Journal of the Conductors Guild

Volume 31, Number 1 2013 719 Twinridge Lane Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 Table of Contents E-mail: [email protected] [email protected] A New Direction: page 1 . . . Advancing the Art and Profession Website: www.conductorsguild.org Educational Outreach that Moves Officers Beyond Exposure James Allen Anderson, President John Farrer, Secretary by Dr. Eugenie Burkett Gordon J. Johnson, President-Elect Lawrence J. Fried, Treasurer Paula K. Holcomb, Vice-President Michael Griffith, Past President Board of Directors An Analysis of Britten’s War page 13 Christopher Blair Reginald Houze Lyn Schenbeck Requiem, Op.66 (Words from the David Bowden John Koshak Jonathan Sternberg* Missa John P. Boyd Anthony LaGruth Emily Threinen pro defunctis and the poems of Wilfred Brooke Creswell Brenda Lynne Leach Julius Williams Owen) Stephen Czarkowski David Leibowitz Amanda Winger* by Dr. David A. McConnell Erin R. Freeman Sasha Mäkilä Burton A. Zipser* Andrew George Michael Mishra *ex officio Jacob Harrison* Philip Morehead Claire Fox Hillard John Gordon Ross Villa-Lobos: “Bachianas page 27 Advisory Council Brasileiras” Editions as of 1/ 2013 Pierre Boulez Samuel Jones Maurice Peress Compiled by Clinton F. Nieweg, with Emily Freeman Brown Tonu Kalam Donald Portnoy assistance from Nancy M. Bradburd, Michael Charry Wes Kenney Barbara Schubert David Daniels, Wilson Ochoa, Greg Sandra Dackow Daniel Lewis Gunther Schuller Vaught, David Stybr (Chicago, Il), Harold Farberman Larry Newland Leonard Slatkin Marcelo Rodolfo (Museu Villa-Lobos), Adrian Gnam Harlan D. Parker Stuart Serio (Fleisher Collection), Eric Swanson (JoAnn Kane Music Service), Theodore Thomas Award Winners Dean Fry (Villa-Lobos website), Charles Claudio Abbado Sir Colin Davis Robert Shaw Harmon. Original chart 2004. Update Maurice Abravanel Frederick Fennell Leonard Slatkin 2013. Links accessed 1/1/2013. Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Max Rudolf David Zinman Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike The publication date of the present issue of Max Rudolf Award Winners the Journal of the Conductors Guild is June, 2013. Due to a change in editors, publication Herbert Blomstedt Daniel Lewis Gunther Schuller has been delayed. The Conductors Guild David M. Epstein Gustav Meier Jonathan Sternberg reserves the right to approve and edit all Donald Hunsberger Otto-Werner Mueller Paul Vermel material submitted for publication. Publication of advertising is not necessarily Conductors Guild an endorsement and the Conductors Guild Staff reserves the right to refuse to print any advertisement. Library of Congress No. 82- 644733. Copyright © 2013 by Conductors Executive Director Amanda Winger Guild, Inc. All rights reserved. ISSN: 0734- Assistant Director Scott Winger 1032. 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 1,600 individual and institutional members representing all fifty states and more than thirty countries, including conduc- tors of major stature and international renown. Membership is open to all conductors and institutions involved with instru- mental 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 expand- ed 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 cor- poration.

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 con- ducting, 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 to communicate to the music community the views and opinions of the Guild. A New Direction: Educational Outreach that Moves Beyond Exposure

By Dr. Eugenie Burkett

Educational outreach programs are designed to interactive workshops, group composition sessions, assist orchestras in creating a bridge between the podcasts, interactive web-based games through the public (usually kindergarten through grade 12 orchestra’s website, and in-school concerts as well students) and the symphony experience. These serve as professional development for designated an important purpose as a means of community partner teachers. These programs are designed and engagement, public relations, and advocacy in implemented with the local urban constituency addition to the numerous materials and resources in mind and, as a rule, do not reach smaller offered to schools and teachers that help to enrich communities. Second, third, and fourth tier students’ musical experience and communicate and orchestras also offer many of the more traditional interpret the mission of the orchestra. Educational educational outreach programs, particularly youth or programs are also important venues for conductors family concerts. The recent economic situation, because they serve to cross the boundary from however, has forced many orchestras to focus on podium to public by providing another means for maintaining fiscal solvency and curtailed their conductors to extend their reach to new listeners. ability to increase budgets and funding for Generally, the educational offerings range from educational outreach. exposure (family concerts, in-school programs, music demonstrations, and young persons’ concerts) The importance of live performance in engaging to more in-depth experiences that may include new audiences cannot be underestimated. The thrill sequentially based lesson plans, podcasts, interactive of seeing and hearing musicians perform has websites, and coaching. For selected students and converted many non-adherents to classical music. promising young artists, there may be mentoring However, even with pre-concert preparation through opportunities, pre-professional orchestras or informal talks, lesson plans and supplementary ensembles, and training programs that provide materials, many live performances are solely advanced study to encourage career development. exposure oriented and dwell on the experience Activities and experiences such as these have to increase appreciation in the listener. Less become a significant part of many school and frequently do the educational programs attempt to community music programs and can be influential in address students’ personal performance skills and developing new audiences for classical music. understandings or teachers’ skills in increasing the level of student learning and musicality. Symphony orchestras have incorporated educational outreach programs as an integral part of their Educational aspects related to student and teacher offerings for more than 40 years. For large performance quality and musicality traditionally organizations, the robust economic basis of their have been the domain of colleges and universities or donors in larger metropolitan areas combined with summer institutes. While institutions of higher gifts and grants from corporations enables orchestras education and state arts councils appeal to a broader among the top tier to offer school partnership population across a state, their reach is limited programs in addition to the more traditional by financial, geographic, and schedule issues, youth concerts. The New York Philharmonic offers particularly for schools and teachers located in rural

