. These stylistic differences are influenced by gesture, finishing with a ‘supporting / sustaining’ gesture. several different factors in the communication situation: the musical setting, the nature of the audiences, the style DISCUSSION of the work and the personality of the conductor.

The gestures described above are a representative, but The Musical Setting. The conducting style can certainly not exhaustive list of the repertoire of gestures vary, depending on whether the situation is a concert, used by conductors. Further analyses from a wider rehearsal, radio or TV recording. For example, the variety of conductors would undoubtedly add gestures gesture of grasping the ear to indicate that intonation to the list. However, the added gestures would probably should be corrected is used during a rehearsal but usually involve one of the limited set of handshapes. Furthermore, not during a concert. The acoustic environment is also they would probably fall into one of the major categories influential - different styles of conducting will be used discussed in the previous section. This is because most depending on the room size, its resonance, if the concert conducting gestures are based on metaphoric/metonymic is outdoors, etc. connections between aspects of the music and physical experiences which human beings have with objects in The Style of the Work. Very important is the everyday life. Some of these experiences have to do style of the music; the works of Bach, Mozart, Bruckner, with handling objects (grasping, letting go, supporting, Johann Strauss, Webern, Berlioz or Lutoslawski all require touching, etc.) while others have to do with biological a selection of different gestures from the repertoire. functions of the body (smelling, hearing), and still others have to do with describing visible forms (drawing lines, The Audiences. A conductor has two audiences: painting surfaces). Or, the conducting gesture would be the orchestra and the listening public. For the orchestra, borrowed from a culturally encoded gesture used by not only are the size and nature of the musical ensemble speakers as a ‘holophrastic interjection’. important, but also how well the conductor and the orchestra know each other. If the two know each other Factors Influencing Range and Choice of Gestures Used very well, the conductor can be much more economical with gestures than would be the case with doing a first Perhaps because many of the expressive gestures of concert with an orchestra. In the older films of the first conductors have so much in common with other aspects generation of European conductors (for example, Richard of human experience and communication, they can Strauss), a more limited set of gestures seem to be used function effectively - with no accompanying verbal as compared to many modern conductors. Although there explanation - with musicians from a wide variety of cultures. could be many reasons for this, one certainly is that in There very probably are, however, some differences that time, a conductor did not jet around the world, between cultures as to which gestures from the repertoire conducting a different orchestra every week, but stayed are preferred. European-trained conductors seem to use in one place and gave regular weekly concerts with one

26 JCG Vol. 22, Nos. 1 & 2 orchestra. The musicians of these orchestras perhaps How effectively the individual conductor uses the non- did not need additional indications through gestures, dominant hand gestures described here depends also on as they knew their permanent and long-time chief how well he has, somehow, learned them. The more control conductor and his styles of interpretation very well. which the conductor has over this repertoire of gestures for specific musical purposes, the more likely the gestures Another audience factor is whether the ensemble is will be used spontaneously and appropriately to model the professional or amateur. When conducting an amateur sound and bring out its many meanings. The effective use chorus, many more creative, ‘improvised’ gestures are of these gestures for conducting does seem to be something needed than when standing in front of a professional that has to be learned, as indicated by the sometimes chorus, with whom the same effect can be elicited with awkward, often inappropriate and distracting gestures of a small smile. young conducting students. Perhaps the ‘repertoire’ of non- dominant hand gestures, with their underlying metaphoric The public as audience is a factor, depending upon associations between experiences in the physical and in the personality of conductor. The early conductors the musical worlds, could be dealt with more systematically did not constantly conduct in front of film and television in the curriculum of conducting courses. cameras and so perhaps did not feel the temptation to conduct for the audience as well as for the musicians. CONCLUDING REMARKS Some conductors seem to conduct more for the public than for the orchestra, using gestures, which are The expressive hand gestures of orchestral conductors, correspondingly dramatic when viewed from behind. like signs of deaf sign languages and speech-accompanying gestures, seem to be composed of a limited set of sub- The Personality and Culture of the components which can be associated with several Conductor. This brings us to another important factor, different kinds of meanings. I. Poggi (personal the personality and cultural background of the communication, Berlin, April 1998) has suggested that conductor. Conductors have different images of these conducting gestures might be best classified as themselves and of their functions as a conductor. The ‘descriptives, which are used as directives’. different personality types we have observed include the following: Organizer, Interpreter of the Score, Unlike sign language, the conducting gestures are Animator, Hypnotizer, Trainer, Buddy, Self-Realizer polysemous entities whose exact meaning is only clear and Showman. The strong contrast between the styles when set in a specific context. At one level, the meanings of Bernstein and Celibidache, for example, is probably of these gestures are accessible through metaphoric/ due in large part to their basically different personality metonymic association with actions, which the body can types. The New Yorker–Bernstein–is a ‘showman’ make, or with body parts, or like conventionalized gestures type, using many expressive gestures in his conducting, (‘emblems’) have more specifically encoded cultural which are similar in quantity and quality to those he meanings. At this level of interpretation, these gestures uses to accompany his speech. (A good comparison might be termed ‘iconic’, in the sense that a broad range of this use of gestures in the two communicative of persons would be able to associate an appropriate situations can be found in the videotape of his general meaning to them (e.g. ‘grasping something’, rehearsals of Romeo and Juliet with a student ‘raising something up’, etc.). However, the special derived orchestra, during which he often stops the music to meaning of these gestures (‘tenuto’, ‘staccato’, explain some aspect of the story to the musicians.) ‘marcatissimo’, ‘stress the sound line’) is only interpretable The Rumanian–Celibidache– on the other hand, was to persons who know the second target domain of these more of a Hypnotist type, who relied more on the gestural metaphors, the playing of classical orchestral music. power of his eye gaze than on his gestures. The gestures he did use, both in his conducting and in Grosjean (1998) has made a comparison between videotaped conversations, although quantitatively improvisation in music with the creative production of fewer, do fall within the categories proposed here. new sentences in everyday language use. In contrast,

JCG Vol. 22, Nos. 1 & 2 27 the performance of classical orchestral music is to a large Winterthur, Switzerland: Amadeus. (192-219). extent bound to the interpretation of works that have been notated in a fixed written form. In this context, the Bräm, Th. & Boyes Braem, P. (1998). Der Versuch einer expressive gestures of the conductor become even more Klassifizierung der Ausdrucksgesten des Dirigenten. important, as they allow the addition of individual [An attempt to classify the expressive gestures of interpretation and spontaneous, even surprising elements orchestral conductors] In W. Fähndrich (Ed.), to the pre-programmed structure of the musical work. Improvisation III. Winterthur, Switzerland: Amadeus. (220-248). ACKNOWLEDGMENTS Brennan, M. (1990). Word Formation in British Sign This article has previously appeared in K. Emmorey & Language. Stockholm: University of Stockholm. H. Lane (eds.). 2000. The Signs of Language Revisited: An Anthology to Honor Ursula Bellugi and Calbris, G. (1990). The Semiotics of French Gestures. Edward Klima. Mahwah, NJ: Lawrence Erlbaum Bloomington: Indiana University Press. Associates. (p. 143 -167). We wish to thank the editors for permission to reprint this article here. Emmorey, K. & Lane, H. (eds.). (2000). The Signs of Language Revisited: An Anthology to Honor The authors are also grateful for helpful comments on Ursula Bellugi and Edward Klima. Mahwah, NJ: this study given by orchestral musicians at a workshop Lawrence Erlbaum Associates. (p. 143 -167). on conducting gestures held at the 3. International Congress for Improvisation in Lucerne (October 1996) Grosjean, F. (1998). Language: From set patterns to free as well as by participants at the International Symposium patterning. In W. Fähndrich (Ed.), Improvisation ‘The Semantics and Pragmatics of Everyday Gestures’ III. Winterthur, Switzerland: Amadeus. (71-84). in Berlin, April 1998. An earlier form of this paper has been published in German. (Bräm & Boyes Braem, Johnson, M. (1987). The Body in the Mind. Chicago: 1998). All illustrations of conducting gestures were drawn University of Chicago Press. by Katja Tissi, based on videotaped demonstrations done by T. Bräm. Kendon, A. (1995). Gestures as illocutionary and discourse structure markers in Southern Italian conversation. REFERENCES Journal of Pragmatics, 23, 247-279.

Boyes Braem, P. (1981). Significant features of the Klima, E. & Bellugi, U. (1979). The signs of language. handshape in American Sign Language. Cambridge: Harvard University Press. Unpublished doctoral dissertation, University of California, Berkeley. Lakoff, G. & Johnson, M. (1980). Metaphors We Live By. Chicago: University of Chicago Press. Boyes Braem, P. (1995). Eine Einführung in die Gebärdensprache und ihre Erforschung (3.Ed.) Lakoff, G. & Turner, M. (1989). More than Cool [An Introduction to Sign Language and Its Research]. Reason. Chicago: University of Chicago Press. Hamburg: Signum. Poggi, I. (Ed.) (1987). Le parole nella testa. Guida a Boyes Braem, P. (1998). Kulturell bestimmte oder freie un’ educazione linguistica cognitivista. [The Gesten? Die Wahrnehmung von Gesten durch words in the head. Guide to a cognitive linguistic Mitglieder unterschiedlicher (hörender und education]. Bologna: Il Mulino. gehörloser) Kulturen. [The interpretation of gestures by hearing and deaf members of different European Poggi, I. The Italian Gestionary. Lexical gestures of cultures.] In W. Fähndrich (Ed.), Improvisation III: Italian hearing people. Presentation at the

28 JCG Vol. 22, Nos. 1 & 2 Symposium, ‘The Semantics and Pragmatics of Everyday Gestures’, Technical University of Berlin and Free University of Berlin, Berlin, April 23-26, 1998.

Rozik, E. (1992). Metaphorical Handshapes in the Theater. Tel Aviv: Assoph.

Rudolf, M. (1994). The Grammar of Conducting: A Comprehensive Guide to Baton Technique and Interpretation (3. Ed.). New York: Schirmer.

Sachs, H. (1993). Reflections on Toscanini. Rocklin, Ca: Prima Publishing.

Stokoe, W., Casterline, D. & Croneberg, C. (1965). A Dictionary of American Sign Language on Linguistic Principles. Washington, DC: Gallaudet College Press.

Sweetser, E. (1990). From etymology to pragmatics. Cambridge: Cambridge University Press.

Taub, S. (1997). Language in the body: Iconicity and metaphor in American Sign Language. Unpublished doctoral dissertation, University of California, Berkeley.

Wilcox, P. (1993) Metaphorical Mapping Metaphors in American Sign Language. Unpublished doctoral dissertation, University of New Mexico, Albuquerque.

ENDNOTES

1 For the use of metaphors in theater, cf. Rozik (1992).

2 These observations are from the following videotapes: Bernstein–“Taktschlagen kann jeder” (Rehearsals and performance of Berlioz’s ‘Romeo and Juliet’, Schleswig- Holstein Music Festival): and Celibidache conducts Bruckner (Symphony No. 6 in A Major), Munich Philharmonic. Recorded at the Müncher Philharmonie am Gasteig, November 26-30, 1991. Sony Classical Production, 1992.

3 We are grateful to Isabelle Poggi (personal communication) for her suggestion of the term ‘interjections’ for this category of conducting gestures. She defines interjections as the only case in spoken language of a ‘holophrastic signal’. A holophrastic signal ”cannot be separated into sub-signals without completely losing its meaning— [it] conveys all the meaning of a Communicative Act, i.e. both its performative and its propositional content.” (Poggi, 1998, p. 8-9). An example of a holophrastic gesture in the Italian culture is one which has an open flat handshape, palm down, fingers forwards, combined with an up and down movement. The meaning of this gestures is ‘come here’, and includes the predicate (to come), the arguments (hearer should come to speaker) and the performative (a command). (cf. also Poggi, 1987.) ***** The Swiss conductor and composer, Thüring Bräm, also heads the conducting program at the Musikhochschule in Lucerne (Switzerland), where he tries to continue the work he started with Max Rudolf during his conducting studies at the Curtis Institute of Music in Philadelphia in 1970-1972.

Penny Boyes Braem received her PhD in pycholinguistics from the University of California at Berkeley and for the past 20 years has been the director of the Research Center for Sign Language in Basel. She is the author of numerous publications in English and German about sign languages of the deaf.

JCG Vol. 22, Nos. 1 & 2 29 Beauty’s Plea: An Introduction to the Music of William Alwyn

By Brian Murphy

Since brass, nor stone, nor earth, nor boundless sea, saying “The history of music is the history of its But sad mortality o’ersways their power, composition.” In the 20th century, obviously the age of How with this rage shall Beauty hold a plea, the interpretive performing artist, there was always Whose strength is no greater than a flower? something a little truculently desperate about Thomson’s —Shakespeare (first quatrain of Sonnet 65) statement.

Bernard Shaw was always fond of quoting Wagner’s Thomas Beecham once “essayed,” as he put it, a definition dictum that the conductor’s primary job was to give the of “great music”: great music, he said, is “music which right tempo to the orchestra (or “the right time to the enters the ear with facility and quits the mind with band” as Shaw even more plainly said it). But, actually difficulty.” and in usual practice, the conductor has a crucial job, which comes even before this putatively primary one: pick Leonard Bernstein’s method of evaluating a new piece the work to be played! of music was even simpler: will it, he asked, give me an orgasm? To those conductors who look, occasionally, for something freshly distinctive, and truly beautiful, to play: By either standard of judgment, Alwyn’s is great music. consider the works of William Alwyn (born, This is music which should not be allowed to slip through Northampton, England, 1905; died, near his home in the cracks of history—for the sake of people who need Blythburgh, Suffolk, 1985). music which is inherently interesting, ravishingly beautiful, and which, in quitting the mind only with difficulty, leaves Alwyn, incidentally, was one of the apparently quite few behind a lingering trace of spiritual affirmation. composers who did not feel that conductors are overpaid stars (“mere executants,” as Virgil Thomson regarded the Alwyn’s kind of beauty—like all beauty, probably—is likes of Toscanini) who play the same audience-pleasing very difficult to account for. (Didn’t Mahler say that works over and over. Alwyn regarded conductors as “interesting” was easy, but “beautiful” was difficult?). the cream of the great musicians, second only to the great Alwyn’s compositional method seems almost without composers in the history and understanding of music. method at all. He believed in catching and then pursuing “the first fine careless rapture” rather than anything like Conductors are perhaps even more than the “cream” of formal development. Influenced, he said, by Liszt, his is the great musicians: since they choose what works will a rather free-form developmental method; but, so careful be heard (with the intuited hope that there will be someone is his avoidance of obvious repetition in favor of the to listen), they have a pretty decisive vote in electing which development of mono-thematic variations, as well as the composers will have the opportunity to sell, to become subtlest of foreshadowing, that his listener nearly always box office—ultimately, which ones become the great has that paradoxical sense of discovering something new composers of their age, which ones, in fact, become which also seems strangely familiar: as if you found History. This is an important—if, to some, rather yourself in a dramatically new emotional landscape— maddening—qualifier to Virgil Thomson’s oft-repeated which yet also makes you feel that you have dreamed

30 JCG Vol. 22, Nos. 1 & 2 this, or been here, before. He said that he wanted his exceptionally violent for this time of year. music to sound logical but not at all constructed. Sunday always seems a blank day; a day of unsettled His language is traditional and tonal. Alwyn always felt routine when I feel incapable of relaxing and am that finding originality in a traditional, even a familiar, conscious of unease and maladjustment. The evening, however, was made memorable by listening to my new language was both more challenging and communicative records of Pelleas et Melisande. Surely nothing more than in creating a new one. And he was interested beautiful has ever been composed; it is the magical primarily in absolute clarity of effect. creation of a super-sensitive genius. This music glows like moonlight made tangible; its pathos is infinitely Alwyn was a truly—an almost allegorically—Romantic tender, a nightingale with a thorn at its breast. man. In his youth, he was deeply affected by Bertrand Russell’s book The Conquest of Happiness and even Monday, November 7th more profoundly influenced by Nietzsche’s work, My fiftieth birthday! especially Also Sprach Zarathustra; and his life became a serious search for beauty. Like Tosca herself, he “lived Listened to a broadcast of my Festival March, for love, he lived for art.” Although he was a introduced by Lord Harewood to mark the occasion. thoroughgoing musical pro (tell him what you want, when November 8th you wanted it, and there it would be: obviously, no one Feeling a little jaded after last night’s celebrations. could write 200 documentary and feature film scores The happiest moment of the day was listening yet again without that kind of professionalism), yet, all his life, he to the recording of the scene where Melisande lets fall loved music like a besotted amateur. Actually, he loved her hair in a cascade of exquisite sounds. This whole love—that is, he loved loving—people as well as works scene is masterly; it trembles on the very fringes of of art. For example, it seemed to him a perfectly natural passion but never does it overstep and forsake its way, one year, to celebrate Robert Schumann’s birthday magic otherworldliness. by playing through the Dichterliebe of “my adored Schumann.” My adored Schumann! What a way to Made a fair copy of the harp piece and am now talk! He loved loving and even adoring works of art— searching for a title —perhaps ‘The Snows of but not in the manner of a solipsistic egomaniac: rather, in Yesteryear’. [2] the way of one who knew his own talents and, intuiting something of what he had to offer, wanted to find his Small wonder that William Mann, the great London Times place in this great tradition and living culture of art and music critic, described Alwyn as a Romantic composer music. Of course, he wanted people to admire his talent who pursued a very lonely path. [3] All this love of the and love his music. His was a fairly straightforward “sensitive” and the “exquisite” seemed out of place in the ambition—in his lifetime, more obviously realized in the dreadful Fifties, the very period in which he composed cinema than the concert hall. Although temperamentally his most wonderful scores. Here, for example, is the somewhat nervous, he was not really a complicated man, cultural atmosphere of the Fifties: Randall Jarrell, a most certainly neither a neurotic nor a tragic one. characteristic American poet of the age, complained about an English poet, “who insists on giving you a pound of his This rare phenomenon of personal clarity and simplicity heart’s blood with every random ounce of sense.” Alwyn’s shows all through his journal, which is an exhilarating and certainly was a “lonely path.” Like an Andrew Wyeth cheering portrait of a life in the service and pursuit of going on with his own (more) brooding Romantic vision beauty and art. What manner of man was he? Well, through the triumphs of Abstract Expressionism, Alwyn, here are three consecutive entries, chosen almost at through the assumed Historical Inevitability of atonalism, random, from that journal: [1] serialism, etc., always stayed true to his Romantic faith and language.[4] November 6th, 1955 Today’s newspapers explain the phenomena in last He was equally out of step in the other arts as well: Alwyn night’s sky—a thunderstorm over south Bucks, collected Pre-Raphaelite paintings long before the current