JCG Vol. 31 No. 1 1 areas. Many schools and teachers in remote Research on the professional development of locations cannot afford tuition or time away from teachers is also limited. La Bombard (2009) family in order to attend programs or courses. studied the instructional practices of professional Although this has the potential to be addressed development staff to improve teachers’ knowledge through Internet access and distance learning and skills in classroom practices, and Sparks (2004) programs, the freshness and immediacy of live examined the effects of staff development on performance when musicians interact with students improving student learning and achievement. and teachers would be lost. Artist in residence No research has been completed on professional programs, at their inception, were created to provide development activities for music teachers. this important human contact. Over the decades, residency programs sponsored by state art councils As a small rural community orchestra program, the with the help of the National Endowment for the Middle River Symphony has been concerned with Arts have moved away from classical music and serving the community and developing new more prominently showcase folk music and audiences for the past 23 years; however, a grant multicultural music; captivating performances for from a generous foundation provided the students of all ages. These, however, are outside the opportunity to address educational outreach in a new mainstream public school music performance way and through a new direction. Rather than programs. schedule the season’s more traditional exposure-related activities of youth concerts and In many ways, the fine arts medium of classical upload the prescribed lesson plans to the symphony music has helped to stimulate the movement away website, the orchestra conductor in association with from residency programs in this genre because the educational director decided to approach the idea sponsoring organizations feel, and rightly so, that of educational outreach by addressing the needs of this area is covered by school music educators. the individuals most responsible for music education However, music educators need assistance in the in the schools: the teachers. form of inspiration, motivation, and professional development for themselves and for their students. The orchestra is located in a rural, Western state For many music educators not intent on seeking serving a population of approximately 95,000 over a advanced degrees or unable to travel for six county region of 20,000 square miles. The professional development, the last opportunity for closest four-year institution is more than 250 miles personal mentorship, guidance, and direction in away. The service area of the orchestra includes nine improving their musical teaching skills (conducting, high schools, 14 middle schools, and 29 elementary rehearsal technique, and teaching strategies) schools, all with active music programs. With the occurred during undergraduate student teaching. exception of one consolidated high school, all of the schools are small, and in two cases, the school is a Research on issues related to educational outreach combined high school and middle school. The and professional development activities produced by music programs are small ranging from 16 students orchestras is particularly lean. Hollinger (2006) in one school to 58 in one of the consolidated high studied music education within the Venezuelan schools; therefore many music teachers travel system of youth orchestras, Anthony (2006) outlined between schools to fill a full-time position. There five proposed programs for student audiences, and are very few private instructors in the area, and in Veremeychik (1987) investigated the process of 95% of the cases the resident music teachers provide preparing, producing, and assessing young persons’ the only instruction in music. concerts. No research has been published examining educational outreach programs in the schools or Teachers in rural areas tend to have families with activities that include the professional development children and are reluctant to leave home for of music teachers. extended periods of time. The costs associated with

2 JCG Vol.31 No. 1 travel, tuition, room and board, and childcare orchestra; and, 5) Individual, one-on-one classroom prohibit most teachers from attending institutes visits by a master teacher and the symphony or workshops. The economic basis is primarily orchestra conductor focused on improving the agriculture and work in the extractive industries effectiveness of classroom management, pedagogy, (oil, coal, and methane gas). Statistics from 2008 and conducting techniques. indicate that 25% of the population is considered blue collar workers in agriculture, mining (coal), The activities were scheduled in conjunction with and oil and gas fields or as support for these jobs, the regional and district school calendars and with 16% working in education, health and social the community orchestra’s seasonal program. services, 11% in retail trade, 15% in government, Workshops were interspersed over the two-year and 6% self-employed. The population is 94% period; individual visits by the master teacher and white, with 6% a combination of Hispanic, the conductor were scheduled during the school day American Indian, or other races. at the teacher’s convenience and with a class or ensemble of the music teacher’s choosing. With input from local school district representatives, music educators, and university curriculum In order to ascertain the possible effects of these specialists, a series of professional development activities on the teachers and students, data were activities was designed to assist and support the collected using questionnaires, interviews, teachers in raising the level of performance and and videotape analyses of one-on-one master instruction of the school ensembles and inspire the teacher/public school and conducting sessions with teachers and students. The activities were not additional post-session feedback from the master intended to replace instructional programs in the teacher, conductor and music teachers. The schools but to supplement the teachers’ efforts by participants completed two questionnaires: one to reinforcing music skills, introducing students to new provide demographic and background information types of repertoire (chamber music), and providing on educational preparation, teaching career, and reliable feedback to teachers interested in improving previous professional development activities, and a their conducting and rehearsal skills. Overall, the second questionnaire after each activity to gather intent of the orchestra was to deepen the music information about the effectiveness of the material teachers’ and students’ connection to music by and ways in which the information could be actively engaging in performance, coaching, and implemented in teaching. Two independent instruction. evaluators analyzed the videotapes of one-on-one sessions to determine the degree to which the Over the course of the grant period (two orchestra participants actually implemented the material seasons/two school years) music teachers were (curriculum design, teaching strategies, conducting offered the following on a voluntary basis: 1) Two and rehearsal skills) into the classroom curriculum seminars addressing the comprehensive environment. The interviews and one-on-one design of rehearsal/lesson plans led by university analyses were used to support or refute findings faculty member with a doctorate in music education from the second questionnaire. The questionnaires curriculum and instruction; 2) Two workshops on were coded to provide anonymity in order that using Orff-Schulwerk based approaches appropriate participants could provide demographic and for secondary performing ensembles; 3) Two master background information only one time, while classes on instrumental performance techniques led assessing each activity individually. A draft of the by the symphony orchestra’s guest artists; 4) Two questionnaires were examined by school workshops on content areas (jazz technique and administrators experienced in scheduling and repertoire, and teaching strings for non-string music implementing professional development events, and educators) that were part of most music teachers’ revisions were made as suggested. teaching led by guest artists of the symphony

JCG Vol. 31 No. 1 3 These educational outreach programs were intended specific activity toward the music teacher’s current for the constituents in the orchestra’s service area; teaching area. On a four-point scale of the three therefore this study used a purposeful sample of categories, inter-rater reliability was conducted music teachers in the region. Participants attended using Cohen’s kappa of r = .90 indicating good the activities that most interested them and signed a consistency among the evaluator’s classification. consent form outlining their rights. They also Three additional master teachers analyzed scheduled sessions with their ensembles and classes videotapes of the sessions using a researcher- of their own choosing for the master teacher and designed Likert type rating scale assessing the orchestra conductor to attend and signed additional degree to which the clinician addressed the teaching consent forms for interviews. Student consent was or musical issues that occurred. These included the supplied by the school district. ability of the teacher to change or adapt to the clinician’s suggestions and instructions, the degree RESULTS of clinician-teacher interaction as evidenced by rapport, communication, relevance and accuracy of Twenty-six subjects (n = 26) attended eight the follow-up consultation content. On a five-point workshop/clinics/master classes, completed scale of the four items, inter-rater reliability using questionnaire one after the first seminar, and Cronbach’s alpha was high (a = .83) indicating good completed questionnaire two after each activity. Out consistency among the master teachers’ ratings. of these, four subjects scheduled one-on-one sessions with the master teacher/conductor and QUESTIONNAIRE ONE requested classroom/rehearsal visits and video recording. Teachers in the one-on-one Of the 26 participants, the teaching experience sessions received a compact disc copy of each ranged from 1 to 27 years (M = 14). Twelve session so that they could review the comments and respondents had earned a masters degree: two guidance given by the conductor or the master degrees were in performance, seven were in music teacher. Three teachers volunteered for interviews. education, and three were in education. To the question, “How many positions have you held?” It was recognized that measurement and sampling data indicate that most of the sample were in their bias was possible because of the small community first or second position: one position (82%), and low population numbers. Additionally, of the 26 two positions (12%), three positions (5%), and more subjects, five were members of the community than four positions (1%). All respondents had orchestra indicating that there may be a tendency of participated in previous professional development the participants to give socially desirable answers in activities; 10 attended previous music workshops at questionnaire two, particularly given the established state MENC meetings, and all 26 attended district relationship between the conductor and the teachers; in-service activities. None of the previously offered therefore, the researcher implemented the district in-service activities was music-oriented and questionnaires at the workshops led by the the orchestra had never offered in-school activities conductor, and compiled and collated the responses for either students or teachers previously. to ensure anonymity for the participants. It was also recognized that since the activities were provided QUESTIONNAIRE TWO for the benefit of the teachers, they might respond more favorably than in other circumstances. Questionnaire two (see figure 1) contained questions To address these issues two independent, outside about music teachers’ perceptions of 1) the content evaluators classified and tabulated the results from in each workshop/clinic, 2) presentation of the questionnaire two grouping the responses into three material, and 3) perceived effectiveness and categories: 1) activity content, 2) presentation of relationship of the activities to the current teaching material, and 3) perceived effectiveness of the assignments.

4 JCG Vol.31 No. 1 The first question was “How did you like the content “[the clinician] showed us how to apply the of the workshop?” Data were as follows: 96% were [conducting] technique, and then had us apply it to very satisfied or satisfied with the content, 2% were our own music.” dissatisfied, and 0% very dissatisfied. The second question was “To what extent do you feel the The format of the activities appeared to have clinician was effective in presenting the material?” important bearing on the teachers’ perception of, Data were as follows: 100% were very satisfied or and reaction to the activities. The guest artists satisfied. Of the respondents to the third question, presenting master classes for this project were “How did you like the method of presenting the selected not only for their areas of expertise (since material?” 100% were very satisfied or satisfied, 0% they would appear as soloists with the orchestra), dissatisfied. The fourth question was “How relevant but also because they consciously strove to present was the workshop to your current teaching material in a relaxed and interactive manner. assignment?” Data were as follows: 89% very The teachers positively responded to this approach: relevant or relevant and 11% not relevant. The fifth “We got to actually do something instead of just question was concerned with any future relevance of listen to a speaker.” Without exception, the the workshop/clinic material: “Will you be able to participants responded favorably to all of the use this material in future teaching positions?” Data activities in which they participated, and inquired as were as follows: 98% yes, 2% no. to whether there would be future activities scheduled. INTERVIEWS ONE-ON-ONE SESSIONS Three participants volunteered to be interviewed three months after the first series of workshops/ The master teachers and conductor (clinicians) clinics and at the end of the first school year. separately visited four teachers at their school sites The third interview was implemented after the observing one high school string program, one high one-on-one sessions and at the completion of the school choral program, and two middle school band two-year cycle. Each interview took approximately programs. At the beginning of rehearsal, the 30 minutes and was conducted at the participants’ clinician was introduced to the students and told that convenience within his or her school setting. the rehearsal was an instructional session for the Subjects were asked about their perceptions of each music teacher and the students’ participation was activity, what types of professional development very important to the process. The clinicians activities had been previously provided by the proceeded to observe each teacher begin the school district, and their perceived relevance to, and rehearsal (running through the common routine of application of, the material presented. Two themes warm-up, skill studies, etc.), and conduct the emerged from the participant’s answers: 1) the selected repertoire. After approximately 20 to 25 practicality of the material presented, and 2) the minutes, the master teacher stepped in, quickly need for more activities of a similar nature. In discussed aspects of the process, made suggestions, particular, participants had positive responses about demonstrated a different strategy, skill or technique, the content because it was “practical information and asked the teacher to try the technique with the that applies in multiple areas and was meaningful to students. Frequently, the clinician would request our teaching” and the workshops contained that the teacher adjust a particular approach, practice “objective writing, strategy planning . . . [material] it with the students a few times, and try again, that I can actually use and will be able to make a moving through the steps of the process until the difference in my ensembles.” It also appears that the teacher felt comfortable. Over the remainder of the teachers appreciated the use of materials directly rehearsal, the teacher and clinician continued to related to their teaching responsibilities as part of the work on different rehearsal aspects, classroom content: “We actually worked with a score” and management, conducting technique, musical