JCG Vol. 22, Nos. 1 & 2 31 revival (when, in fact, he could afford them; indeed, the to the film in his mind, he never thought of his film music sale of his collection, in the later 1960s became something as having an independent, concert-hall life; therefore, he of an event in the history of taste). He particularly loved was never interested in creating a suite from any of his Rossetti—again, long before the current revival of interest film scores. However and happily, after his death, a in Rossetti’s poetry and painting. (In conversation, in wonderful recording by Richard Hickox and the LSO 1984, he remarked that it has only been since the Sixties was released, the actual scores having been scrapped by that the Pre-Raphaelites have come to be regarded as the studio but reconstructed by Christopher Palmer. To worthwhile painters; before that, his love for them was understand Alwyn’s sensibility, one should, as well as thought to be the very essence of Bad Taste.) He listening to this superb Hickox recording, see the film described a restless evening: “Moved the Burne-Jones (easily available these days on video and, even more Angels with Trumpets to my bedroom and placed the usefully, especially for purposes of studying the music, Rossetti drawing of Three Sang of Love Together (a on DVD): the whole 1940s look and even the ethic of design for his sister Christina’s sonnet) over the studio the film are mirrored in the music. In his entertaining book mantelpiece where the light flatters the delicate pencilling.” on music, The Brandy of the Damned, novelist Colin Wilson said that the way Alwyn’s music “simply takes His was the true passion. over” in the last third of Odd Man Out was, for his generation, the “royal road” to classical music. [5] In fact, November 22nd. nearly the whole of the second half of the film follows James Mason, as a wounded Irish revolutionary, A sentimental journey by car to Kent to search for the wandering the foggy, surreal, and dangerous streets of churchyard at Birchington where Rossetti was buried. Belfast. The music, with its tread-like bass and mournful The grave was overgrown and neglected; the poet-artist horns, takes us not only into the Belfast streets, but also forgotten. I bought a small bunch of golden into the mind of the doomed man as he tries to find his chrysanthemums and laid them on the grave—a shaft of way home. There is even a sort of Liebestod at the very sunlight on a drab November day. end, which is intensely moving to anyone who gets on the wave length, who can love the slow pace, of this very And, rather late in his life, he taught himself French well English, very “Forties” film. enough that he ended up as the translator of a major book of modern—but, again, rather Romantic—French verse. [For a more in depth presentation of Alwyn’s He particularly loved—and caught in his translations— dramatic and romantic inclinations, look for an the straightforward simplicity he found in the Prayers and addendum to this article on the Guild’s website: Elegies of Francis Jammes, a kindred spirit. www.conductorsguild.org.]

In addition, he was a very talented amateur painter. (His And, in any case, freed from the constraints of dramatic painting masterpiece, The Gold Bar of Heaven, adorns expression, Alwyn’s symphonies, vocal and chamber the Chandos cover of his musical masterpiece, the Lyra music are quite free to go about their blissful, lovely, Angelica.) Withal, he spent the whole of his relatively Romantic business. When Debussy was freeing himself long life (1905-85) “burning always,” as Walter Pater from the Wagnerian past, he said that he had to think had advised, “with this hard gem-like flame.” about music differently: first, he complained that the chief Wagnerian invention—fusing symphonic development The burning, the belief in love, the ceaseless searching for with opera—was the very thing he had to learn to forego new shapes of, and routes to, beauty, all show in his music. and undo. Now, although his symphonies are certainly “absolute” music, Alwyn’s chief invention is bringing a No doubt the most dramatic entrée to Alwyn’s mind and sort of operatic development to purely orchestral music is through the most famous of his film scores—for music—his last four symphonies and his harp concerto Odd Man Out. His film music always aimed at giving the especially. Alwyn once said (in conversation with the emotional effect of a scene rather than a pictorial rendering author) that he regarded the symphony as an essentially of the action in sound. So inextricably tied was the music dramatic form.

32 JCG Vol. 22, Nos. 1 & 2 Alwyn often said that his three favorite 20th century concerti grossi, the Sinfonietta for Strings, two song composers were Debussy, Puccini, and Berg. Berg’s cycles, and three string quartets) three works in particular influence can be heard in the subtlety of Alwyn’s harmonic abound in great melodies—and would serve as a happy structures. (William Mann’s notes to the Second and, introduction for anyone new to Alwyn’s art— especially, the Third symphonies offer fascinating harmonic analyses.) Perhaps the most efficient way for a (1) Second Symphony in two parts (1953, 30’); contemporary musician to get inside Alwyn’s music is to (2) Autumn Legend, a one-movement piece for listen to his Sinfonietta for Strings (1970, 26’). There English horn and string orchestra (1954, 12’) are two recordings of this—Alwyn’s own on Lyrita, and (3) Lyra Angelica, a concerto for harp and string Hickox’s on Chandos. This is his most “Modern” score: orchestra in four movements (1953-1954, 31’) it begins restlessly alternating between 2/4 and 3/8 with dissonances about as prickly as he ever produced. All three of these wonderworks have been recorded twice. At the beginning of the new century, Alwyn’s In the second movement, at bar 55 (5’08” in Alwyn’s available recorded legacy [see Appendix II] consists of recording), there is a quotation from Berg’s Lulu. It has 4 Lyrita CDs (re-issues of Alwyn’s own 1970s been very subtly foreshadowed by the last two bars of recordings) plus the two-CD set of Miss Julie, conducted Example 1 in the leap from B-flat to the high A, which by Vilelm Tausky; and the beautifully and prodigiously becomes a motif used throughout the Sinfonietta. produced Chandos series of 18 CDs—all the symphonies, much vocal, and chamber music, including the invaluable What is most startling about the quotation (the only such CD of his film music. quote in all Alwyn’s music) is the way it sounds, naturally, like Berg, but also sounds so like Alwyn: the slightly weird In all of his music, he aimed always, he said, for clarity of leap from G-flat to E-flat is surely reminiscent of the effect and simplicity of means. famous opening phrase in Wagner’s Tristan. Berg uses this motif at three most intensely, but ironically, “romantic” However, an important distinction must be made about moments in the opera: first, it occurs when Lulu (in “Meines Alwyn’s kind of compositional simplicity. His own mannes,” Act I, scene 2, bar 615) declares her “love” description (in conversation) of the great Second for Dr. Schoen; it occurs secondly at the very end of the Symphony makes it sound as if anybody could do it: as an first act (bar 1356) when this “love” makes Schoen feel example of how he wanted his music to sound “logical the axe falling and thus foreshadows his death at Lulu’s without sounding constructed,” he said, “So, take the hands; third, it occurs in the final scene of the opera when, Second Symphony, for instance: I get that little tune [going] before he kills Lulu, Jack the Ripper sees the lesbian at the beginning, and it goes on building all the way through Countess Geshwitz’s obsessive and hopeless “love” for the work until it finally reaches its apotheosis in the long Lulu, and he pets her like a dog, saying “Armes Tier”— coda, the summing up of the whole work; after that silence, “Poor old beast.” Surely Berg meant this motif (it also then comes that wonderful D major chord on the brass, occurs in the dramatic last movement of the Lulu-Suite) then everybody plays the tune that began it.” to represent a sort of dark underside to Wagner’s lofty love-yearning. Alwyn, in effect, turns the phrase over again This sounds baby simple—as if it possesses the true, and finds in it something almost tender, or even surface simplicity of a Hikare Oe—until you realize that compassionate—poor old humans! It leads into of one this logical but apparently not constructed work actually of Alwyn’s characteristically melodically molded is firmly built. It achieves the often-sought but only conclusions. It is an extraordinary moment. occasionally realized late 19th century amalgamation of sonata-movement form with the multi-movement sonata The Puccini influence is most obvious in Alwyn’s love of cycle. Its most illustrious predecessors are the Liszt B- melody—but also learned, he often said, from Irish folk Minor Sonata and the Saint-Saens Symphony No. 3 music. In addition to his beautiful and effective film scores, (which was dedicated to Liszt, another of the subtler- of his major works (an opera, five symphonies, three than-he-seems masters from whom Alwyn learned so

JCG Vol. 22, Nos. 1 & 2 33 Example 1: Sinfonietta for Strings,first 13 bars, p. 1 Reproduced by permission of copyright holder Alfred Lengnick & Co. [a division of Complete Music Ltd.] Hire from Chester Music: Tel 1 284 705 705; Email [email protected].

34 JCG Vol. 22, Nos. 1 & 2 much). Both Alwyn’s Second and Saint-Saens’s Third He said this the whole of his Second Symphony have exactly the same design: they are in two parts but a developed from the single phrase—a simple, but not 4-movement symphonic design can be discerned: “uncatchy” melody—heard at the beginning. A bassoon starts things off in a simple and straightforward but clearly Part I: very assured and original way. Introduction Dramatic first mvt. (Rehearsal Letter D) The second bar, in particular, suggests an immediate Adagio (Q) sound, which is as distinctively and uniquely Alwyn’s as is a thumbprint. The violins answer at once, then modify Part II: and subtly reshape the opening theme. Scherzo (triple meter) Finale (after AA) Of course, this is a musical drama. The second part Coda (GG) begins Allegro Molto—Molto Impetuoso and builds to an exciting finale—but this kind of excitement is rarely Because Alwyn gives occasional “Mahlerian advisories,” (though occasionally) what Alwyn drives at. To get right (sempre vibrante, for example), it is clear that the to Leonard Bernstein’s memorable criterion, at Letter GG, conductor has both leeway and responsibility for after a long, slow-breathing Allargando is a daring, interpreting and shaping —precisely because the music, breathless silence and then comes the climax of the whole in so skillfully burying its scaffolding, is so subtly, but work, in a beautiful, passionate sense of release (that urgently, expressive. “wonderful D-major chord on the brass”) after which

Example 2: Sinfonietta for Strings,bar 55 to conclusion of second movement Reproduced by permission of copyright holder Alfred Lengnick & Co. [a division of Complete Music Ltd.] Hire from Chester Music: Tel 1 284 705 705; Email [email protected].

JCG Vol. 22, Nos. 1 & 2 35 Tel 1 284 705 705; Email [email protected]. Tel Example 3: opening of Symphony No. 2, p. 2 Reproduced by permission of copyright holder Alfred Lengnick & Co. [a division of Complete Music Ltd.] Hire from Chester Music: from Lengnick & Co. [a division of Complete Music Ltd.] Hire Alfred by permission of copyright holder Reproduced

36 JCG Vol. 22, Nos. 1 & 2 the original little tune (Example 3) is played tutti and a had the uncanny feeling that Rossetti was in the room long undulating coda follows. This is the Alwynian kind with him. Having it both ways? Clearly, there is an wide- of climax: it continues to develop both subtly and armed, Walt Whitman-esque willingness to be powerfully until the conclusion, when winds at KK, then contradictory on this important subject: “Very well, I brass at LL, play this wonderful tune again, until the contradict myself; I contain multitudes.” timpanist, now supported quietly by the strings, has the gentle last word. In his Treatise on Instrumentation, Berlioz describes the English horn this way: “Its tone, less piercing, more veiled Berg, Puccini and Debussy: these three, but the Debussy and heavy than that of the oboe, does not lend itself so influence is everywhere. Although there is less mist in well to the gaiety of rustic melodies. Nor can it express Alwyn’s music, both composers favor delicacy and quiet passionate laments; tones of keen grief are scarcely within loveliness. Many of Debussy’s works—not just the its range. Its tones are melancholy, dreamy, noble, Prelude à “L’apres-midi d’un Faune”—seem like somewhat veiled—as if played in the distance. It has no ballets, or works describing a drama. Alwyn’s works equal among the instruments for reviving images and have a sort of mistiness within: his music makes you feel sentiments of the past if the composer intends to touch the quite sure that there is a drama going on, but you cannot hidden chords of tender memories.” [7] quite see it; it is a kind of dream-drama: as with the two lovers whom he silhouetted in the moonlight at the end of This is also a perfect description of Autumn Legend— the first act of his opera, Miss Julie, the drama is in their and a perfect description of much of Alwyn’s music minds; it is in their spirits melting together—rather like generally. In “The Blessed Damozel,”—both the poem the heavenly vision of passionate love in Rossetti’s great and the painting—there is pictured a heaven where lovers poem and painting The Blessed Damozel (which Alwyn are rapturously re-united; the damozel of the title leans called “the picture of my dreams”). her warm bosom on “the gold bar of heaven” and yearns for her lover, still on earth, and still thinking of her. Here Rossetti’s poem, also called “The Blessed Damozel,” is are Rossetti’s haunting lines from the poem—lines, which the basis of Autumn Legend, Alwyn’s miniature Alwyn placed at the head of the score—and serving, masterpiece, and, with this work, he joined a long line of perhaps, as something more than an ordinary epigraph: composers who created music for it, beginning with Debussy himself and including many British composers. Surely she leaned o’er me—her hair What makes Alwyn’s version so unusual is that it is not Fell all about my face . . . vocal: it is a work for Cor anglais ( Alwyn preferred this Nothing: the Autumn fall of leaves. locution to “English horn”) and string orchestra. “The The whole year sets apace. music,” wrote the composer, about the time of its premiere in 1955, “needs no formal analysis; it is a free After these mysterious lines comes music which certainly improvisation arising spontaneously from the poet’s sounds like Berlioz’s “hidden chords of tender memories.” words. Unashamedly romantic, Autumn Legend is my The Debussy influence certainly lingers; one passage (bar own very personal tribute to the memory of Dante Gabriel 57, 5 bars after letter E) insinuatingly recalls “Nuages.” Rossetti, the poet who inspired Debussy, the painter extolled by Delacroix.” [6] To some listeners it may appear that Alwyn has loaded his great Harp Concerto, Lyra Angelica, with too many However, in the manner of Debussy, who gave titles to literary associations (beginning with the very title). If so, his piano pieces well after he composed them, Alwyn these references can be ignored. [8] Others may find them insisted that his first impulse was to write music for Cor somewhat helpful as a guide to the general spirit of the Anglais and string orchestra: the Rossetti came after—as four movements: a help to the listener as to the general mood and feel of the piece. His music was, he insisted, always about music. 1. “I looke for angels’ songs, and heare Him crie.” Yet he also said that in composing Autumn Legend, he 2. “Ah! Who was He such pretious perils found?”