JCG Vol. 31 No. 1 5 interpretation, and student skill development that “I’ll be honest, hearing some of the constructive were presented in the rehearsal process. After the criticism was hard right at first, but the next day I rehearsal, the clinician and teacher discussed the put some of it into practice and classes went so session covering musical and instructional strategies much smoother! His suggestions were valid and for future improvement or changes in approach. made me think more about my own teaching.” Teachers were provided with an unedited CD of the session for future reflection and self-analysis. Written comments from the clinicians indicate a much more pointed analysis of the classroom and Analyses of the videos by 3 additional master rehearsal. The following excerpts are a sample of teachers reveal that interactions between the music comments from the master teacher and conductor: teachers and clinicians were very positive. 80 percent of clinicians’ recommendations focused on “[She] did not address tone quality, blend, balance conducting techniques and the improvement of or musicality – much, if at all. Her direction was leadership skills in directing the ensemble. These more focused on the ‘easy wrongs,’ note/rest included the clarification of beat, improvement of values/rhythms, etc.” cues, preparation and cutoffs, and changing conducting style in relationship to the music. The “As the rehearsal progressed, [he] didn’t seem to remaining 20 percent addressed musical issues by have any set warm-up procedures nor anything bringing attention to and correcting problems in specific to rehearse within the music . . . . phrasing, balance and blend, and pitch and rhythm I realized he was extremely lacking in his depth of accuracy. In all cases, music teachers made methodologies and pedagogic skills. [His] concerted efforts to change or adapt to the clinicians’ conducting skills lacked musicality and direction; suggestions, and resulting in a better-sounding, more no left hand technique, little ability to cohesive ensemble by the end of the session. differentiate style, etc. – due primarily to his lack of understanding or analysis of the music.” After the sessions all participants were requested to summarize the experience by providing a reflective The master teacher and conductor provided e-mail analysis. Written remarks from the teachers and phone contact information, and encouraged the indicated that specific comments by the clinicians teachers to continue to ask questions, voice concerns, relating to teaching strategies and conducting and solicit advice throughout the semester. techniques were received favorably and viewed as being relevant to improving the teachers’ skills. The DISCUSSION following excerpts are a sample of comments from the teachers: Triangulation of data from the questionnaires, interviews, and one-on-one session with follow-up “I’m pulling away from singing all the time which reflections indicate that several aspects of the saves my voice and playing softer . . . . It was also activities appear important for music teachers. Not good for me to be reminded that I’m in charge and surprisingly, participants found activities that were the consequences that I’ve had were not created and designed to address topics directly working.” related to musical and pedagogical topics of the rehearsal were preferred over the more typical “I really tried to set my foot down and not let them district offerings of non-music specific in-service control the class, but I was not pleased. I just do activities. Teachers viewed the workshops/clinics as not know how to find that happy medium, [but] I particularly relevant and meaningful in helping to will keep trying.” keep them actively engaged in their teaching careers. As a whole, the activities appeared to stimulate and improve teachers’ personal self-development of

6 JCG Vol.31 No. 1 music and teaching skills. Teachers viewed the At first glance, comments such as: “[The] techniques one-on-one sessions as mentorship opportunities that were applied immediately and were used in other most had not experienced since undergraduate classes to great effect” and “Because of the strings student teaching. This was supported by comments session I’m helping my cello students by being able from the master teacher who encouraged the to fix their bow grip . . . Also my band students are participants to establish a network of support for playing more legato as a result of the feedback I each other through e-mail or face-to-face meetings. received about my conducting” appear to suggest The suggestion also was made that because the that music teachers’ teaching and conducting strate- teachers were separated by such great distances they gies changed positively as a result of the profession- should seek the cooperation of school district al development activities and partnership between administrators to adjust teaching schedules in order the schools and orchestra. However, as La Bombard to visit other classrooms to assist each other actively. suggests “More support and on-the-job training would be needed to decrease the difference between This study suggests that a collaborative an educator simply knowing the processes and actu- implementation of professional development ally implementing them in the classroom” (157), activities between community orchestras and local indicating that an extended and continuing relation- school districts increases teacher confidence and ship between the music teachers and the orchestra reflective practice as evidenced in the comments: may eventually bring about a direct correlation “The conducting suggestions were clear and between the educational outreach and professional something I hadn’t noticed myself,” and “I was development program and the music teacher’s abili- unaware of several bad habits I’d fallen into – ty to consistently implement the clinicians’ sugges- conducting marcato or staccato for everything.” tions effectively. A more longitudinal study with In particular, the participants responded very assessments and data gathering directed at observing favorably to the workshop/clinic leaders, master teachers for several months after the activities would teacher and conductor’s collegial sharing approach. be needed to determine more clearly whether the It was recognized during the planning stages of these changes in teaching and conducting strategies were activities that more experienced teachers who may the result of the orchestra’s outreach activities. “know the ropes,” might be resistant to bringing in an outside clinician to observe teaching and When music teachers are placed in isolated areas conducting practices. If clinicians and activities were removed from the influence of former music profes- imposed on some teachers, a volatile, one- sors, state arts agencies, and universities, it is per- upmanship situation might result; however, the haps vitally important for local arts institutions, such flexibility of allowing teachers to volunteer for the as community orchestras and conductors, to offer one-on-one sessions combined with the more relaxed music teachers an opportunity to experience first- and interactive nature of the activities and clinicians hand the repertoire they have studied, provide a encouraged teachers to more willingly receive means of support through educational outreach pro- suggestions and corrections and more freely share grams and professional development, and help teach- thoughts and ideas. The familiarity of using the ers relate the art form in an effective manner to stu- community orchestra’s local conductor and director dents in the classroom. While the focus of this study of educational outreach to plan, design, and was toward possible changes in teachers’ attitudes, implement some of the activities appeared to have a perceptions, and teaching strategies as a result of the positive influence. Also acting as envoy for the other community orchestra and school district partnership, guest artists, clinicians and master teachers may have the data indicate that joint ventures placing guest also led to a deeper and more meaningful experience artists and clinicians in the schools may be a particu- for the teachers. larly effective means of raising the level of musical knowledge and skills in students and music teachers as well as increasing meaningful engagement with

JCG Vol. 31 No. 1 7 local community institutions. Educational outreach programs that move beyond exposure continue to incorporate live performance or interactions with professional musicians, artists, and conductors, and increase involvement with and participation by the resident music teacher have the potential to create lasting relationships and larger audiences between school students, music teachers, and local orchestras.

*****

Eugenie Burkett (PhD) is the Coordinator of Music Education programs at University of Nevada, Las Vegas. She has contributed to the Journal for Historical Research in Music Education, the National Association of College, Wind and Percussion Instructors, and Percussive Notes. As a timpanist and percussion, Burkett is a co-founder of Trinkle Brass Works, a chamber ensemble performing under the WESTAF and Arts Midwest Touring programs. She is the author of OnMusic Education for Elementary Music Majors, OnMusic Education for Elementary Music for Non-Majors, and OnMusic for Special Learners published by Connect4Education of Reston, VA.

WORKS CITED

Hollinger, Diana. M. Instrument of social reform: A case study of the

Venezuelan system of youth orchestras. Diss. Arizona State University, 2006. Dissertations & Theses: Full Text, ProQuest. Web. 6 Jul. 2010.

Kiesling, Bruce. A. Symphony concerts for young audiences. Diss. University of Miami, 2006. Dissertations & Theses: Full Text, ProQuest. Web. 6 Jul. 2010.

LaBombard, Jennifer. A qualitative case study of professional development processes in the classroom: From initiatives to implementation. Diss. Walden University, 2009. Dissertations & Theses: Full Text, ProQuest. Web. 6 Jul. 2010.

Matthews, Brandon. Programming trends in professional orchestra concerts in the United States: 2007—2009. Diss. Arizona State University, 2009. Dissertations & Theses: Full Text, ProQuest. Web. 6 Jul. 2010.

Sparks, David. “Focusing staff development on improving the learning of all students.” In G. Caweltthe (Ed.), Handbook of research on improving student achievement (3rd ed.; pp. 245-53). Arlington, VA: Educational Research Service. 2004. Print.

The New York Philharmonic Viewbook (2008-2009). Web. 6, Jul. 2010.

Veremeychik, Theodore M. A study of the education programs of selected professional orchestras. Diss. The University of Rochester, Eastman School of Music, 1987. Dissertations & Theses: Full Text, ProQuest. Web. 6 Jul. 2010.

8 JCG Vol.31 No. 1 Figure 1 Questionnaire Two Responses by Workshop/Clinic

Legend for Types of Activities in all charts

1 Curriculum Seminar 1 – National Standards 2 Curriculum Seminar 2 – Strings for Non-string Musicians 3 Orff Music Workshop 1 – Techniques Secondary Instrumental Teachers 4 Orff Workshop 2 – Strategies for Music Teachers 5 Master Class – French Horn with Guest Artist 6 Master Class – Double Bass with Guest Artist 7 Content Area – Jazz for Music Teachers 8 Content Area – Strings for Music Teachers

Like/Dislike of Activity Content

100% 90% 80% 70% 60% 50% 40% 30%

Percentage of Like/Dislike 20% 10% 0% 1 2 3 4 5 6 7 8 Type of Activity

Series1 Series2 Series3 Series4

Series 1 = Very Satisfied, Series 2 – Satisfied, Series 3 – Dissatisfied, Series 4 – Very Dissatisfied

Like/Dislike Method of Presentation

100% 90% 80% 70% 60% 50% 40% 30%

Percentage of Like/Dislike 20% 10% 0% 1 2 3 4 5 6 7 8 Type of Activity

Series1 Series2 Series3 Series4

Series 1 = Very Satisfied, Series 2 – Satisfied, Series 3 – Dissatisfied, Series 4 – Very Dissatisfied Effectiveness of Clinician

100% 90% 80% 70% 60% 50% 40% 30%

Percentage of Like/Dislike 20% 10% 0% 1 2 3 4 5 6 7 8 Type of Activity

Series1 Series2 Series3 Series4

Series 1 = Very Satisfied, Series 2 – Satisfied, Series 3 – Dissatisfied, Series 4 – Very Dissatisfied

Relevance to Current Teaching Assignment

100% 90% 80% 70% 60% 50% 40% 30%

Percentage of Relevance 20% 10% 0% 1 2 3 4 5 6 7 8 Type of Activity

Series1 Series2 Series3 Series4

Series 1 = Very Relevant, Series 2 – Relevant, Series 3 – Not Very Relevant, Series 4 – Not Useful Use of Materials for Future Teaching

100% 90% 80% 70% 60% 50% 40% 30%

Percentage of Yes and No 20% 10% 0% 1 2 3 4 5 6 7 8 Type of Activities

Series1 Series2

Series 1 – Yes Series 2 – No Notes

1. The New York Philharmonic Viewbook (2008-2009)

2. The names of the orchestra and participants have been changed to ensure anonymity.

3. City data for Campbell County, Wyoming. Advameg, Inc. 1 Ap. 2010. Web. 1 June,

2010. http://www.city-data.com/county/Campbell_County-WY.html. An Analysis of Britten’s War Requiem, Op.66 (Words from the Missa pro defunctis and the poems of Wilfred Owen)