JCG Vol. 22, Nos. 1 & 2 37 3. “And yet, how can I leave Thee singing goe, when great tune—surely Puccinian, perhaps even specifically men incense’d with hate Thy death foreset?” reminiscent of “E lucevan le stele” and the death-march 4. “How can such joy as this want words to speake?” from the last act of Tosca. The final three pages are particularly wonderful as we go into a typically Alwynian These lines are taken from Christ’s Victorie and Triumph, conclusion—ppp, dim. a niente. The final movement is (1610) by Giles Fletcher. This is a work known almost structured somewhat like the third: the opening, Allegro exclusively to literary scholars as one of the models for jubiloso, offers eight truly jubilant bars to the harpist Milton’s Paradise Lost. The line for the 4th movement (Example4). may aptly sum up most of Alwyn’s music, and the 3rd may hint at the truth in the great lines of Shakespeare used as After a brief scherzo-like passage, there comes an the epigraph to this essay: “with all this rage, how beauty extended and reflective coda, and—very dramatically— can hold a plea” is a question that, to a born-again Romantic, a return of the lovely melody from the first movement, in answers itself. Yet many may simply find all this far too a different key and played a little faster. This material “pretious.” It certainly reveals Alwyn’s genuine and very works its way through the now-familiar series of molto deep love for 17th century literature. [9] diminuendi and molto tranquilli to a somewhat surprisingly decisive, rather than dreamy, conclusion Only the final movement of Lyra Angelica ends fortissimo; (Example 5). all the other movements end very quietly. Although there is a great rush in the strings at the beginning of the third What makes Alwyn’s masterpiece remarkable is its movement, the general feeling of this work is, almost combination of the slow enchantments of the music entirely, quietly ecstatic. coupled with a rhythmic tautness and his equally characteristic drive toward a crisp clarity of texture and Alwyn’s most characteristic and most beautiful melodies a succinct simplicity. In fact, his entire oeuvre has a are in this work. After a slow Adagio introduction and a movement toward concision—from the full “grand swirling cadenza-like introduction of the harp, the first manner” (as he called it) of his First Symphony to the movement offers this lovely melody—which has, in fact, mere 15 minutes of his final, Fifth, symphony. Here is an been foreshadowed by the harp introduction—to the first apt passage from his Journal: violins and the violas. The first movement is full of lovely turns and apparent wanderings—such as a charming I once said in a lecture that the ultimate aim of a siciliano (at Letter K, near the end). The second movement, composer is the expression of the world in a single note. possibly the most beautiful of the four movements, has a This has been quoted against me. But it is true. Bach moment, at Letter C, that will help anyone decide if this and Beethoven achieved it—I mean this nth degree of music is one’s own cup of tea: this section may well be simplification, which can endow even an innocent scale with infinite meaning. Puccini actually did it with a single described as “like movie music.” One admits: yes, this note: the single fortissimo staccato ‘A’ as the consul sounds somewhat “like movie music,” but for those to finishes reading Pinkerton’s letter to Madame Butterfly. whom this is not A Bad Thing, the climax of the movement All other composers at a similar situation would have will sound like the realization of a great inner drama. After resorted to a dramatic orchestral climax, but Puccini this, the movement ends quietly. here conveys a world of drama in a shock and a silence, which makes the heart stand still. Each of the two inner movements contains a great melody. After the wispy ppp conclusion of the second movement, Of all the orchestral works in the standard repertoire, the beginning of the third movement offers a striking Alwyn’s orchestral and chamber music, aspire, it might contrast with a great up rush in the strings followed by be said, to the condition of Wagner’s Siegfried Idyll. three almost Beethovenian hammer strokes; however, They share with Wagner (at their very best of course) the these are immediately softened (and, later, they become combination of the personal, the deeply felt, the free form a shaping influence through to the end of the movement). yet formally interesting, the variety, the climactic lift and And, then, a mere 11 bars into the movement comes a the settling into the languorous ache, the hypnotic, the

38 JCG Vol. 22, Nos. 1 & 2 Tel 1 284 705 705; Email [email protected]. Tel movement, first 8 bars, p. 45 th ,4 , concluding 6 bars, p. 60 Lyra Angelica Lyra Lyra Angelica Lyra Example 4: Example 5: eproduced by permission of copyright holder Alfred Lengnick & Co. [a division of Complete Music Ltd.] Hire from Chester Music: from Lengnick & Co. [a division of Complete Music Ltd.] Hire Alfred by permission of copyright holder eproduced R

JCG Vol. 22, Nos. 1 & 2 39 expression of the inner world of spirit and love. All this— Modernism had become sterile: composers were and concision too! supposed to “create a hypothesis and realise it musically, like a research paper. I thought this was ridiculous.” William Alwyn’s very distinct musical world is an [Notes to CD Affairs of the Heart, 2000, CBC Records invaluable contribution, both personal and civilized, to SMCD 5200.] Alwyn had been expressing, and acting (in Virgil Thomson’s wonderful phrase) that “secret on, these very sentiments in the dry 1950s. Incidentally, civilization” which is music. one of Mozetich’s most beautiful works, The Passion of Angels, a Concerto for Two Harps and Orchestra (1995) ENDNOTES is very like Alwyn’s Lyra Angelica in feel and mood.

5 1 Quotations are from Alwyn’s journal, titled “Ariel to On a syllabus for a film course about Movies & Music, Miranda,” published in Adam International Review, ed. I called the first half of the course (I hoped provocatively) Miron Grindea, Nos. 316-17-18, London, 1967. “How The Movies Saved Classical Music.” (The second half was called “Pop Goes the Movies.”) 2 The title he finally settled on was “Crepuscule”—a little, 3’, work, now available in a recording by Ieuan Jones 6 Reprinted in Alwyn’s recording, Lyrita SRCD.230. made in 1994 (Chandos 9197). 7 Berlioz-Strauss, Treatise on Instrumentation, trans. 3 William Mann’s superb notes for the Lyrita recordings T. Front (New York: Kalmus, 1948), p 184. of the Second and Third Symphonies have been slightly abridged for the CD reissues, but they remain essential 8 Evidently, all the literary associations and references reading for any lover of this music. It is worth noting that were of some assistance to figure skater Michelle Kwan, William Mann’s name is probably most famous for a who used this music in her free-style competition in the controversial review he wrote of one of The Beatles’ early 1998 Olympics; to her, as she explained in a TV releases. His discovery of something important, interview, it was enough that the music made her think something of great interest and beauty in mere pop music, she was not skating but “playing with angels.”) I have and in appearing in a forum no less august than The always regretted that it was Prokofiev who came upon a Times, started, according to John Lennon, “the whole title, which would have suited many of Alwyn’s works intellectual bit about The Beatles.” In some ways, given beautifully—Fugitive Visions. the intellectual climate, Mann’s championing of Alwyn’s symphonies was a parallel act of independence of thought 9 For example, Sir Thomas Browne (1605-1682), and of critical courage. physician and author—best known for his Religio Medici— was one his great heroes, whose words, from 4 Since Alwyn’s death, minimalism and neo-Romanticism Urn-Burial, provide the epigraphs to Alwyn’s final, Fifth, have triumphed in what one can describe only as an Symphony (1970, 15’), itself a four-movement miracle Alwynian way. For instance, Canadian composer Marjan of concision. Mozetich (b. 1948) abandoned the orthodoxies of his teachers (early, approved Modernist works of his had NOTE: The delightful phrase “Mahlerian advisories” is a instructions in his scores for “the banging of chairs”) when debt among many I owe to my friend and colleague David he “suddenly embraced Romanticism.” He was, he said, Daniels, who has conducted Lyra Angelica, and who has “pounced on” for daring to say “that music is emotion, also contributed generously to this whole essay—advice that it is a medium in which to express feelings.” technical as well as suggestions rhetorical—all of great value.

40 JCG Vol. 22, Nos. 1 & 2 APPENDIX I WILLIAM A LWYN: FIRST PERFORMANCES OF MAJOR WORKS

Symphony No. 1 Halle Orchestra, Sir John Barbirolli, Cheltenham; July 6, 1950 Symphony No. 2 Halle Orchestra, Sir John Barbirolli, Manchester; October 14, 1953 Symphony No. 3 BBC Symphony Orchestra, Sir Thomas Beecham; October 10, 1956 Symphony No. 4 Halle Orchestra, Sir John Barbirolli, London (Proms Concert); August 26, 1959 Symphony No. 5 Royal Philharmonic Orchestra, William Alwyn, Norwich; October 27, 1973 Lyra Angelica Sidonie Goosens (harp), BBC Symphony Orchestra, Sir Malcolm Sargent, London (Proms Concert); July 24, 1954 Autumn Legend Roger Winfield (English horn), Halle Orchestra, Sir John Barbirolli, London (Proms Concert); September 2, 1955 Sinfonietta for Strings Hurwitz Chamber Orchestra, Adrian Sunshine, Cheltenham; July 4, 1970

PUBLICATION DATES OF PRINCIPAL ORCHESTRAL WORKS

Symphony No. 1 (41’), 1949 Symphony No. 2 (30’), 1953 Symphony No. 3 (32’), 1957 Symphony No. 4 (35’), 1960 Symphony No. 5 “Hydriotaphia” (15’), 1973

Festival March (8’), 1951 Concerto for Oboe, Harp & String Orchestra 20’), 1951 Concerto Grosso No. 1 in B-flat (11’), 1952 Symphonic Prelude—The Magic Island (10’), 1953 Lyra Angelica—Concerto for Harp and String Orchestra (31’), 1955 Autumn Legend—for Cor Anglais and String Orchestra (12’), 1956 Elizabethan Dances (18’), 1958 Overture—“Derby Day,” (7’) 1962 Sinfonietta for Strings (26’), 1974

All scores are published by Alfred Lengnick & Co., Ltd., Purley Oaks Studios, 421a Brighton Road, South Croydon, Surrey, England.

U.S. Agent: Theodore Presser

Other addresses: http://www.musicweb.uk.net/Alwyn

The William Alwyn Society, Andrew Palmer, Secretary 122 Vernon Avenue, Old BasfordNottingham WG6 OAL, England Tel: +44 (0)115 978 0863 Fax: +44(0)115 913 0865 Email at [email protected]

JCG Vol. 22, Nos. 1 & 2 41 APPENDIX II WILLIAM A LWYN: A CHRONOLOGY-DISCOGRAPHY*

1930 Piano Concerto No. 1 [15’] (Howard Shelley, LSO, Richard Hickox, 1993)

1934 Sonata for Oboe and Piano [16’] (Nicholas Daniel, Julius Drake, 1994)

1935 Green Hills, solo piano [2’57”] (Julian Milford, 2000)

1936 Tragic Interlude, for 2 Horns, Timpani, and String Orchestra [8’] (City of London Sinfonia, Richard Hickox, 1992)

1939-39 Violin Concerto [40’] (Lydia Mordkovitch, LSO, Hickox, 1993)

1938 Rhapsody for Piano Quintet [10’] (David Willison, Quartet of London, 1985)

1939 Night Thoughts [solo piano, 5’] (Julian Milford, 2000)

Divertimento for Solo Flute, (Christopher Hyde-Smith, Lyrita, 1972; Kate Hill, 1994)

Pastoral Fantasia for Viola and String Orchestra [13’] (Stephen Tees, City of London Sinfonia, Hickox)

1940 Overture to a Masque [9’] (LSO, Hickox, 1992)

1943 Concerto Grosso No. 1 in B-flat major for Chamber Orchestra [12’] (City of London Sinfonia, Hickox, 1992)

1944-45 Concerto for Oboe, String Orchestra and Harp [20’] (Nicholas Daniel, City of London Sinfonia, Hickox, 1992)

1945 Calypso from “The Rake’s Progress,” [4’] (arr. Christopher Palmer, LSO, Hickox, 1993)

Suite for Oboe and Harp [6’] (Nicholas Daniel, Ieuan Jones, 1993)

1945-46 Sonata alla Toccata [solo piano, 10’] (Sheila Randell, Lyrita, 1960; Julian Milford, 2000)

1946 “Odd Man Out” Suite [arr. Christopher Palmer, 27’] (LSO, Hickox, 1993)

1948 Fanfare for a Joyful Occasion for Brass and Percussion [4’] (LSO, Hickox, 1992)

“The Fallen Idol” Suite [arr. Christopher Palmer, 21’] (LSO, Hickox, 1993)

Concerto No. 2 in G Major for String Orchestra [14’] (LPO, Alwyn, Lyrita, 1979; City of London Sinfonia, Hickox, 1992)

Sonata for Flute and Piano [8’] (Kate Hill, Julius Drake, 1994)

1949 “The History of Mr. Polly” Suite [arr. Christopher Palmer, 21’] (LSO, Hickox)

42 JCG Vol. 22, Nos. 1 & 2 Symphony No. 1 [41] (LPO, William Alwyn, Lyrita, 1977; LSO, Hickox, 1993)

1950 Music for Three Players [16’] (Haffner Wind Ensemble, 1993)

Festival March [8’] (LPO, Alwyn, Lyrita, 1985; LSO, Hickox, 1992)

1951 Trio for Flute, Cello, and Piano [14’] (Haffner Wind Ensemble, 1993)

1952 Symphonic Prelude—“The Magic Island” [11’] (LPO, Alwyn, Lyrita, 1972; LSO, Hickox, 1992)

1953 Symphony No. 2 [31’] (LPO, Alwyn, Lyrita, 1975; LSO, Hickox, 1992)

1954 Lyra Angelica—Concerto for Harp and String Orchestra [30’] (Osian Ellis, LPO, Alwyn, Lyrita, 1979; Rachel Masters, City of London Sinfonia, Hickox, 1992)

1955 ‘Crepuscule’ for Solo Harp [3’] (Ieuan Jones, 1994)

String Quartet No. 1 in D Minor [23’] (The Gabrielli Quartet, Unicorn Records, 1971; The Quartet of London, 1982)

Autumn Legend for Cor Anglais and String Orchestra [12’] (Geoffrey Browne, LPO, Alwyn, Lyrita, 1979; Nicholas Daniel, City of London Sinfonia, Hickox, 1992)

1956 Symphony No. 3 [34’] (LPO, Alwyn, Lyrita, 1972; LSO, Hickox, 1993)

Fantasy-Waltzes [solo piano, 35’] (Sheila Randell, Lyrita, 1960; John Ogden, 1985; Julian Milford, 2000)

Overture: The Moor of Venice [arr. Frank Wright, for brass band, 9’] (The Williams Fairey Band, Bryan Hurdley—Brass from the Masters, Vol. I—1997)

1957 Elizabethan Dances [18’] (Nos. 1,2,5,4, LPO, Alwyn, Lyrita, 1979; complete, LSO, Hickox, 1992)

1959 Twelve Preludes [solo piano, 26’] (John Ogden, 1985)

Symphony No. 4 [37’] (LPO, Alwyn, Lyrita, 1975; LSO, Hickox, 1992)

1960 Overture “Derby Day,” [6’] (LPO, Alwyn, Lyrita, 1979; LPO, Hickox, 1992)

Piano Concerto No. 2 [32’] (Howard Shelley, LSO, Hickox, 1993)

1961 Movements for Piano [16’] (Julian Milford, 2000)

1962 String Trio [16’] (The Quartet of London, 1985)

Sonata for Clarinet and Piano [12’] (Joy Farrall, Julius Drake, 1994)

1964 Concerto Grosso No. 3 for Woodwind, Brass, and Strings [15’] (City of London Sinfonia, Hickox, 1992)

JCG Vol. 22, Nos. 1 & 2 43 1970 Sinfonietta for Strings [25’] (LPO, Alwyn, Lyrita, 1972; LSO, Hickox, 1993)

Mirages, A Song Cycle for Baritone and Piano [words by Alwyn, 26’] (Benjamin Luxon, David Willison, Lyita LP, 1972)

1971 Naides: Fantasy-Sonata for Flute and Harp [12’] (Christopher Hyde-Smith, Mariso Robles, Lyrita, 1972; Kate Hill, Ieuan Jones, 1993)

1972 Symphony No. 5 “Hydriotaphia” [16’] (LPO, Alwyn, Lyrita, 1975; LSO, Hickox, 1993)

1975 String Quartet No. 2 “Spring Waters” [21’] (The Quartet of London, 1982)

A Leave-Taking, for Tenor and Piano [25’] (Anthony Rolfe-Johnson, Graham Johnson, 1984)

1976 Invocations, for Soprano and Piano [20’] (Jill Gomez, John Constable, 1983)

Miss Julie, an opera in two acts [118’] (Jill Gomez, Benjamin Luxon, Della Jones, John Mitchinson, The Philharmonia Orchestra, Vilem Tausky, Lyrita, 1977)

1980 Concerto for Flute and Eight Wind Instruments [18’] (The Haffner Wind Ensemble of London, Nicholas Daniel, 1993)

1984 String Quartet No. 3 [23’] (The Quartet of London, 1985)

NOTE: * This list was compiled in July 2000. (In 2001, a second volume of film music was released by Chandos— CHAN 9959.) All recordings are on the Chandos label unless otherwise indicated; LPO=The London Philharmonic Orchestra; LSO=The London Symphony Orchestra.

*****

Brian Murphy was born in 1939 in Detroit and educated at the University of Detroit, Harvard, and the University of London. He has taught English at Oakland University since 1969 and became Director of the University’s Honors College in 1985. He is the author of two books, a study of CS Lewis and a novel, The Enigma Variations.

44 JCG Vol. 22, Nos. 1 & 2 Organizing and Conducting the College-Community Orchestra

By Victor Vallo Jr.

The college-community orchestra is a musical experience for college students that they might otherwise phenomenon that has continued to grow in interest and not have. Values such as these make college-community participation throughout the nineteenth and twentieth orchestras a valuable part of the cultural climate of any centuries. It involves “town-and-gown” musicians college and community. combining their creative energies to make music together. Fred Petty, in his article “College-Community Orchestra,” GETTING STARTED describes the college-community orchestra as “an ever growing body of instrumentalists open to college students, If no orchestra exists at the local college, university, or in faculty, and community musicians, performing a rich the community, the situation may be ripe for starting one. variety of music from Vivaldi to Ives.”1 With this kind of In organizing a college-community orchestra, there are a ensemble comes opportunities for life-long learning for few things to consider. Representatives from the college, conductors and musicians of all ages. preferably the president and the continuing-education division, should be contacted to determine whether the To understand a college-community orchestra, one must college would be willing and able to support such an first understand what a community orchestra is. It can ensemble. Once an agreement has been reached between be considered a group of amateur musicians from the the college and community representatives to jointly local community who voluntarily come together to enjoy organize such an orchestra, there are at least seven areas performing music as an ensemble. As the Latin word that need to be addressed: membership, logistics, funding, amare (to love) implies, amateurs do what they do out publicity, patrons, programming, and a board of directors. of a love for that activity. This does not necessarily imply a lack of professional standards in amateurs. Douglas 1. Membership: Securing membership is the first thing Sanford mentions that it is not surprising that a great to consider in starting a college-community orchestra. artistic growth in so-called amateur organizations, Whether one is planning on a string orchestra or a full combined with a seriously troubled situation among many symphony orchestra, much depends on what the initial professional ensembles, has resulted in an environment interest level is. A survey of the community and the college in which a few community orchestras are now challenging should be done to see if there will be adequate numbers professional orchestras for a share of the audience and kinds of instrumentalists for the various sections of market.2 the orchestra. As is generally the case, there will probably be a shortage of string players compared to a plethora of College-community orchestras are an extension of wind and percussion players. community orchestras in that they involve members of both the college or university and the local community. Next comes the challenge of trying to achieve a balance The value of these orchestras is that they bring together of instrumentation. This can be done through auditions the talents of both, thereby fostering a healthy rapport and by establishing a waiting list. For example, what do between the local and the educational communities. you do if six clarinets are interested but you can only College-community orchestras also provide an orchestral accept two?

JCG Vol. 22, Nos. 1 & 2 45 If you do not have enough string players, a possible e. Sponsorship of particular concerts by solution could be to ask if anyone in the orchestra plays a businesses secondary string instrument to fill in the missing parts. f. Paid promotional advertisements in the concert programs The college should concurrently be contacted to see what g. Grants from arts agencies and foundations instruments are represented by its interested faculty, staff, and students. If the college agrees to sponsor this new 4. Publicity: Good publicity and public relations are ensemble, it could look at the student records to see who vital to the orchestra’s success and positive image in the has an orchestral background. These students could then community. Concerts with effective publicity will help be directly contacted to invite their participation. attract an audience, which in turn will bring in future patrons of the orchestra. Effective publicity can be best 2. Logistics: Good logistics becomes the next important achieved by organizing a publicity committee from the step, especially in locating a suitable space to rehearse members of the orchestra who can place ads in the on a regular basis. The college should have at least one newspaper, conduct a phone marketing campaign, and adequately sized rehearsal space that can accommodate contact the local radio stations. There may be a member a group of 25 to 50 musicians. A flat space is preferable, of the orchestra who has media connections. Flyers can one that is well-lighted, temperature-controlled, and has be designed and distributed to each member of the good acoustics. The stage of an auditorium can be orchestra for posting in the community and around the college. excellent, providing the college would allow its use on a regular basis. Accessibility for larger instruments such as The sponsoring college can help by publicizing the double basses and percussion (i.e. timpani) is important, orchestra in its campus newspaper, newsletter, web especially since the players need to have easy access to pages, and campus-wide e-mail. The Chamber of and from the rehearsal area. Commerce may be interested in adding information about the orchestra in their newsletter and calendar of events. The availability of an adequate number of chairs is another If the college-community orchestra is offered for consideration. The need for music stands can be resolved academic credit, the course listing should also be by the players bringing a folding music stand if the college published by the college and the Chamber of Commerce. does not have any or enough. 5. Patrons: Orchestra patrons can be a vital source of Concerning music, the orchestra has the option of community contacts, funding, and overall support on a borrowing music from a local public or private school stable and continuing basis. Once a patron list is orchestra, college, or another community orchestra. established, a mailing list of their names and addresses Renting or purchasing the music is another option, which can be created. The names of patrons can be listed in the depends upon funding, the next topic. program, which may encourage other people to become patrons of the orchestra. 3. Funding: Adequate funding is the next vital area of concern in organizing a new college-community orchestra. 6. Programming: Well-chosen literature will have a Sponsorship by the college does not necessarily mean very significant effect on the morale and success of the that the college will fund the orchestra, especially if it is orchestra. It is crucial that the music not only be within providing a rehearsal space. Because the orchestra the capability of the general level of the group, but that it cannot rely entirely on volunteer conductors and borrowing simply be fun to play and listen to! If the music is too all of its music, it becomes necessary to find adequate difficult or the music is not fun to play, the morale and and consistent sources of funding: eventually the attendance at rehearsals may be diminished. a. Dues from orchestra members It would be helpful to ask members of the orchestra what b. Fund-raising activities pieces they would like to perform. This could only c. Admission fees at concerts enhance the morale of the group by allowing them input d. Donations at concerts into the programming for the orchestra.

46 JCG Vol. 22, Nos. 1 & 2 A variety of music needs to be selected in programming CONDUCTING REHEARSALS for a college-community orchestra (a recommended list of repertoire is at the end of this article). Whereas It is up to the conductor to ensure that all rehearsals are audience appeal should be considered when choosing well planned before each rehearsal. As a conducting music, it is also important that the orchestra as a whole teacher once told this author, every rehearsal should be be considered. An audience will hear the piece only treated as a performance. Each rehearsal must be a once, but the orchestra will hear the work many times focused and combined effort by all to achieve the in rehearsal. A survey conducted by James Van Horn maximum musical results in the limited time available. In found that “in music of America as well as with Europe, order to do this, there are a number of areas that are conductors seem to try to program things that have suggested for the conductor: familiarity for their audiences.”3 This “familiarity factor,” as he calls it, has become vital for both audience and 1. Rehearsal Schedule: Once a suitable rehearsal orchestra appeal. schedule is established (at least once each week), the day and time of rehearsal needs to be consistent Another aspect in choosing literature is whether to throughout the season. This will allow the members to borrow, rent, or purchase the music. Budgetary schedule around a set time frame for maximum and timely considerations need to be taken into account in this attendance at all rehearsals. Publishing a detailed schedule matter. Borrowing music is successful as long as you for each rehearsal can also facilitate good attendance and are known by the lender, and he or she is not wary of morale. It is important to coordinate all rehearsals and lending music for free. Renting music is another concerts with the academic calendar first to avoid any possibility, but sometimes this can be rather costly, schedule conflicts. especially if not all the parts are returned in time or are not in their original condition. Renting also puts a time 2. Rehearsal Climate: The members need to feel constraint on the orchestra because it has to have the welcome and not pressured to perform perfectly at all music ready for performance in a limited amount of time. rehearsals. No one should ever be embarrassed at anytime in a rehearsal. It’s good for the conductor to Finally, purchasing the music is also a possibility and is have high expectations of the members and to ask for sometimes preferable because it allows the orchestra their best efforts, but he or she should never let those to be able to rehearse it longer and mark it as needed. expectations get in the way of treating the members with It also enables the orchestra to build its own music kindness and understanding. library. Purchasing is often only slightly more expensive than renting. 3. Musical Objectives: Each rehearsal needs to have its own attainable musical objectives. To do this, the 7. Board of Directors: One of the most important conductor should have clear and predetermined goals organizational steps is to form a Board of Directors to for each rehearsal. If possible, after handing out all of the attend to the business and legal matters of the orchestra.4 music, publish in the rehearsal schedule which pieces or It should consist of select members of the orchestra, sections of pieces are going to be rehearsed each week community members, and members from the college/ so that the members know ahead of time what is going to university. Ideally, representation should also be from be focused on and practice beforehand. Such a schedule the local schools, media, churches, professional would also help the woodwind, brass, and percussion community, and a lawyer to handle any of the legal players know when to be present, especially if they are matters. The board should take the leadership role in not called for in certain works. handling most, if not all, managerial duties (i.e. setting up by-laws) so that the conductor may focus his or her Another musical objective is to help the orchestra better energies on the musical growth and direction of the understand the music they are rehearsing and will orchestra. The conductor should be ex officio on the eventually perform. To do this, the conductor must board. assume the role of teacher. The enjoyment of the music

JCG Vol. 22, Nos. 1 & 2 47 by the orchestra members will hopefully increase as their to perform a concert at that event for both the college understanding of the music increases. Malcolm Holmes and the local community. said it well when he remarked: “To develop a good amateur orchestra, the conductor must have had sufficient 3. Attire: It is important that the orchestra look as training and experience in the mechanics of his art to enable uniform and as professional as possible. Concert black him to teach his players, collectively and individually...(he) should be the acceptable attire, which means a tuxedo must be a teacher in the finest sense of the word.”5 for the male members and black dress or pants suit for the female members. If new tuxedos pose a financial 4. Rehearsal Breaks: Knowing when to schedule burden, used tuxedos or black suits should be considered. breaks is another important aspect of rehearsals. If Looking professional will help to enhance the orchestra’s rehearsals are more than two hours, a break should be perception of itself as well as the audience’s perception scheduled soon after the first hour. In addition, college- of the orchestra. community orchestras tend to have a number of older musicians who may appreciate breaks more than their 4. Recording: A good audio and/or video recording of younger counterparts. selected concerts is an excellent way to preserve the musical efforts of the orchestra. With today’s audio and 5. Open Rehearsals: Since a part of the orchestra’s video advancements, a respectable digital recording can success depends on the support of the college and the be made very economically. community, open rehearsals can help to enhance that support. There may be members of the community (i.e. A compact disc would be a great way to archive the parents) as well as students who wish to attend a rehearsal concerts and let the members either have or purchase just to see how their children, friends, and colleagues are their own CD. Selling or giving away these CDs to doing. Whether the open rehearsals are attended or not, patrons at future concerts can also help promote an invitation should still be offered. community support.

PERFORMANCES 5. Reception: An excellent way to end a concert would be to host a reception immediately following the concert. The musical efforts of any college-community orchestra This allows the audience to informally meet the members need to culminate with a successful concert. To help of the orchestra and hopefully help personalize their achieve this culmination of combined efforts, it is experience at the concert. Informal conversations with suggested that the conductor also consider the following: the players and the conductor at these receptions are also, from this author’s experience, excellent opportunities 1. Concert Schedule: Concerts should be scheduled to recruit prospective members for the orchestra. with the agreement of both the college and community members of the orchestra. The number of concerts CODA should be based on the time anticipated to prepare the music. One or two concerts a semester offers the group The college-community orchestra is a unique and attainable musical goals as well as giving the orchestra wonderful kind of musical organization today. One of its ample time to prepare the music for concert performance. raisons d’être is to be a contribution to the cultural needs and desires of the academic and local communities. 2. Concert Locations: It is important that concert Another purpose of the college-community orchestra is locations be strategically selected to allow for maximum to be an opportunity to make music for itself and its audience attendance and the best acoustics possible. audiences. Gerard Wolfe says it well by commenting Churches and college auditoriums can be excellent that “performing in the (college-community) orchestra locations, especially if the acoustics are good and there gives a great many people the chance to enjoy classical is sufficient seating. If there is a special event at the music in a way formerly not available, and to perform college, what better way to say “thanks” than by offering publicly, while enhancing their own musical skills.”6 In

48 JCG Vol. 22, Nos. 1 & 2 the long run, the orchestra, the college, and the community Gliere “Russian Sailor’s Dance” from are the musical beneficiaries. The Red Poppy

RECOMMENDED REPERTOIRE FOR Grieg Peer Gynt Suite COLLEGE-COMMUNITY ORCHESTRAS Holberg Suite Bach, J.S. Brandenburg Concertos Nos. 3 & 4 Handel Water Music Beethoven Egmont Overture Royal Fireworks Music Leonore Overture Messiah Symphony Nos. 1 & 2 Haydn, F.J. Symphony No. 94 (Surprise) Bernstein Selections from West Side Story Symphony No. 100 (Military) (arr. Mason) Symphony No. 103 (Drum Roll) Overture to Candide Symphony No. 104 (London) A Musical Toast Ives Variations on “America” Bizet L’Arlesienne Suite No. 2 The Unanswered Question Symphony in C Khachaturian Sabre Dance from Gayane Borodin In the Steppes of Central Asia Mascagni Intermezzo from Cavalleria Rusticana Brahms Academic Festival Overture Hungarian Dances Nos. 5 & 6 Mendelssohn Hebrides Overture Variations on a Theme of Haydn Symphony No. 3 (Scottish) Symphony No. 4 (Italian) Copland “Hoe-Down” from Rodeo Outdoor Overture Mozart Overture to the Marriage of Figaro Variations on a Shaker Melody Overture to the Impresario Overture to the Magic Flute Corelli Concerto Grosso No. 8 Overture to Cosi fan Tutte (Christmas Concerto) Eine Kleine Nachtmusik Symphony No. 35 (Haffner) Dvorak Slavonic Dances (Opus 46) Symphony No. 8 Symphony No, 36 (Linz) Symphony No. 40 Elgar “Nimrod” from Enigma Variations Pomp and Circumstance Mussorgsky Night on Bald Mountain (arr. Simpson) Marches Nos. 1-4 Offenbach Overture to Orpheus in the Underworld Gershwin American in Paris Suite (arr. Whitney) Porgy and Bess (selections) Prokofiev Lieutenant Kije Suite

Gould, Morton American Salute Ravel Bolero

JCG Vol. 22, Nos. 1 & 2 49 Rimsky- Russian Easter Overture Von Suppé Light Cavalry Overture Korsakov Procession of the Nobles from Mlada Poet and Peasant Overture

Rossini Overture to the Barber of Seville ENDNOTES Overture to the Thieving Magpie 1 Fred Petty, College-Community Orchestra, p. 1. Saint-Saens Carnival of the Animals March Militaire Francaise from 2 Douglas Sanford, The Rise of Community Algerian Suite Orchestras, pp. 1-2.

Schubert Symphony Nos. 5 and 8 3 James Van Horn, The Community Orchestra: A Handbook Rosamunde Overture for Conductors, Managers, and Boards, p. 91.

Sousa Stars and Stripes Forever 4 James Van Horn, pp. 5-6. (and all concert marches) 5 Malcolm H. Holmes, Conducting an Amateur R. Schumann Symphony No. 1 (Spring) Orchestra, p. 3.

Shostakovich Festive Overture 6 Gerard Wolfe, College-Community Orchestras, pp. 1-2.

Sibelius Finlandia BIBLIOGRAPHY The Swan of Tuonela Holmes, Malcolm H. Conducting an Amateur Orchestra. J. Strauss Emperor Waltz Cambridge: Harvard University Press, 1951. Radetzky March Overture to Die Fledermaus Petty, Fred. College-Community Orchestra. Internet Thunder and Lightning Polka article, 1997.

Stravinsky Circus Polka Sanford, Douglas. “The Rise of CommunitOrchestras.” The Podium, March 1997. Tschaikovsky March Slav The Nutcracker Van Horn, James. The Community Orchestra: Symphony No. 2 (Little Russian) A Handbook for Conductors, Managers, and Boards. Westport: Greenwood Press, 1979. Verdi Triumphal March from Aida Wolfe, Gerard. College-Community Orchestras. Wagner Prelude to Act III of Lohengrin E-mail article: [email protected], January 1998. Prelude to Die Meistersinger von Nurnberg Procession to the Cathedral from ***** Lohengrin Siegfried Idyll Dr. Victor Vallo is an Associate Professor of Music at Anderson College (SC) where he is the Coordinator of Music Education and Director of Instrumental Activities. In 2001 Dr. Vallo was appointed as the new Music Director/Conductor of the Anderson Symphony Orchestra.

50 JCG Vol. 22, Nos. 1 & 2 A Study of Student-Community Orchestras in the United States and Canada By Dr. Lyn Schenbeck & Rebecca Jones Rose

The student-community orchestra can be a valuable asset colleges and arranged each category by student to many institutions of higher education. In order to create population to create several tables—Comparison Data and maintain a viable organization, college and community (Appendix A), Budget Figures (Appendix B), Orchestra must work together to solve problems including Numbers (Appendix C), and General Information governance, seating, solos, number and location of (Appendix D). Unanswered questions are blanks in the performances, social interaction, patronage (i.e., financial tables. The following commentary includes quotes support), and community service. This study was extracted from the surveys. prepared under the Research Scholars Program at Agnes Scott College in which an undergraduate student and a AUDITIONS faculty member may collaborate on a research project. Our project explored a number of issues that affect a According to our surveys, the conductor (and/or artistic student-community orchestra. director) usually runs the auditions.

In our orchestra, the concertmaster and each section METHODOLOGY principal sit in on auditions. While we don’t actually vote on who is accepted, I always ask for input on We used the following parameters to define the each auditionee, and each one of the players present organizations: signs the form regardless of whether the individual is accepted or not. Often the principals know their a. Orchestras had to contain both students and sections better than I do and are more capable of significant numbers of community members. determining whether the individual will fit in. b. Conductors had to be on the college or university faculty. When a community player is hesitant to play alone, I c. Students might or might not receive college allow that individual to sit in one night and “audition” credit for participation in the orchestra. by playing in the section. As a retired music teacher, that person may have the power to bring in (or discourage) many students and former students who We developed a survey form which was sent to every are quite good. Therefore, having him in the orchestra, student-community orchestra we could locate in the U. even if his playing is not specifically on the technical S. and Canada utilizing the index under “Director of level I want would be a wise political move that would Orchestra,” in the College Music Society’s (1999-2000) gain more than it would cost in terms of personnel. Directory of Music Facilities in Colleges and Universities, U. S. and Canada. Each school was called Audition repertoire varies greatly. Almost all schools allow to determine whether its orchestra fit our parameters. the auditionee to choose a solo in addition to other Seventy-two schools in the United States and Canada requirements. Only about half the schools require sight had such organizations. reading and/or scales. Several schools indicated that the audition team selected one scale and the auditionee chose Forty, or 56%, of our surveys were returned. We the other. Most organizations require an orchestral excerpt separated schools into liberal arts and non-liberal arts as part of the audition.