By David A. McConnell DMA

GENESIS OF THE REQUIEM prose, Britten chose to interpolate several poems by the English war poet Wilfred Owen into the Requiem In 1961 an art festival was organized to celebrate the Mass. reconsecration of the newly rebuilt Saint Michael’s Cathedral in Coventry, England. German bombing Wilfred Owen served in the British Army as a second raids during the Battle of Britain had destroyed the lieutenant, despite his deeply held convictions old medieval Cathedral, leaving only its outer walls against violence. By all accounts, when he joined the standing. After the war, a new cathedral, designed by army in October 1915, he was a cheerful and happy the imminent architect Basil Spence, was built on the man, but the warfare in France changed him. In May same site. His design left remnants of the old 1917, during a particularly ferocious battle, an cathedral standing to serve as a constant reminder exploded shell sent Owen flying high into the air. of wars’ atrocities. Several composers were A few days later, he was forced to hide from German commissioned to write new works for the festival1, artillery fire for days, lying next to the remains of a but perhaps the most important commission for a dead friend. These two events led to an emotional large scale work for chorus and orchestra was offered breakdown, diagnosed as shell shock, and he to Benjamin Britten. His response was War Requiem, returned to England to recuperate. His doctor, as part completed in draft form at Aldeburgh on 20 of his treatment, encouraged Owen to write about his December 1961, in full score during a vacation to experiences at the front, resulting in what is Greece in January 1962, and first heard in the generally considered some of the most powerful war cathedral on 30 May 1962. poetry ever written. Owen returned to France in July 1918 and was tragically killed just a week before the Britten had wanted to compose such a work for Armistice. His mother received news of his death on several years and this commission offered two Armistice Day, just as the town’s church bells were distinct challenges. First, the music would take full ringing to celebrate the end of the war. advantage of the cathedral’s spacious acoustics. To do this, Britten created music that operates on three Britten described Owen as “by far our greatest war distinct spatial planes, discussed in detail below. poet, and one of the most original poets of the Secondly, and perhaps most importantly, Britten saw century.”3 In a 1958 BBC radio broadcast focusing this work as a “a final, momentous opportunity to on Britten’s favorite poetry, Britten included Owen’s make a public pronouncement of his passionately “Strange Meeting” and “The Kind Ghosts.” Later held pacifist held convictions on the largest scale and that year he set “The Kind Ghosts” as part of his in a way such as would strike home to the largest Nocturne for tenor and seven solo instruments. possible number of listeners.”2 In an inspired display Unquestionably, Owen’s poetry exactly expressed of Britten’s lifelong sensitivity and ability with what Britten wished to convey about the ugliness and futility of war. 1Another notable commission was Michael Tippett’s opera King Priam. 2Christopher Palmer, Benjamin Britten War Requiem,, 8. Liner notes for the recording conducted by the composer, for full details see Discography. 3Palmer, Ibid, 10.

JCG Vol. 31 No. 1 13 The idea of combining English poetry with portions The work is dedicated “in loving memory” to four of the Latin Mass had already been realized in Ralph friends that perished in the war. Vaughan Williams’ Dona Nobis Pacem, written and first performed in 1936. Britten, in a conversation Roger Burney, Sub-Lieutenant, Royal Naval Alec Robertson, told him he had “long cherished the Volunteer Reserve wish to set Owen’s war poems but could not see Pies Dunkerly, Captain, Royal Marines 4 how best to do this.” It seems plausible that Britten David Gill, Ordinary Seaman, Royal Navy was initially drawn to Owen’s words about Michael Halliday, Lieutenant, Royal New Zealand reconciliation. It was well known that the Volunteer Reserve reconstruction of Saint Michael’s Cathedral was meant as an act of reconciliation between England MUSICAL ANALYSIS: OVERALL DESIGN OF THE and Germany. Surely the final lines of Owen’s WORK “Strange Meeting,” used in the final movement of War Requiem, express this idea in a deeply personal Foreground (closest to the audience): tenor and and meaningful way: baritone soloists, accompanied by a twelve-piece chamber orchestra. In Britten’s dramatic scheme, I am the enemy you killed, my friend. the tenor is an English soldier and the baritone a I knew you in this dark; for so you frowned German soldier, thus the tenor part is meant to be Yesterday through me as you jabbed and killed. sung by an Englishman, and the baritone, a German I parried; but my hands were loath and cold. singer. The first performance was sung by the tenor Let us sleep now . . .5 Peter Pears and baritone Dietrich Fischer-Diskau. These soloists, with one exception addressed below, Finally, Britten must have felt the need to warn sing only the poetry of Owen. against such conflict ever happening again. Owen had written: Behind the chamber group: large orchestra, SATB chorus and soprano soloist. Britten intended the I am not concerned with Poetry. My subject is soprano be premiered by the Russian Galina War, and the pity of War. The Poetry is in the Vishnevskaya, but she was not allowed to leave the 6 pity… All a poet can do is warn. Soviet Union. Heather Harper stepped in to sing the first performance. The choir and soprano sing the Owen’s warning had obviously gone unheeded and traditional Requiem text, accompanied by the large Europe was again recovering from another World orchestra. Christopher Palmer describes their role as War. A year before Britten started work on the a “formal, ritualized expression of mourning.”7 Requiem, the world watched the disastrous Bay of Pigs incident and America’s Set at a great distance (usually at the back of the increasing involvement in Vietnam. The building of performing venue): Boys Choir and Organ the Berlin Wall had just been completed and there (harmonium or continuo organ). This group, which was continuing escalation of the Cold War also sings portions of the Requiem text, is the voice animosities between America and the Soviet Union, of innocence and purity, devoid of any passion. This both of whom possessed weapons of mass is unusual for Britten, who normally treated chil- destruction. Britten not only sought to mourn the dren’s voices8 in a robust and uninhibited losses of past wars, but warn against future, ever manner. more dangerous conflicts. 4Alec Robertson, Requiem: Music of Mourning and Consolation, 266. 5http://www.everypoet.com/archive/poetry/Wilfred_Owen/wilfred_owen_strange_meeting.htm 6Owen, Wilfred. The Collected Poems, preface. New York: New Directions Publishing Corporation, 1965. 7Palmer, Ibid, 10. 8For example, St. Nicholas and Noye’s Fludde.