JCG Vol. 22, Nos. 1 & 2 51 MEMBERSHIP In several organizations seats are simply assigned by the conductor. “Community members usually sit toward the The survey did not show a correlation between total back and I try to put weaker students with community population of the institution and the size of the orchestra, members for mentoring possibilities.” Three organizations nor did total population relate to the proportion of surveyed do a combination of assignment, audition, and community and student members. It was evident from challenges so they can place community and faculty the surveys that no matter how many violins are in an members “where they would help the most,” or “[in the] orchestra, the number of other string instruments was back of the section—to be supportive, not to replace or rarely proportionate. These numbers varied greatly in ‘demote’ regulars.” In one school “paid or faculty some places from year to year. “For a couple of years I members are placed—students must audition.” might have 8 cellos and 12 violins, and then the tables will turn and I’ll have 10 cellos and 6 violins.” All but one In the woodwinds and brass the problem can be even orchestra either had a plethora of winds or just enough, more difficult because much of the classical repertory while 6% were lacking in one or more brass players, and requires only pairs of winds and brass. If the school has 5% lacked percussionists. (See Appendix C.) its own wind ensemble or band, the problem is somewhat alleviated since other opportunities for performance exist. SEATING If, however, orchestra is the only instrumental performance ensemble on campus or in the community, Some conductors allow community seats to remain the determination of who will play which parts can be constant, moving students around as needed. Other very complicated. Schools address that problem in organizations do placement auditions each year, some different ways. run jointly by the principal chair of each section with the conductor, moving everyone’s seat accordingly. One Some tell community members up front that if there are conductor said, “Ours is called ‘seating check.’ All string students who can play those parts, student instrumentalists players are scored on three excerpts from the concert will have priority. Assuming this, the next question music. [They] are scored by hired players (pros), and becomes: When students get priority, what happens to are reseated for the concert based on [their] scores.” community members, particularly those who have been Another approach some schools take, more easily done with the orchestra for some time? One school solved in a small orchestra, is to allow each section to determine that problem by creating its own “internal” wind ensemble its own seats by consensus. and using one of the wind players, either student or community, to conduct it. This would be a good task for A number of ensembles rotate seats (in all instruments) a retired music teacher whose playing may no longer be with each concert. This gives the community and student on the highest level. That way, when the conductor is members an opportunity to sit in different places and hear working with the strings, the wind ensemble will be the orchestra from varied perspectives. Unfortunately, preparing its own piece(s). Another conductor said, “I many community members, especially the older players, am loyal to long-time community players for filling spots do not like that because they have become comfortable where some years there are no students. But when good in a particular place. One conductor said, “Some long- students come, the community players are always willing time community members are not rotated—this is our to give them a chance to play.” Another suggests, “Ask commitment.” community members how they feel about this issue. Don’t make any assumptions.” Seating challenges are addressed in several ways. “[Challenges are decided] on the advice of the studio Other schools audition winds and brass every year and teacher for that section.” “Music majors who play well simply use the best players. The obvious difficulty come first.” “[Challenges] are allowed only for principal indicated with this method is that when students graduate, chairs.” “[Challenges] are allowed only if it is mutually new students may not enter on those instruments, and agreeable with the person being challenged.” one must revert to the community for players. Other

52 JCG Vol. 22, Nos. 1 & 2 respondents asserted that community competition All of them feel that having input in the form of committees becomes more intense, and they end up with better and an elected Board makes the ensemble more players. Some use more than one player per part on each educational and challenging.” wind and brass part, which allows a number of players to gain experience on those parts. Several begin that way The conductor/artistic director, alone, governs 77% of and then audition players right before the concert to the orchestras surveyed. The only remarks made by determine who will play a particular concert. The rationale appears to be that rehearsals are always covered, and conductors who assumed sole leadership were: “I have those players who are really interested and dedicated an instrumental handbook that I wrote,” and “as a practice harder for the chance to play the concert. University course, we do have a syllabus.”

The issue of assigning principal chairs in the strings is more Most of the other 23% (those that do have boards) are complicated. Many schools simply leave the principal liberal arts colleges. Few have constitutions that structure player in that seat unless someone challenges. Fourteen the government. All have at least a president and the schools said that they pay professionals to play principal conductor/music director on the board. Four have at- even if they have capable students. Several others place large community members and no at-large students. Two faculty in those chairs. Most schools, however, audition schools include at-large students and no at-large their own orchestra members for principal chairs and leave community members; two other schools have both. One these people in place until they either graduate or choose to leave. All orchestras that do not pay professionals said school has a chaplain and a student conductor on its board that they give students priority in principal chairs. In order in addition to a full slate of officers. Some boards meet to maintain sound leadership, particularly if the principal monthly, others twice each year, and still another, twice chair is an inexperienced student, a faculty member or each semester. Length of meeting time ranges from one strong community member is often placed on the inside to three hours. of the first stand. This allows the student to get the experience of leading with help from another strong player. The thing I like best about the board is that I don’t have to One conductor said, “I always use students as principal worry about whether problems exist. My board members keep players, give them the responsibility of bowing the parts, me apprised of any problems so we can take steps to solve them leading the section, playing the solos, but the faculty before any major issues arise. Many times an orchestra does member [or community person] who sits beside him or not feel comfortable talking directly with me about something her becomes a mentor who is ultimately responsible.” of concern, but most are very comfortable with their peers. They especially like the at-large members because these people ORCHESTRA GOVERNANCE are there primarily to foster good communication. [A] member An ensemble that interacts positively will produce much can share anything with them and I become aware of potential better music than one pervaded by strife and negativity. conflicts. The personality of the conductor and the governance of the orchestra can have an enormous effect upon members’ General tasks of the various boards include public attitudes. “One comment on my teaching evaluations was relations, fund raising, social events, conflict resolution, ‘Now that we [students] have input into the orchestra I music selection, and budget. Another conductor enjoy playing more because I feel like my opinions really commented, “The most important aspect of my matter.’” Another commented, “Some of my community orchestra’s governing body is the communication comfort people just want to play, while others are really interested in lending their experience and wisdom to the board. All level when the members don’t have to talk to the my students, however, want a say in how the orchestra is conductor directly. They are more comfortable giving run. They’re not interested in artistic control, but just want suggestions to their peers.” From these two statements, to help with PR and ideas for different kinds of concerts. perhaps the main responsibility of the governing body is

JCG Vol. 22, Nos. 1 & 2 53 to help maintain good communication between conductor inconsistency of percussion needs presents a problem. and members. We have no solid core of regular percussionists except our own timpanist. We fill the section ad hoc.” “Percussion Of the conductors surveyed, 45% ask for input regarding needs vary greatly from concert to concert. We almost repertoire, 30% allow “some” input, and the rest do not. always need a timpanist, but not all timpanists can play other instruments so I tend to shy away from music with Some comments follow: “I generally ask for input during many percussion parts. It is also difficult to know how to one year that will be used for the next academic year. I redistribute the parts if we don’t have enough players to try to vary the repertoire so that it challenges different cover all of them.” sections for each concert.” “I want them to like the repertoire, but I must choose based on its educational Lack of academic credit was another concern. Over the value as well.” “My orchestra often comes up with better past decade many schools that had never given academic suggestions than I do because many of them, especially credit for ensembles have begun to do so. Those schools the community people, have played longer than I have.” that do not yet offer credit are finding that current students It would seem that encouraging suggestions is important. may not become part of an ensemble without it. One conductor said, “When our school began to offer Many factors are involved in the choice of repertoire, academic credit six years ago, the size of our ensembles some of which, such as budget restrictions, the conductor almost doubled. I also believe that today’s society is one may not be willing to share with the group for appropriate of rewards. Students feel that if there is no external reasons. One conductor whose yearly budget for reward, the internal one is not good enough to satisfy repertoire was $500 said “I hesitate to share the amount them. It is sad.” of my budget with the orchestra or they might think we can’t afford to perform good music. They know we have Competition among colleges and lack of scholarship funds a small library.” This can be particularly true in an were two other repeated concerns among conductors. academic setting.. “One program I chose turned out to “More and more, it’s not about how good you are, but be too easy for the orchestra. They learned all the music how much money you can offer the student. Schools are so quickly that I had to add a piece or two. I asked them finding it necessary to ‘buy’ students.” In urban areas for suggestions and got several good ones. When I added where there may be as many as twenty or thirty schools, the extra piece, several community members told me that competition for talent is often fierce. Several conductors they were excited and challenged by the new pieces and in schools with populations less than 2000 indicated that were glad I had asked them for help. The same people larger schools with bigger orchestras seem to be attracting also said that they were glad all the music was not this more students, especially strings. difficult.” Schools are addressing recruitment needs in a number of RECRUITING A ND RETENTION ways:

Seventy-six percent of the schools indicated the constant 75% used word-of-mouth, need to recruit strings. In surveyed community colleges, 65% contacted high school teachers, the turnover of students is so great that they indicated the 60% made telephone calls need to have a very strong community base, particularly 30% ran ads in community newspapers in the string area. One school indicated concern over lack 23% ran ads in campus newspapers of quality as well as quantity among string players. “We 3% did nothing not only have trouble getting strings, but I am concerned about the quality of the ones we do get.” Only 10% of Some suggestions to enhance recruiting were: creating the schools needed to recruit woodwinds, 3% needed chamber groups within the orchestra, sending out brass, 11% needed percussion, and 10% indicated that information packets to incoming college and area high their needs vary significantly from year to year. “The school students, having faculty and/or the orchestra itself

54 JCG Vol. 22, Nos. 1 & 2 visit area high schools and area festivals, telephoning conductors commented on this issue with various community musicians, and creating and distributing flyers perspectives: “I come here to play. I have arthritis in the community. and I can’t practice too much. I’m willing to do what I can, but if the music’s too hard I won’t stay in [the Of recruiting quality string players, one conductor said, orchestra].” “It is often difficult to choose repertoire “We also teach pre-college students [in order] to raise that is challenging enough to keep the students happy, the standards of string playing in the area.” A number of but easy enough that the community people don’t schools are beginning preparatory programs for children. need to put in hours of practice.” “Students resent Some sponsor Suzuki programs, others have the community players that show up once in a while and neighborhood music schools, where children in urban don’t practice their parts.” Another related comment was areas can come to the college on Saturdays for “I can’t build the quality of the orchestra if the community instruction. The instructors for these lessons range players don’t practice.” from graduate and exceptional undergraduate students to adjunct and sometime even full-time How do we deal with the people in the orchestra that faculty. The experience for student instructors is don’t practice? Several conductors indicated that, for the invaluable, particularly those who want to teach after student, the grade helps that process. The community graduation. If a high school student, for example, is population must be inspired to practice. In the area of taught by a current college student and is good student resentment for community players who don’t enough to play in the orchestra, the fact that the practice and whose attendance is not good, one college student is also in the ensemble will stimulate conductor said “Therefore, students and community a child’s interest in joining the orchestra. The fees players [together] decide whether or not [the recalcitrant for these lessons are graduated according to parental players] can continue to stay with the orchestra.” Another incomes, and the schools often make special said, “I make sure to have community as well as students arrangements with a local music store to rent on the Board of Directors. These issues have been instruments. This helps both school and community addressed in our Constitution, a document that is given to make yet another connection. to each member upon entrance into the orchestra.” “I believe that repertoire can make all the difference [in the Two conductors solved the problem of scholarship retention process], so I ask for input from both community needs by establishing patron committees that created and student members.” “I have found that by making the an endowment fund. Another worked with the community people active in the organization, either by development office at his college to target specific having representatives on the Board, or by setting up donors for endowed chairs. committees in which they can participate, they come more regularly.” “We have an attendance policy for all members. Although all these issues are important in the There is some leeway for work, but our players all must recruitment process, it is often the personalities of follow the rules or may not remain in the orchestra.” those doing the recruiting that can make the most difference. “If they like and trust the conductor, recruiting is much easier. If the membership is upbeat The subject of adjunct faculty was also a concern. “We and positive, they will attract more people.” “I find have few full-time instrumental teachers on our 1 that the more accessible I am to the membership, the faculty.” Another pertinent comment was: “The adjunct more they will recruit on their own for the ensemble. faculty will not play in the orchestra unless they get paid. It is definitely word of mouth that makes the most The full-time faculty members don’t have time to play in difference.” the orchestra. If we had more faculty in the orchestra, I think more of our students and community people would The level of repertoire affects retention. If the music stay.” is too easy, the membership is bored; if it is too difficult, some people become discouraged. Many Some general suggestions for retention were also made

JCG Vol. 22, Nos. 1 & 2 55 “I take my orchestra on an outing each semester. When Many living composers are sensitive to those issues. At they bond with one another it’s easier to keep them year the recent Southeastern regional Conductors Guild after year. Sometimes we go to a concert; other times to meeting in Atlanta, composer James Oliverio made a point a local master class.” “I bring in guest conductors.” “I to tell conductors that he is self-published and has a sliding host workshops and master classes on my campus.” “We fee scale for all his pieces. He stressed that he will work try to have professional meetings on campus that concern with any school to help make it possible for them to string players.” “I try to be as flexible as possible with the perform his music. Other composers are also beginning schedule for non-majors and community personnel.” to do that. With the creation of computer-notation software, it is much easier to be self-published, so parts are easier to generate and maintain. This can substantially help to reduce fees. One conductor’s comment that seems PROGRAMING vitally important was, “I used to make assumptions that all rental fees were outside my budgetary capability. I am Since most orchestras play a variety of music written often wrong and so I now don’t rule anything out until I before the twentieth century, the only style period the check it out.” survey addressed was the twentieth century. Of the schools surveyed, 58% perform twentieth-century music BUDGET on a regular basis. Conductors indicated that 15% of the rest perform it sometimes and 27% do not perform it at Total budget figures reported in the survey range from all. Sixteen schools (70%) of the fifty-eight percent that $300 to $100,000 per year. No correlation between size perform it regularly are liberal arts colleges. One of school or type of institution and the yearly budget conductor who regularly performs twentieth-century amount was evident from the numbers (Appendix A). music added, “. . . and we regularly do works by living The orchestra with the highest number of paid players composers, very important.” (54) has an annual budget of $18,000. In the case of an orchestra with a $17,000 annual budget, regular salaries The biggest stumbling block to the performance of (10 paid players) account for 60% of that ensemble’s twentieth-century music appears to be budget. A great expenses. The orchestra with the largest budget deal of that music is rental-only and the fees tend to be ($100,000) has only 7 paid players. Soloists account for high. Fees usually depend on the length of the piece, 20% of its total expenses and extra salary for the seating capacity of the venue, whether or not it is open to conductor (beyond that which the college pays) accounts the public, whether or not there is an admission charge, for 33%. Music rental and purchase combined are only and how many performances will be done. In the pop 3% of that orchestra’s budget and players’ salaries and musical theatre realm, that fee goes even higher. As account for 18%. one conductor from a small liberal arts college said, “Your library hasn’t gained anything and you must rent again to Conductors indicated that revenues were often obtained perform the piece at some future date.” An even stronger from multiple sources. Some schools got revenues from comment was also made, “Why should I have to rent a each category, while others got all revenue from one piece of music and pay extra fees when my school is category. Most obtained funds from at least two of the already licensed, as it should be, by ASCAP, BMI, and sources below: SESAC? Those blanket licenses are very reasonable and I have no problem with that, but I feel that I am being college funds: 98% charged twice for the privilege of playing music that I corporate sponsors: 28% consider important.” Another said, “If conductors don’t private donors: 28% champion and commission new works by living arts grants: 18% composers, who will? But I am disappointed to hear endowed funds: 15% about a new work, or even to commission one, and then fund raising: 10% discover that I can’t perform it, or can’t perform it again other grants: 2% without a rental fee.” member dues: 2%

56 JCG Vol. 22, Nos. 1 & 2 See Appendix B for a table showing the relationship between revenue origins and the population of the institution. Expenses included everything from players’ salaries to scholarship aid. Several conductors indicated that their funds were simply part of the general music department budget and they didn’t know exactly how much they had to spend. One conductor said, “[It is] difficult to identify as we are a university orchestra, so, for example, office supplies are supplied as needed, as are publicity, travel, house management, instrument maintenance, and recruiting activities. The only ‘budget’ item I can refer to is music purchase/rental.” “Funds are spent in [the areas of recruitment and retention, publicity, and office supplies] but they come from the General Music Department budget and not the Orchestra Budget.” Others had “separate budgets for each category.” Expenses that were listed under “other” were salaries for conductors and business managers.

Music purchase and rental represents a high proportion of many budgets. It would be helpful in smaller towns if a library could be created that is central to a group of member schools and maintained by fees from each institution or orchestra from which parts could be borrowed. For those of us in areas where there is a regional or state orchestra that has a good library, perhaps arrangements could be made to pay them the fee and use their resources. The money would help with upkeep of the library, perhaps even hiring an extra librarian just to help fill the needs of the borrowers.

CONCLUSION

We initially assumed that schools with larger student populations would have larger orchestras and budgets. We also thought that non-liberal-arts schools would most likely have larger orchestras and budgets than liberal arts colleges, particularly because many of these institutions have schools of music or conservatories from which to draw students. Yet our data revealed no differences between liberal arts and non-liberal arts schools in terms of anything surveyed; however, since our study excluded orchestras made up only of students or students and faculty, it presumably excluded many institutions in the conservatory or large school-of-music category. Such institutions may well fit our original assumptions.

Issues faced by student-community orchestras are unusual in many ways. These groups can bring their communities and colleges together like no other activity. Our goal was to assess the status of these ensembles regarding specific issues, using our findings to suggest ways they could be improved. Respondents’ commentaries turned out to be more useful than the statistics, since the quantitative data we gathered yielded few significant correlations. Many anecdotes, however, contained helpful suggestions in matters such as personnel, scheduling, and repertoire.

*****

Lyn Schenbeck has her doctorate in both Instrumental and Choral Conducting from the University of Colorado-Boulder. Her many accomplishments include conducting choirs and orchestras around the country, writing liner notes for 5 different record labels, and serving on the Board of Governors of the NARAS/ Atlanta. Dr. Schenbeck is currently Director of Choral and Orchestral Activities at Agnes Scott College in Decatur, Georgia, where she conducts the Orchestra, two choirs, and teaches voice and opera/musical theatre.

*****

Rebecca Jones Rose is currently a Social Studies Teacher and Music Ministry Co-Moderator at St. Pius the X Catholic High School, Atlanta, GA. She also plays in the Agnes Scott College Community Orchestra.

JCG Vol. 22, Nos. 1 & 2 57 58 JCG Vol. 22, Nos. 1 & 2 JCG Vol. 22, Nos. 1 & 2 59 60 JCG Vol. 22, Nos. 1 & 2 JCG Vol. 22, Nos. 1 & 2 61 62 JCG Vol. 22, Nos. 1 & 2 JCG Vol. 22, Nos. 1 & 2 63 64 JCG Vol. 22, Nos. 1 & 2 JCG Vol. 22, Nos. 1 & 2 65 ENGAGING THE HEAD VOICE: SIMPLE EXERCISES FOR AMATEUR COMMUNITY CHOIRS

By Welborne E. Young

VOCAL RANGES

One of the most rewarding and challenging pursuits a instrument with which the conductor must work within conductor can undertake is directing and conducting an an ensemble of “blended” abilities often without the benefit amateur community choir. The singing membership of of a common vocabulary. these ensembles presents the conductor with an array of abilities, backgrounds, and ages as they express a love Group vocal challenges are as numerous as the articles of music making that drives and enlivens their pursuit for and books on vocal pedagogy. This article will address musical excellence. Robert Shaw addressed this only one issue, the utilization of the head voice with the particular aspect of amateur music making in a letter to goal of correcting some vocal problems common to most the Atlanta Symphony Orchestra Chorus, “I have felt for amateur community choirs. Specifically these problems some years that the arts were too important to be left are: the soprano and alto voice between G4 and C5, entirely to the professionals...Even with the ‘best of inflexibility and pitch obscurity in the bass voice below intentions,’ the things that people do ‘for love’ are likely D3, and strident singing beyond, or inability to access to undergo modification when done only ‘for money.’”1 notes above, the upper passaggio for sopranos and tenors. Simple exercises that require little technical Aside from the challenges of governance, marketing, and explanation will be suggested to correct these problems. fund-raising, conductors of amateur community choirs These suggestions are not intended to be a panacea. must address the problems resulting from the “blended” Thomas Hemsley writes, “In practice, if singers are to vocal abilities of their ensemble. Unlike most other develop the ability to respond with accuracy and subtlety community music organizations where private lessons or to all shades of feeling and meaning, the head-voice or school study were necessary for members to learn to mezza voce must be an essential ingredient in all their play their instruments, the membership of these ensembles singing.”2 is a confluence of singers who have never studied voice and singers who are well trained. Often, a common It must be stated here that there are differing opinions musical and vocal technical languages may not exist. The among voice professionals on the number of vocal questions of whether the conductor should be teaching registers. James McKinney, and many voice-science voice, of the effectiveness of group instruction, or even professionals, identify three registers: modal, fry, and of whether choral demands on the voice versus solo falsetto (for men) or whistle (for women). McKinney states demands on the voice are compatible will not be further, that it is in the modal register where the majority discussed in this article. The voice is, however, the of singing occurs. It is the non-static nature of the larynx

66 JCG Vol. 22, Nos. 1 & 2 and the thinning or thickening of the vocal folds that allows folds open and pliable. Miller writes of an aspirate onset evenness and transition of the singing voice from lowest to help correct this problem as well.7 Have the choir notes to highest.3 Richard Miller, on the other hand, writes perform Exercise 1. Request that the ensemble sustain that the terminology used by “speech investigators” an aspirate sound on the first pitch and slowly allow the (McKinney may be included) is too limiting and ignores vocal folds to engage until the most vibrant singing tone is “the subtle differences in a number of register timbres achieved before completing the exercise. Begin the recognized in traditional schools of singing.”4 He further exercise in the key of D and ascend by half steps. Do not states, there are two transition points or passaggi, the exceed the key of B-flat. This range of keys aids the primo passaggio and the secondo passaggio, that define singer in strengthening the middle voice by mixing the head three registers: the chest voice, the mix or middle voice, voice down. and the head voice.5 Miller relies on historical writing, recognition of aural cues in timbre, and singer sensation EXERCISE 1 and vibration to support his statement. The untrained singers especially need the timbre and sensation indicators to improve their singing. It is Miller’s vocal register terminology that will be used here.

Second, finding the correct gradation of vowel or vowel Because of their vital connection to engaging the head- color for the pitch to be sung is frequently difficult for voice, two topics specific to the entire ensemble need to untrained singers. What may be the most vibrant vowel be discussed before proceeding to the main body of the production for the alto section at a specific pitch may paper, 1) the steps to producing the singing voice and 2) need to be modified by all other sections because of the vowel production. First, untrained singers and the pitches those sections are singing or singer ability. Miller ensemble in general need a systematic and consistent states, “In the historical Italian School concentration is approach to creating sound. Appropriate space precedes on graduated vowel modification. Flexible adjustment of an energized breath, which precedes sound or, basically: the vocal tract must be permitted in order to define all space, air, and then sound. Appropriate space includes vowel forms.”8 This implies that a unified ensemble vowel both pharyngeal space and aperture (mouth opening) may require simultaneous adjustments of that vowel from space. This brings to mind the often-used expression, section to section based on range. It is, therefore, not “Breath in the vowel.” If the singer can re-create the contrary to state that conductors must strive for vowel sensation, then the vocal tract and the aperture will be in unification throughout the ensemble especially when that the correct position to produce the desired sound. While means a variety of vowel colors are necessary to unify there are several differing views on breathing, James the group vowel sound. Below, Chart 1 illustrates the McKinney outlines the process in four steps: inhalation, continuum of vowels using the International Phonetic suspension, exhalation (singing), and recovery.6 It is in the transition from the suspension phase to the exhalation Alphabet (IPA). phase that many amateur singers have trouble. The CHART 1 tendency is to mistakenly use too much tension in positioning the vocal folds as a valve to hold air in thus making them rigid. This rigidity affects onset and all subsequent sounds. Glottal onsets, ragged starts, and overly weighty, dull, and inflexible singing are indicators of this problem. Two exercises applied in warm-ups can Given the fluid nature of vowel color in relation to pitch, assist the singers in becoming aware of the vocal this investigation will address only the most common issue mechanism without undue technical explanation from the with the [a] sound. Frequently, the untrained singer cannot conductor. During breathing exercises, reduce or eliminate sense the pharyngeal space needed to correctly produce the suspension phase by immediately and gently reversing the vowels at any given pitch. A most common error the airflow after inhalation. This will help keep the vocal occurs when the open vowel [a] becomes [^] in the

JCG Vol. 22, Nos. 1 & 2 67 singer’s voice. The pharyngeal space has collapsed and of the vocal tract as they ascend without losing the forward the soft palate has dropped. The untrained singer needs focus of the [u] sound. Used in warm-ups this aids the to feel the sensation necessary to correct this problem. singer in exploring the head voice. Ask the ensemble to repeat after you while you vary the [a] sound in brightness and pitch in rapid succession. Once Whether it is a reflection of current cultural influences or the ensemble achieves the vibrancy and space you are a misunderstanding by singers that what they feel as they seeking, immediately apply that sound to Exercise 1 sing is necessarily what is heard, many amateur bass above. If there is a particular place in the music you are singers overly darken vowels and overly engage their working on that requires that sound apply it there as well. chest voice. This practice renders the voice inflexible, obscures the pitch, and actually reduces the volume Many untrained singers inadvertently isolate vocal produced. Bass singers should not falsely add to the registers. One common example of this is found in the timbre they naturally create. Most often, the singer makes soprano and alto voice in the range G4 to C5. At one too much space too low in the vocal register and sings extreme there is the upper limit of the chest voice and at too loudly creating a faux bass resonance. This may cause the other extreme there is the lower limit of the head voice. an abundance of vibration in their heads, but the actual When isolated, the untrained chest voice will have strength sound is trapped in the mouth and throat and lacks to about G4, while the untrained head voice will have vibrancy and direction. Inability to move notes in tempo, strength beginning about C5. Singing with pure head-voice to accurately sing correct intervals greater than a third, below C5 produces a weak unfocused sound, while and to sustain pitch integrity are all symptoms of a lack of forcing the chest-voice above G4 produces a loud, raw head-voice integration. To correct this, begin with a sound. Both lack focus and pitch integrity. A mixture of falsetto exercise that has two stages. Singers should sing these two voices must occur to create evenness and a descending five-note major scale from dominant to tonic flexibility in this range. Singers should try to strengthen on either [u] or [o] beginning high in the falsetto. Each and integrate the head voice down. Hemsley states, “One succession of the exercise is a half step lower. Singers thing is certain...the head-voice must always be part of should carry the falsetto as low as possible. This provides the mixture, and should always lead.”9 To achieve this the singer with a pharyngeal sensation that they should mixture in women’s voices the [u] and [o]sounds tend to be able to re-create in the head voice. Ask the singers to provide the most pharyngeal space. These closed vowels now sing the same exercise beginning on B3 utilizing the can also aid in reducing the amount of chest voice a singer pharyngeal space and lightness of production they might tend to engage. In Exercise 2 below, the singers developed from the falsetto stage of the exercise. The should be encouraged to create the necessary space, head voice will probably be weak but should develop. accelerate the air, resist getting louder as they ascend the Exercise 3 illustrates another exercise to integrate the head first interval of a perfect fourth, and maintain a piano voice down. On the lowest note, the singer changes to dynamic. Further, they should maintain the openness and the [u] sound and is encouraged to create the necessary light production they achieved as they descend. Begin space and accelerate the breath prior to negotiating the the exercise in the key of D and ascend to the key of F or octave leap. Further, the pharyngeal space and light vocal F-sharp. Work your way back to the key of D. Again, production should be carried down the scale. this range of keys develops the middle voice by integrating the head voice down. EXERCISE 3

EXERCISE 2

For greatest effectiveness, this exercise should be carried no higher than the key of E and no lower than the key of When done correctly, the singers will feel the lengthening A. For all sections, rapid scale and arpeggios should be

68 JCG Vol. 22, Nos. 1 & 2 scheduled regularly into the warm-ups to improve vocal the tongue is placed for the [i] sound), modify the [o] to flexibility, breath management, and integration of the head [U], and modify the [a] to [É]. voice. EXERCISE 5 Sopranos and tenors frequently encounter trouble accessing notes in the highest part of their range and making them beautiful within the context of the ensemble sound. The more extreme the note or the more demanding the tessitura, greater is the need for the singer to understand how vowel modification, integration of the head voice, and breath energy affect the voice as it This exercise, like the others, ascends by half step. The approaches the upper notes. Sudden shifts in space, both singers should become aware of the space and breath pharyngeal and aperture, or inappropriate adjustments needed to sing beautiful vowels above the staff. As has in breath energy at the apogee of the vocal line defeat been mentioned before, the use of rapid scales and beautiful singing. Above all, the conductor must help the arpeggios extends the vocal range, encourages an singer sense the subtle changes in vowel, breath energy, energized breath, requires vowel modification, and aids and pharyngeal space prior to arriving at the moment. in integrating the head voice. Exercise 4 couples an energized breath with vowel modification exercises as the singer moves from a closed Shaw has written, “It is clear to anyone who has worked bright sound [i]or closed dark sound [o]to the open [a]. with choruses of both ‘amateur’ and ‘professional’ voices, Again, it is the more closed vowels that encourage that well-taught voices can make a better choral sound utilization of the head voice. Begin the exercise with the than un-taught voices. The teaching of voice has to be [i] sound. As the singers ascend, the vowel should modify one of the most difficult and complicated of musical slightly (open) as they reach the top and sing [a]. Each endeavors. You can’t see it, you can’t touch it – and, if repetition of the exercise should be a half step higher. At you’re the one doing it, you have to depend upon someone the key of E or F change the beginning sound to [o]. This else even to hear it.”10 Developing the head voice is one change should allow for more pharyngeal and aperture element necessary for the conductor to successfully space for the higher notes. combine the “blended” abilities of an amateur community choir. It can strengthen the soprano and alto middle voice, EXERCISE 4 lighten and add vibrancy and accuracy to the bass voice, and assist the soprano and tenor voices into their highest pitches. This will in-turn improve ensemble intonation, blend, balance, vibrancy, and open avenues to more expressive, dynamic singing. The suggestions given here are by no means intended to be all encompassing. They It is important that the conductor listens for and corrects are what many amateurs need; simple and to the point, any [a] sound that is too spread or too dark as this will related to sensation, and fairly easy to execute. impede the singers’ ability to access the highest notes with any grace. A more legato exercise that focuses on One final word about amateur community choirs. When space and vowel modification to encourage the utilization the ensemble is confident of the technical work and of the head voice is below in Exercise 5. This exercise therefore free to give heart, personal experience, and spirit can be sung on [i], [o], or [a] with modification as the to their performance, the music lives in a special way. singer approaches the perfect fifth. Modify the [i] sound This type of performance transforms the individual singer, with the aid of a closed German mixed vowel, “ü” [y] the conductor, and the audience alike. Humankind is (this vowel is considered mixed because the lips, aperture, rewarded with the lofty ideas that sustain the soul. This and pharyngeal space are placed for the [u] sound but choral work is rewarding.

JCG Vol. 22, Nos. 1 & 2 69 ENDNOTES

1 Robert Shaw, Letter to the Atlanta Symphony Orchestra Chorus, November 9, 1983.

2 Thomas Hemsley, Singing and Imagination: A Human Approach to a Great Musical Tradition (Oxford: Oxford University Press, 1998), 52. 3 James McKinney, The Diagnosis and Correction of Vocal Faults, p. 97.

4 Richard Miller, The Structure of Singing, p. 115

5 ibid.

6 McKinney, p. 51.

7 Miller, p. 8.

8 Miller, p. 155.

9 Hemsley, p. 54.

10 Robert Shaw, Letter to the Atlanta Symphony Orchestra Chorus, September 20, 1984.

WORKS CITED

Hemsley, Thomas: Singing and Imagination: A Human Approach to a Great Musical Tradition. Oxford: Oxford University Press, 1998.

McKinney, James C.: The Diagnosis and Correction of Vocal Faults. Nashville: Broadman Press, 1982.

Miller, Richard: The Structure of Singing. New York: Schirmer Books, 1986.

Shaw, Robert: Atlanta, to the Atlanta Symphony Orchestra Chorus. (Provided through the generosity and kindness of Randy Price, University of North Carolina at Greensboro.)

***** Welborn Young, formerly the Artistic Director and Conductor for Windy City Performing Arts in Chicago, is on the choral faculty at the University of North Carolina at Greensboro and is the Director of the Choral Society of Greensboro.

70 JCG Vol. 22, Nos. 1 & 2 FRANCIS POULENC’S GLORIA CORRECTIONS TO NEW (1996) FULL SCORE

By Lee G. Barrow

Originally published in 1960 by Editions Salabert, the first edition of Poulenc’s Gloria included a full score, a piano/ vocal score, a choral score, and orchestral parts (available on rental only). As pointed out in several earlier publications, the materials of this first printing contain several hundred errors, from missing markings to incorrect notes and rhythms.1 In addition, the three scores and the parts conflict in dozens of places.

In 1996, Salabert issued a new printing of the three scores (but not the orchestral parts). The new piano/vocal and choral scores are not corrected—they are simply reprints of the earlier scores with new covers. The full score, however, is newly engraved, and many of the errors found in the first edition have been corrected.

The new full score is a welcome improvement with many enhancements (such as measure numbers), but over a hundred errors and conflicts remain. The job of identifying and correcting the remaining mistakes is a long and laborious process.

The first step in solving the problem of the errors in the performing materials is to assure that you receive the 1996 full score.

Below is a list of the errors appearing in the new full score, along with a some clarifying discussion.

GENERAL COMMENT

The Bass Clarinet always transposes a second rather than a ninth, even when written in treble clef.