14 JCG Vol.31 No. 1 BASIC COMPOSITIONAL DEVICES FOUND THROUGHOUT THE WORK

● The augmented fourth/tritone interval serves as the central structural element (most often C-F#). It often imparts an incessant feeling of unrest and harmonic/melodic instability.

● Britten tends to avoid typical harmonic progressions and cadences.

● A firm tonal center is often avoided; the music is often so chromatic that a tonal center cannot be firmly established.

● The musical material (i.e. phrase lengths, meter) often appears in groupings of 5 and 7, contributing to a feeling of rhythmic instability.

● Britten’s love of pedal-point is often in evidence.

● Britten uses several twentieth-century compositional styles, such as serialism, Bartokian contrapuntal writing, poly-rhythms, and multiple musical groups performing at different tempos and in different keys simultaneously. Such compositional eclecticism is an inherent part of Britten’s compositional profile.

NOTES ON THE INDIVIDUAL MOVEMENTS

Movement I: Requiem aeternam: this movement divides into 5 sections

Section Rehearsal Number Text Forces Involved Metronome Marking

Slow and solemn Requiem aeternam Chorus and Main Quarter=42-46 Orchestra

Quick crotchets Reh. 3 Te decet hymnus Boys Choir and Organ (quarter notes) Quarter=162

Slow (as before) Reh. 7 Requiem aeternam Chorus and Main Quarter=42-46 Orchestra

Very quick/agitated Reh. 9 Anthem for Doomed Tenor and Baritone Half=88 Youth Soloists, Chamber Orchestra

Very slow Reh. 16 Kyrie eleison Chorus, a cappella No MM

JCG Vol. 31 No. 1 15 Slow and solemn The movement begins with a funeral procession that clearly displays the influence of Mahler and Shostakovich. The orchestra plays quintuplet figures, shifting through densely chromatic harmonic progressions. This music is lethargic, weighed down with grief. Any establishment of a tonal center is carefully avoided. While the key signature is d minor, the tonality seems more centered on the dominant pitch of A.

The tubular bells and first muttered choral entries are superimposed on the orchestra’s harmonic writing, both introducing the F#-C tritone, which Alec Robertson calls “the mourning motive of the work.”9 In fact, with the exception of the final ten bars, these are the only two notes the choir sings throughout the movement.

The meter is also unstable; after only four bars of 4/4, it begins to sporadically change from 5/4 to 4/4 to 2/4, etc., creating a feeling of uneasy foreboding.

Quick crotchets The Boys Choir enters for the first time, singing Te decet hymnus, Deus in Sion. This is the only instance where the main orchestra joins with the chamber organ to accompany the Boys Choir. The strings alternately play C and F#. The Choir, divided into two parts, sings a melody clearly evoking plainsong. The upper part sings a four-bar phrase that begins on C and ends on F#, answered by the lower part singing the same phrase in inversion. The left hand of the organ adds triadic harmonies in chordal parallelism. The phrases become progressively shorter until the music dissolves into a simple alternation of the C-F# tritone.

Slow (as before) The mixed choir sings a sixteen-bar recapitulation of material from the first section.

Very quick and agitated The first poem, “Anthem for Doomed Youth,” is sung by the tenor (English soldier). With the new text and performing group, the music finds a new tonal perspective and a more urgent pulse. The harp begins this passage playing a G-flat (enharmonically F#)-C interval. The snare drum mimics the sound of distant rifle fire and the strings, oboe and horn imitates “only the stutt’ring rifles rapid rattle can patter out their hasty orisons.” Woodwinds and voice join together in their higher register to vividly capture “the shrill, demented choirs of wailing shells.” This is quickly followed by a paraphrase of the Te decet hymnus melody played by the oboe, just before the tenor sings, “Not in the hands of boys but in their eyes shall shine the holy glimmers of good-byes.” Once again, the tritone interval is readily apparent.

The first note of the tenor’s phrase begins on C and his final phrase ends on F#. His final phrase is also an augmented version of the Boys Choir initial phrase.

Very slow The F#-C tritone is sounded by the tubular bells, becoming the harmonic basis for a ten-bar Kyrie, surely one of the shortest settings of this text in any Requiem. An open fifth F# chord in the penultimate bar settles into a rich, full F major, the simplest of means creating the most profound effect. This same harmonic progression is repeated at the end of movements 2 and 6.

9Alec Robertson, “Britten’s War Requiem,” Musical Times, May 1962: 309.