ABBREVIATIONS

A Alto Hn Horn T Tenor B Bass Hp Harp Tbn Trombone BCl Bass Clarinet l.h. left hand Timp Timpani Bsn Bassoon MS manuscript Tpt Trumpet Cb Contrabass Ob Oboe Vc ‘Cello Cl Clarinet r.h. right hand Vla Viola EH English Horn S Soprano Vln I 1st Violin Fl Flute Ssolo Soprano soloist Vln II 2nd Violin

JCG Vol. 22, Nos. 1 & 2 71 I. GLORIA

MEASURE #REHEARSAL INSTRUMENT CORRECTION

1 4 before 1 EH remove slur from 3rd to 4th notes * 5 1 Bsns,Vc,Cb remove slurs from 3 rd to 4 th notes ?2 * 9 2 Brass remove slurs from 3 rd to 4 th notes ?2 12 3 before 3 All add ’ at end of measure 15 3 B change dynamic to mp 15 3 Vln II add unis. 22 4th of 4 Bsns remove sans sourd. * 22 4th of 4 Harp remove notes, insert rest3 33 4 before 7 Bsns change dynamic to p 35 2 before 7 Cl,BCl change dynamic to mp 41 2 before 8 Tbn 2(3) this measure is for 3 rd Tbn, not 2nd 46 3 before 9 Tbn 2 change last note from A# to B 47-48 2-1 before 9 Ob 2 add accent on downbeat of both measures (note that in Ob 1 the first accent is placed in the staff above) * 55 1 before 10 T raise all notes in this measure up one octave4 * 61 1 before 11 Fl change measure to read: 5

* 62 11 Bsns Add a2

II. Laudamus te

10 3rd of 13 Vln I be aware that the parts have: (the manuscript has:)

15 5 before 15 A add dynamic f 15 5 before 15 B add dynamic mf * 17 3 before 15 A, B remove syllable “-a” and add tie?6 23 4th of 15 Fls MS has no dynamic indication; could be f 24 16 Vln I add div, (tutti refers to la moitié in previous measure) 32 18 Fl 2 low C at forte is correct * 32 18 Vla (lower) change last note from B to C7 * 34 3 rd of 18 Ob 1 change B to A?8 34 3 rd of 18 A,T change word fragment from “a-mus” to “ca-mus” 36 19 Bsns change dynamic from f to ff 41 6th of 19 Obs change 1. to a2 41 6th of 19 S change dynamic from f to mf 46 20 All change time sig. to 4/4, remove Alto’s final quarter rest 46-48 1st 3 of 20 S,A this line (“Gratias agimus tibi”) is for Alto, not Sopr.; extend each slur to cover all notes in its measure

72 JCG Vol. 22, Nos. 1 & 2 49 21 Vla add unis. 50 2nd of 21 Vln II clarification: last note of upper part is C-flat 52 4th of 21 Vla Add divisi

58 4 before 23 A,B add dynamic mf

58 4 before 23 Cb add pizz. 71-72 3-2 before 24 Vla add divisi in m. 71, unis. in m. 72 80 2 before 26 Vlns add divisi 81 1 before 26 Vla add divisi at end of measure

III. Domine Deus

1 27 All strings add sourdines (for entire movement) 8-9 1-2 of 28 S solo add slur to “Domine” 10-11 3-4 of 28 S solo add slur to “Domine” 16 2 before 29 T add breath mark between “Deus” and “Pater” 18 29 Vln I change dynamic to ppp (other strings retain pp) 18 29 Vla add unis. 18-19 1-2 of 29 S solo add single slur to “Pater omnipotens” * 20 3 rd of 29 Bsn change to read:

20 3 rd of 29 B change dynamic to ppp 20-21 3-4 of 29 S solo add slur to “Domine” 22 5th of 29 S solo add dynamic mf at beginning 22-23 5-6 of 29 S solo add slur to “Domine” 23 6th of 29 S solo add dynamic f on 2nd beat 24-25 1-2 of 30 S solo remove slur from “Rex coelestis”, both measures 28 2 before 31 Vln I change dynamic to p (other strings retain mf) 29-30 1 before 31 S add single slur to “Pater omnipotens” * 30 31 Vlns,Vla add divisi 30-31 1-2 of 31 S solo, T add slur to “Domine” * 32 3rd of 31 Vla add unis. 38-39 1-2 of 32 B change both measures:

41 1 before 33 A change last note to 16th note followed by 16th rest * 42 33 Vlns,Vla add unis. 43 2nd of 33 Ob change to read:

45-46 1-2 of 34 S solo add slur to “Domine” 47-48 3-4 of 34 S solo add slur to “Domine” 51 35 T moitié, not tous 51-52 1-2 of 35 S solo add single slur to “Deus Pater”

JCG Vol. 22, Nos. 1 & 2 73 53-54 3-4 of 35 S solo add single slur to “Pater omnipotens”

IV. Domine Fili unigenite Note: pickup is numbered as measure 1, first complete measure is numbered as measure 2. 8 3 before 37 Trp 2-3 add 2. (2nd trumpet only) 13 3rd of 37 EH dynamic f is not in MS; still fff? * 14 4th of 35 Obs add accents on beats 2 and 3 as in EH9 22 39 Bsns first and last notes are C# (add sharp) * 38 3-4 of 35 Vla 1 add arco on 2nd beat, as in Vln II 39 3-4 of 35 T,B add dynamic ff

V. Domine Deus Note: pickup is numbered as measure 1, first complete measure is numbered as measure 2. This caused the opening measures in the Oboe II part to extract incorrectly as two measures rest rather than a quarter pickup followed by one measure rest.

1 42 All in MS, tempo indication is Très lent, not Bien lent 1 42 Bsns add dynamic ff 2 2nd of 42 Harp Change lower note in r.h. to A-flat to avoid G-nat.-G# (MS) has Fx-G# 4 43 All “sans presser” does not appear in the MS; piano/vocal MS has “plus allant”, MS has nothing 4 43 Fl,Picc add solo 14 1 before 45 All dynamics: NIS has f for upper woodwinds, no marking for bassoons, mf for horns, no marking for harp and strings; decrescendo begins in middle of measure for all 15-16 1-2 of 45 S solo add slur to each “Domine Deus” 21 5 before 46 Cls remove ties, last two notes (EH and BCI ties remain) 21 5 before 46 B raise last note (“-tis”) up one octave 22 4 before 46 S solo add dot to first note; subsequent notes in measure are misaligned 22-23 4-3 before 46 S solo add slur to each “Domine Deus” 23 3 before 46 T remove mf (maintain pp; mf is for T solo only) * 23 3 before 46 Vla change last beat to eighth note + eighth rest 33 3rd of 47 S solo add one slur to “deprecationem” (MS: S solo but not B) 33 3rd of 47 All dynamics?10 34 2 before 48 Vln II remove arco and slur (still pizz.) 35 1 before 48 Vln II add arco 36 48 Vla1-2,Vc add solo on last note of measure 38 3rd of 48 Vc change 6th note from C# to D# * 39 4th of 48 Vla 1-2,Vc add solo on last note of measure * 42 1 before 49 Vc,Cb raise last note of measure up one octave?11 43 49 S solo add slur to “deprecationem” (MS: solo only, not chorus) 43 49 Cb change dynamic to ff (retain f for other strings) 44 2nd of 49 S solo,S add slur to “nostram” (MS: both solo and S chorus) * 45 1 before 50 Vc,Cb raise last note of measure up one octave?11 48-49 3-4 of 50 S solo add slur to each “Domine Deus”

74 JCG Vol. 22, Nos. 1 & 2 50 5th of 50 S solo add slur to “Agnus”, add slur to “Dei” 51 6th of 50 Vln II change last note from F-flat to E-flat 52 7th of 50 Cls note that Cl2 part is written on Cl1 staff 53 51 Strings change rhythm to read:

55 52 Tpt 1-2 change dynamic from mf to f 60 53 Vln I one too many notes - change to read:

* 60 53 Vla upper part: change 2nd & 6th notes from C to D-flat12 60-61 1-2 of 53 S solo remove slur on “peccata mundi” * 62 3rd of 53 Tpt 1-2 add ties 13 65-66 1-2 of 54 S solo add slur to each “Domine Deus” 67-68 3-4 of 54 S solo add slur to each “Agnus” and to each “Dei” 72 55 Vla add pizz. * 72 55 Vc add pizz.

VI. Qui sedes

4 4 of 57 Hn3-4, Tuba, remove dot from half note, add quarter rest at end Timp of measure (woodwinds and strings retain dot) 11 4 of 57 Hn 3-4 change last note from written D to E 11-12 4-5 of 57 T &B add octave D’s:

13 58 All change metronome marking to q = 96 * 14 2nd of 58 Obs,EH extend slurs to include one more note 15 3rd of 58 Vla,Vc first 2 beats pizz., last 2 beats arco (Vlns arco all beats) 18 6th of 58 Fl change last note from G# to B 24 3rd of 59 B change dynamic from f to ff 31-32 1st 2 of 60 Vla add 16th note slash on each note (as in Vlns) * 34 4th of 60 Picc add 1. (1st piccolo only) 34 4th of 60 Vla add 16th note slash on each note 41 2nd of 61 EH change 4th note from written B-flat to A (E-flat in Tenor is correct) * 46 1 before 62 Vlns,Vc,Cb add divisi 49,51 3-4 of 54 Vlns,Vlas no further divisi-upper parts play upper note only, lower parts play lower note only, remove other notes 49-51 3-4 of 54 Vc add divisi in m. 49, unis. in m. 50, divisi in m. 51 * 52 1 before 63 Strings add unis. for all 53 63 Cb add sourd. 57 1 before 64 A,B add “molto” above decrescendo 62 3 before 65 Vln II,Vc add natural

JCG Vol. 22, Nos. 1 & 2 75 * 62 3 before 65 Hp raise last 4 notes in l.h. up an octave14 * 63 2 before 65 Hp raise last 3 notes in l.h. up an octave14 65 65 Vla,Vc add de la pointe 67 4 before 66 Vla raise first 3 notes up an octave 68 3 before 66 Vla,Vc add natural * 68 3 before 66 Hp raise last 4 notes in l.h. up an octave14 * 69 2 before 66 Hp raise last 3 notes in l.h. up an octave14 71-72 1-2 of 66 Vla,Vc add de la pointe; add tremolo slashes on each note 73 3rd of 66 Vla move alto clef one measure earlier (notes in m. 73 are correct as printed once clef is moved) 73 3rd of 66 Vla,Vc add natural 75 3 before 67 Chorus add crescendo (appears only in Alto in MS) 75-77 3-1 before 67 Vla,Vc add de la pointe and tremolo slashes 80 3rd of 67 B add tous 86 68 Hp Add ff at beginning of measure 86 68 Vla,Vc add natural 88 3rd of 68 Hp change l.h. to read: (nothing in r.h.)

* 88 3rd of 68 Vla solo remove lower note (D)

ENDNOTES

1Joe Hickman and Jeffry Moyers pointed out many errors in the American Choral Foundation Research Memorandum #143, November 1986. The author identified additional errors in the Research Memorandum #146, November 1987, and discussed several problem areas in the July 1988 issue of the International Choral Bulletin. Joe Hickman published a new list of corrections in the November 1999 Choral Journal.

2In the first measure of the work, the 3rd and 4th notes in the English Horn and the strings were originally slurred, but Poulenc crossed out the slurs. It is possible if not likely that he intended for them to be removed here as well. In the piano/vocal manuscript, the slurs do not appear in any of the three statements of this figure.

3In this measure Poulenc wrote repeat signs (./.) on all instrumental staves rather than copying out the previous measure, a practice which created some errors elsewhere. Since the Harp plays in m. 19 but not in m. 20, it follows that, for this virtually exact repeat, it should play in 21 but not 22. This is how the 1960 score reads.

4Both manuscripts originally had the Tenors as shown in the new score, but in both, [80—] was added above all notes in the measure. This is scratched out in the piano/vocal manuscript but not the orchestral manuscript. In the composer- supervised recording, the Tenors appear to be singing the upper octave.

5In the manuscript, the English Horn and the Flute originally had only one note on the downbeat of both this measure and the previous measure. In the English Horn, the final rest was erased and the second note added in both measures. This is also the case in m. 61 of the Flute; in m. 62, the rest was erased but the second note is missing.

6At two before 17 both manuscripts originally had “Glo-ri-a”, but in both Poulenc erased the final “-a” and added a tie between the last two notes. At 3 before 15, the last two notes of the Bass are also tied, so it is likely that the “-a” should

76 JCG Vol. 22, Nos. 1 & 2 be removed here as well. Since the word “Gloria” is not a 13Not in the manuscript, but the notes are tied in the parts part of this portion of the text, perhaps Poulenc intended and the piano/vocal manuscript has whole notes. Note this as a fragment of the word “glorificamus.” Note that that the clarinets are tied at two before 49. another fragment of this word appears just before 18. 141n the manuscript, the last group of notes in the right 7The manuscript does have a B here, but the piano/vocal hand were originally an octave lower (i.e. identical to manuscript, the Viola part, and the doubling Horn all have thefirst half of measure), and Poulenc added [80—] above. C. The C also creates a match with the other statements Its placement opens the possibility that he intended for of this figure. both hands to be raised one octave.

8The manuscript clearly has G for Ob 2 (which Salabert has changed to F) and B for Ob 1. The piano/vocal BIBLIOGRAPHY manuscript has F-A here but no G or B. The cluster F- G-A-B (plus D-C in bass and E above) seems unlikely. Barrow, Lee G. Errata in the Scores and Parts of A more likely possibility is that the G and B were intended Francis Poulenc’s Gloria: A Second Look. for the transposing clarinets; note that this exact G-B American Choral Foundation Research figure, along with the same underlying harmony, appears Memorandum #146, November 1987 in the Clarinets at 4 before 15 and 6 after 19. ___. Francis Poulenc’s Gloria: Clearing Up 9In the manuscript, the accents are between the Oboe and Discrepancies Among the Published Scores. English Horn staves and are probably intended for both. International Choral Bulletin, April 1988

10In the manuscript, each staff was originally marked f Hickman, Joe and Jeffry Moyers. Errata in the Scores here except for the Contrabass, which had ff. These were and Parts of Francis Poulenc’s Gloria. American all changed to mf in red. In addition, large red p’s appear Choral Foundation Research Memorandum #143, in two places (above the Flute and Violin 1 staves),but November 1986.1 none of the mf markings were removed. The piano/vocal manuscript has f for the Soprano Solo and Poulenc, Francis. Echo and Source: Selected accompaniment, mf for the Basses. Correspondence, 1915-1963. Translated and edited by Sidney Buckland. London: V. Gollancz, 1991. 11The word “suscipe” appears seven times in this movement, almost always the same except for pitch. In the piano/vocal 1Joe Hickman and Jeffry Moyers identified many of the manuscript, the accompanying bass line moves up one errors in the American Choral Foundation Research octave with each successive beat, each of the seven times. Memorandum #143. Additional corrections appeared In the orchestral manuscript, the final note of the ‘Cello in Research Memorandum #146, and several of the and Contrabass moves up the octave 3 times and stays problem areas were discussed in the April 1988 issue of down 4 times, one of which Poulenc corrected with [80—] the International Choral Bulletin. and one of which Salabert has raised. These corrections, along with the consistent piano/vocal manuscript, bring up ***** the possibility that all should move up. Lee G. Barrow, Professor of Music and Head of Fine 12The manuscript does have C’s here, but in the piano/ Arts at North Georgia College & State University in vocal manuscript the C’s were changed to D-flat. With Dahlonega, has conducted college, church and this change, the measure matches all other appearances community choirs and orchestras for 25 years. He has of this figure between 50 and 55. been researching Poulenc’s Gloria for two decades.

JCG Vol. 22, Nos. 1 & 2 77 Books in Review

Craig Kirchhoff, Series Advisor, Windependence: A Repertoire Series For Wind Bands, (New York, NY: Boosey & Hawkes,2001).

Reviewed by Tom Erdman

Designed as a series of accessible and serious original compositions and orchestral transcriptions for concert band, Windependence is a graduated collection of music intended for concert and festival performance. The newly composed or transcribed pieces in the series are placed into three performance levels: Apprentice, Master, and Artist. The repertoire in the apprentice level is aimed at less-experienced instrumentalists with limited technical proficiency. The master level pieces are intended to challenge high school bands as well as some collegiate ensembles. Artist level material is designed to be performed by only the best high school, university and professional ensembles.

The series is overseen by Craig Kirchhoff, familiar to wind directors as Professor of Conducting and Director of Bands at the University of Minnesota and Principal Guest Conductor of the Tokyo Kosei Wind Orchestra. Previous to his appointment at Minnesota, Kirchhoff was Director of Bands at Ohio State University and is widely called upon as both clinician and guest conductor throughout the United States, Canada, Europe, and Japan.

The initial nine releases in the series are by Kenneth Amis, Timothy Broege (2), Jeffrey Brooks, Alan Fletcher, Shelly Hanson, Joseph Kreines (2), and Shafer Mahoney. All are well-respected musicians who have yet to leave their mark in the field of band writing. Along with the score and parts, a companion CD containing a full-length performance of each piece by excellent semi-professional and collegiate ensembles is provided.

Air from County Derry (3’20”), transcribed by Kreines, apprentice level, is a truly excellent transcription for younger ensembles of the familiar Grainger setting. The opening woodwind passage contains cued notes for euphonium and tuba should bassoons and b-flat contrabass clarinet not be available. The work is lushly scored, mostly for full ensemble, but fair warning is given to developing ensembles where students don’t have a strong command of breath control. This is best illustrated by the first b-flat trumpets going to a” in measure 66 of this sixty-eight bar arrangement, which is the 26th measure of a 28-bar continuous phrase.

Amis’s arrangement of Dvorak’s Slavonic Dance, No. 7, Op. 72 (3’30”), is appropriately placed in the master level category, as it will challenge good high school and collegiate bands. Crisp articulation of the many varied placements and scorings of dotted-eighth – sixteenth note phrases is essential to success. Light and clean air control is required in order for the work to avoid bogging down in both tempo and clarity of line in full-ensemble passages.

Mahoney’s Sparkle (4”13”), artist category, is a mildly amusing composition that opens with some extremely difficult contrasting flute and clarinet runs at a moderate tempo, later doubled by piano. The piece transitions to easy brass and saxophone lines punctuated by an easy low-brass rhythm first introduced in the lower woodwinds at the beginning of the piece. The percussion parts are full, requiring a lot of different instruments, but are not technically challenging.

While this review only spotlights three works from the initial publication run, they serve to point out early trends of the series: conductors must scan the scores carefully to see if the works are truly playable by their ensemble, as the works do not neatly fit into the three listed categories; and there are some great pieces contained within, but not every work is a gem. Overall, Kirchhoff and Boosey & Hawkes are to be highly commended for making an effort into providing new literature of a serious nature for bands, when so much of what is newly composed and published for bands today is drivel.

78 JCG Vol. 22, Nos. 1 & 2 The reviewer, Dr. Thomas R. Erdmann, is currently of an orchestra are not the same and accommodations Director of Bands and Associate Professor of Music frequently were necessary. According to Canarina, David and Education at Elon University, in Elon, North Amram tells irreverent anecdotes related to his Carolina. He has published two books, and over 30 “unacceptable” haircuts. The logic of the Army’s way of papers in a variety of journals. thinking also seems to have led to a variety of amusing ways of convincing the superiors of the needs of an ***** orchestra. At one time, the orchestra had only one clarinetist, John Canarina, Uncle Sam’s Orchestra, Memories Of but most scores call for two clarinets. This did not seem too The Seventh Army Symphony, (Rochester, NY: serious to the Army. They wondered of the one clarinetist University of Rochester Press, 1998); 205pp.; ISBN: 1– could play a little louder to cover for two! Similarly, when 58046–019–4. the young Charles Rosen who was not a member of the Army, was invited to appear as guest soloist, he did not Reviewed by Henry Bloch know that customary pre-concert arrangements could not be taken for granted. Nor was it easy to convince the Army I happily welcome a book that many conductors and other that their readily available baby grand piano was inadequate musicians will enjoy. Uncle Sam’s Orchestra reads like for performances of a Brahms or Bartok piano concerto “shoptalk” among conductors and musicians who and that a suitable instrument had to be found in the participated and fondly remember an intriguing venture community in a hurry. within the U.S. Army after World War II. That the Army would recognize the public-relations potential of such a cultural endeavor and support it is indeed remarkable. John In the summer of 1959, John Canarina arrived in the Canarina, a long time active member of the Conductors Symphony as a bassist. Soon thereafter he was given Guild, affectionately compiled the story through interviews conductorial responsibilities and was introduced to the and correspondence with former members, administrators, vagaries of a musical organization in the Army. His and other involved parties. Canarina deserves additional comments on the serious aspects of the task are interesting. thanks for the splendid idea of mentioning the post-Army His comments on funny situations are entertaining. With whereabouts and careers of the erstwhile members of delightful candor, he describes the unexpected call of the the Seventh Army Symphony. The memoir would have orchestra members to a rifle range qualification exercise. been even more valuable from a historian’s point of view, Usually they were excused from such drills. They did not if the collected information had been documented by reference to the records of the U.S. Seventh Army and even have guns! The account of the drill and its ultimately other relevant sources. successful outcome is hilarious!

Samuel Adler, now a well respected composer and teacher On the more serious side, Canarina has helped to create who recently retired from the Eastman School of Music an image of the Seventh Army Symphony as a in Rochester, was asked to establish the Seventh Army humanitarian, cultural ambassador of the United States. Symphony. In the early 1950s, he was succeeded by James Its success can best be measured by the response of its Dixon who, as one of the first conductors of the orchestra, audiences all over occupied Europe and elsewhere. set enviable standards of performance at concerts Inevitable or not, it left a lasting impression on its audiences throughout Germany. Eventually the tradition of and those who participated in its mission. remarkable music making was carried on by Kenneth Schermerhorn and a long line of conductors many of whom ***** pursued careers in music after service in the army. Carl S. Leafsteadt, Inside Bluebeard’s Castle, (Music Likewise, many of the players moved on to distinguished and Drama in Bela Bartôk’s Opera); (New York,NY: positions in the finest orchestras. Oxford University Press, 1999); 246 pp.; $45; ISBN: 0- 19-5109 99-6. At a time of declining morale, in 1953, Dixon invited his former teacher and mentor, Dmitri Mitropoulos, to visit the Reviewed by Henry Bloch orchestra and, with his inspirational personality, help to return the orchestra to a purposeful course of action under the Bela Bartôk’s opera Bluebeard’s Castle (1911) has met supervision of Seventh Army Lieutenant General Anthony with a varied fate on the stage of the important opera houses McAuliffe. Still, the discipline of the Army and the discipline of the world. The libretto by Bela Balazs was greeted with

JCG Vol. 22, Nos. 1 & 2 79 enthusiasm as a novelty in the opera house by some and Romania. The vocal parts reflect a remarkable blend of was rejected for its lack of drama by others. At the same the folk rhythms with speech patterns of the Hungarian time, Bartôk’s efforts to create the first national opera in language. Such a hybrid reflects Bartôk’s much admired Hungary met with a mixed reception. The setting of the model, Debussy’s Pelleas et Melisande. In performance, text in the manner of magyar folk songs, which he had a rubato element is blended into the subtle declamation recently discovered, was not recognized as such. Also, lending it considerable rhythmic elasticity. However, the the minimal use of lyrical passages was looked upon as a orchestra owes little to Bartôk’s French model. Rather, it weakness by an audience which was accustomed to a underlines dramatic elements and supplies power when it mixture of Italian, French, and Wagnerian repertoire. In is needed, a technique reminiscent of Wagner and Strauss. view of many questions that might arise in this context, the Indeed, certain musical ideas undergo transformations to painstaking study of the subject by Carl S. Leafstedt is amplify the progress of the story. Chapters devoted to most welcome. The author examines not only the detailed analysis of individual scenes and to Bartôk’s relationship and cooperation of Balazs and Bartôk in the revisions of the opera between 1911 and 1917 help the creation of Bluebeard’s Castle, but he also analyzes reader to gain a deeper understanding of the composer’s Balazs’s unusual literary background and relationship to the intentions. The additional fact that many of the relevant symbolists including Maurice Maeterlinck. He then goes on manuscript scores and first published editions are kept to study the musical features - tonal and motivic - and the together in Peter Bartôk’s collection in Homossen, Florida, work’s musico-dramatic symbolism. facilitates close examination of the sources.

According to Leafstedt, Balazs recalled his own and The limited success of Bluebeard in the opera house Bartôk’s goal to write a truly Hungarian opera but he never invites speculation . Leafstedt cites a study by the ignored Maeterlinck’s work Balazs aimed to create a play musicologist Carl Dahlhaus who describes a musico- related to modern symbolist style for dramatic reasons. In dramatic genre based on a play which is set to music without addition, the works of Ibsen, Strindberg, D’Annunzio, significant adaptations. He calls it literature opera and Hofmannsthal, and Maeterlinck were part of his artistic cites as outstanding examples Debussy’s Pelleas et heritage. Hence the influence of dramatic realism, Melisande , Strauss’ Salome , and Elektra .In similar psychological logic, and other contemporary trends. But fashion, Bartôk set Balazs’s Bluebeard to music without Maeterlinck’s symbolism exerted the strongest impact on considearable changes. Dahlhaus suggests that such a Balazs’s work. Together, Balazs and Bartôk were also union of a play with music need to be studied closely to drawn to influences from Eastern European folk art, understand its potential for success as an opera. notably from that of the Magyars of Transylvania.

Leafstedt maintains that Bluebeard was a deliberate Indeed, in recent decades composers have chosen plays attempt to supplant dominant Wagnerian tradition with a or novels by outstanding writers as libretti. They appear to Hungarian style based on native folk music. Contrary to follow the example of symbolist writers and composers to grand structures devised by Hofmannsthal for Richard preserve the literary text as best they can. But that requires Strauss in Salome and Elektra , Balazs’s Bluebeard musical considerations if not concessions. Dahlhaus centered around seven clearly defined “pictures,” which suggests that a successful formula was found by Debussy offered Bartôk the opportunity for smaller musical and Richard Strauss. More recently, Carlyle Floyd (Of structures. His libretto represented a departure from the Mice and Men), and John Corigliano (The Ghosts of traditions of symbolist drama as, for example, Maeterlinck’s Versailles) are among the few who achieved success. On Pelleas et Melisande . In place of the extended sequences, the other hand, John Harbison’s The Great Gatsby seemed he supplied a series of shorter units which lent themselves to move along very slowly despite some charged dialogues, to non-Wagnerian techniques of composition. Indeed, the brilliant ensemble scenes and colorful orchestrations. setting of the Seven Doors, each representing one episode Similarly, William Mayer’s A Death in the Family got off of the play, served Bartôk’s talent for musical imagery to a good start, but, perhaps too much respect for the well. Dramatic effects were hightened by intense use of beautiful lines of James Agee is responsible for some tedious lights or the lack thereof, and in the music, different aspects moments in the dramatic progress of the action. Some of the story are centered around the tones of C and F#. other new operas were plagued with similar difficulties.

In Bluebeard Bartôk experimented with a new vocal Leafstedt’s book is thoughtful from many points of view. style derived from folk idioms found in Transylvania, now It is particularly valuable to anyone wishing to perform

80 JCG Vol. 22, Nos. 1 & 2 Bluebeard , but it raises questions in relation to the creation of other new operas as well.

Henry Bloch is a member of the Board of Directors and Archivistfor the Conductors Guild.

*****

Edited by Michael Stern, Max Rudolf: A Musical Life, Writings and Letters. (Hillsdale, NY: Pendragon Press2001); 530pp., $46.00 (with Guild Member Discount: $41.00); ISBN 1-577647-038-5.

Reviewed by John Canarina

Of all the major conductors active in the worlds of symphony orchestras and opera companies, Max Rudolf was the only one who took an active interest in the Conductors Guild. He was also one of the very few who could be accurately described as a scholar, even though he himself did not exactly endorse that term as applied to himself. If one requires proof of his great scholarship, it will certainly be found in this book.

Long-time members of the Conductors Guild will perhaps be familiar with some of the contents, for many of the essays included originally appeared in our Journal. Thus we have his thoughts on “Authenticity in Musical Performance,” “The Metronome Indications in Beethoven’s Symphonies,” “Inner Repeats in the Da Capo of Classical Minuets and Scherzos,” and many other topics. The question of those inner repeats continues to be a controversial subject among critics, conductors, and other musicians. Max Rudolf was in favor of them, and offers convincing evidence for their observance, even though such observance can still be a matter of one’s personal feeling.

Of equal importance to the articles are the many letters written to fellow conductors, such as George Szell and Erich Leinsdorf, instrumentalists such as Rudolf Serkin and Isaac Stern, and musicologists such as Bathis Churgin and Maynard Solomon. In many instances we are given all or part of the letter that prompted Rudolf’s response. The question of tempos in various Mozart arias is a frequent topic of discussion between Rudolf and Jean-Pierre Marty.

Malcolm Frager is another instrumentalist with whom Rudolf had frequent correspondence, especially in the matter of the tempo for the trio of the scherzo of Beethoven’s Ninth Symphony, about which Frager seemed particularly obsessed. In one instance (January 26, 1986) Rudolf finds it “a bit tedious” to reply to Frager’s comments, and later chastises him even further. (It should be mentioned, however, that Rudolf and Frager were always on the very best of terms.)

As for being “a bit tedious,” one could apply those words to Rudolf’s rather lengthy essay on “Storm and Stress in Music.” This, however, is an exception to the remainder of the contents, which are absolutely fascinating to read—the workings of the mind of a great musician who cared enough about music to want desperately to perform it to the very best of his ability according to the information left by the composer. As Max Rudolf himself said, “The great composers were giants, while we performers are dwarfs. As for myself, I am content with being a very small dwarf, since I derive all the satisfaction I need from serving the giants.” This book is highly recommended. After all, Max Rudolf, the first recipient of the Guild’s Theodore Thomas Award, was one of us.

One word of caution: Since the book contains so many references to musical examples, it is helpful to have the appropriate scores at hand while reading it.

John Canarina is Director of Orchestral Studies at Drake University, Des Moines, Iowa. A former Assistant Conductor of the New York Philharmonic under Leonard Bernstein’s direction, he has been a guest conductor of various orchestras in the United States and Europe. His biography of Pierre Monteux will be published next year by Amadeus Press.

JCG Vol. 22, Nos. 1 & 2 81 82 JCG Vol. 22, Nos. 1 & 2 Advertising Rates for Conductors Guild Publications:

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Journal of the Conductors Guild -published semi-annually, hard copy mailed to all members -downloadable electronic version available on website to members Business Card 2 in. x 3 ½ in. $125 $100 Quarter Page 3 ½ in. x 4 ¾ in. $200 $160 Half Page 4 ¾ in. x 7 in. $400 $320 Full Page 7 in x 9 ½ in. $800 $640

Podium Notes -published quarterly, electronic copy e-mailed to members, hard copy mailed to members without e-mail -downloadable electronic version available on website to members Business Card 2 in. x 3 ½ in. $83 $67 Quarter Page 3 ½ in. x 4 ¾ in. $133 $107 Half Page 4 ¾ in. x 7 in. $266 $213 Full Page 7 in x 9 ½ in. $535 $428

Directory -published annually, hard copy mailed to all members -downloadable electronic version available on website to members Business Card 2 in. x 3 ½ in. $188 $151 Quarter Page 3 ½ in. x 4 ¾ in. $350 $280 Half Page 4 ¾ in. x 7 in. $600 $480 Full Page 7 in x 9 ½ in. $1,200 $960

Credit Card Orders:

VISA / MASTERCARD : ______- ______- ______- ______EXP: __ __ / __ __

Cardholder’s Name ______Cardholder’s Signature ______

JCG Vol. 22, Nos. 1 & 2 83 GUIDELINES FOR CONTRIBUTORS

The manuscript should be for readers who have expertise in diverse areas of music and conducting, and are interested in broadening their knowledge of current research and writing in the field.

The manuscript must be double-spaced with 1.25" margins on top, bottom and sides, including endnotes/footnotes and references, and should follow the style recommendations as set forth in the Chicago Manual of Style or the Modern Language Association (MLA) style manual.

The type size of the manuscript should be no smaller than 12 point.

The entire manuscript including abstract and any pictures, graphs, or musical examples should not exceed 20 pages.

Graphs, musical examples and pictures should be on separate sheets accompanied by texts and captions as they are to appear in the articles. All material submitted should be camera-ready.

To preserve anonymity in the review process, the authors name must not appear anywhere on either the abstract or the article.

Manuscripts submitted simultaneously to other journals will not be considered.

THE PUBLICATION PROCESS

1. Submit three copies of the manuscript and a 100-word abstract to the Publications Coordinator (PC). Manuscripts should be submitted as hard copies and may be accompanied by an ASCII text document or MS Word file on a 3.5 diskette following the guidelines listed above.

2. The PC sends copies of the manuscript and abstract to the Editor and two other members of the editorial board (based on expertise) for blind review.

3. The editorial review committee determines whether the manuscript: a) is not accepted for publication; b) is accepted for publication with suggested revisions; or c) is accepted for publication as is.

3a. Editorial Reviewers sends article back to PC with comments (from 3.)

4. If revisions are needed, the manuscript(s) will be returned to the author for corrections. The author then resubmits the manuscript to the PC with the appropriate revisions.

5. The PC will format the corrections complete with pictures, graphs, musical examples, etc., and send to the Editor for final approval.

6. The formatted proofs are sent back to the author for final approval.

7. The manuscript is then published in the Journal of the Conductors Guild.

84 JCG Vol. 22, Nos. 1 & 2 CONDUCTORS GUILD ...Advancing the Art and Profession

Mission of the Conductors Guild

The Conductors Guild is dedicated to encouraging and promoting the highest standards in the art and profession of conducting.

The Conductors Guild is the only music service organization devoted exclusively to the advancement of the art of conducting and to serving the artistic and professional needs of conductors. The Guild is international in scope, with a membership of over 1,900 individual and institutional members representing all fifty states and more than thirty countries, including conductors of major stature and international renown. Membership is open to all conductors and institutions involved with instrumental and/or vocal music, including symphony and chamber orchestra, opera, ballet/dance, chorus, music theatre, wind ensemble and band.

History of the Conductors Guild

The Conductors Guild was founded in 1975 at the San Diego Conference of the American Symphony Orchestra League, and it continued for a decade as a subsidiary of that organization. In 1985 the Guild became independent. Since then, it has expanded its services and solidified its role as a collective voice for conductors’ interest everywhere. It is supported by membership dues, grants, donations and program fees and is registered with the Internal Revenue Service as a 501(c) 3 not-for-profit corporation.

Purposes of the Conductors Guild

1. To share and exchange relevant musical and professional information about the art of conducting orchestras, bands, choruses, opera, ballet, musical theater and other instrumental and vocal ensembles;

2. To support the development and training of conductors through workshops seminars, and symposia on the art of conducting, including, but not limited to, its history, development and current practice; 3. To publish periodicals, newsletters and other writings on the art, history and practice of the profession of conducting; 4. To enhance the professionalism of conductors by serving as a clearing house for knowledge and information regarding the art and practice of conducting; 5. To serve as an advocate for conductors throughout the world; 6. To support the artistic growth of orchestras, bands, choruses and other conducted ensembles; and 7. To communicate to the music community the views and opinions of the Guild.