16 JCG Vol.31 No. 1 Movement II: Dies irae: this movement, the longest in the work, divides into 11 sections.

Section Rehearsal Number Text Forces Involved Metronome Marking

Quick Quarter=160 Dies irae Chorus and Main Orchestra

Quietly (slower, Reh. 24 Bugles sang Baritone and Chamber without strictness) No MM Orchestra

Slow and majestic Reh. 28 Liber scriptus aeternam Soprano, Chorus and Quarter=63 Main Orchestra

Fast and gay Reh. 33 Out there we walk’d Tenor and Baritone Quarter=132 quite friendly up Soloist, Chamber Orchestra Slow Reh. 39 Quarter=66 Recordare SSAA Chorus and Main Orchestra Quick Reh. 45 Quarter=132 Confutatis maledictis TTBB Chorus and Main Orchestra Very broad Reh. 52 Quarter=160 Be slowly lifted up Baritone and Chamber Orchestra Quick, as before Reh. 52 Quarter=160 Dies irae Chorus and Main Orchestra Very slow Reh. 54 Quarter=56 Lacrimosa Soprano, Chorus and Main Orchestra Recitative Reh. 56 No MM Move him, move Tenor and Chamber him into the Sun Orchestra Very slow Reh. 60 No MM Pie Jesu Domine Chorus, a cappella

JCG Vol. 31 No. 1 17 Quick The movement begins with bugle calls, simultaneously representing the battlefield and heralding the Day of Judgment. These calls lead into an unsettling, rhythmically unstable 7/4 march for choir and orchestra. The tonality centers around g minor, though Britten avoids any strong confirmation of this key until later in the movement (see below). The march is interrupted twice more by bugle calls, each interruption growing in dynamics and thickening in texture. The third interruption leads to the Tuba mirum (Rehearsal #21), the first fortissimo music for the chorus. It also finally establishes the tonality of g minor, as the brass interjects its bugle music into the orchestral/choral fabric. The energy and weight of this music soon dissipates and the chorus is left muttering Judicanti responsura.

Quietly The baritone soloist (German soldier) sings “Bugles Sang.” All of the musical material is derived from the bugle music, its melodic outline and fanfare-like triplet figures appearing throughout the instrumental writing. The vocal line also has several (weary sounding) arpeggio figures, direct descendants of the bugle motif. The final vocal phrase ascends almost two octaves as the baritone cries “Voices of old despondency resigned, bowed by the shadow of the morrow, slept.” The flute blows one final bugle call as the collective terror of the Tuba mirum is here replaced by a personal, resigned sadness.

Slow and majestic The soprano soloist “proclaims” Liber Scriptus in a sharply rhythmic melody, varied through inversion and extension, as the instruments rhythmically echo the vocal part. A semi-chorus then steals in with imitative entries (first tenor, then soprano, bass and tenor) singing five note scales in mostly step-wise motion, all over an E pedal point. Soprano and chorus then join together to sing Rex tremendae, the soprano’s material an expansion of her opening music and the choir singing inversions of their first phrases.

Fast and gay A setting of Owen’s “The Next War.” The men sing a bitter, caustic duet in constantly shifting compound meter, where death is now so commonplace that they have “Sat down and eaten with him, cool and bland, Pardoned his spilling mess tins in our hand.” The vocal parts feature overtly harsh major seconds and minor seventh intervals. The voices come together to sing, “We chorused when he sang aloft; we whistled while he shaved us with his scythe,” as they struggle to find courage for further battle. The dancing woodwind lines mock their sad realization that they fight and die, not for men, but flags.

Slow Four-part women (SSAA) sing Recordare, accompanied by orchestral ostinatos, over a C pedal point. The choral lines are once again derived from the bugle motif, but in this instance it yields music of considerable beauty, fluidity, and warmth.

Quick The warm and gentle atmosphere of the women’s music is shattered by a sharp brass interjection as the men begin their four-part (TTBB) setting of Confutatis maledictis. Bass and baritones begin with arpeggiated chords, marked “heavy,” with celli and orchestral basses instructed to play every note down bow. These incessant eight-note figures are surely meant to depict the searing flames of hell spoken of in the text (Flammis acribus addictis). The tenors answer with a more lyrical and less active duet that moves in quarter notes, singing “Oro supplex et acclinis”. The men’s voices join together, increasing in volume and ascending into their upper range to arrive at an angry, fierce climax, crying Gere curam mei finis (Help me in my last hour).

Very broad The baritone calls on the “Great gun towering t’ward Heaven” to “Reach at that arrogance which needs thy harm, and beat it down before its sin grow worse.” The timpani (hit with hard sticks – the sound of the “great gun”) hammer out triads in quintuplet figures, referring to the bass 1 part of the previous section. The baritone’s music is punctuated by five interjections from the trumpets of the main orchestra. The music is again based on the opening bugle motif, played in a key that conflicts with the prevailing tonal center.

18 JCG Vol.31 No. 1 Linking this section and movement with the entire work, almost every one of the baritone’s phrases ends with a tritone interval.

Quick, as before A twenty-two bar recapitulation of the Dies irae, again firmly in g minor. Beginning at Rehearsal 53, the melodic lines fragment, the text interrupted by rests as the music gradually slows down, dying away to nothingness.

Very slow The music shifts into b-flat minor as the soprano and chorus sing “Lacrimosa dies illa.” The 7/4 time signature and fragmented textual delivery of the preceding section continue. The soloist’s melody is disjunct and also contains rests that disrupt her long, legato phrases. The overriding atmosphere is one of sobbing and weariness. At “Qua resurget ex favilla” (When from the ashes arise) there is a miraculous change to B-flat Major, a brief beacon of light in the pervasively gloomy atmosphere.

Recitative The final Owen poem, sung by the Tenor, sustains the mood of the Lacrimosa. Accompanied by tremolando chords in the strings, the soloist mourns the death of a fallen friend. The main orchestra, chorus, and soprano interrupt the tenor’s soliloquy three times, thereby joining the universal “tears” of the Lacrimosa with his more personal cries. After each interruption, the tenor asks with ever increasing intensity, “Was it for this the clay grew tall?” The final two notes of his final phrase (C-F#) return us to the tritone tonality.

Very slow The movement ends with the same music as the first. Perhaps because of all of the struggles in this movement, the beautiful shift from the open F# chord down to a full F Major chord in the final bar seems less comforting. Peace seems less attainable.

Movement III: Offertorium: this movement divides into 5 sections

Section Rehearsal Number Text Forces Involved Metronome Marking

Broadly Half=44 Domine Jesu Boys Choir and Organ

Lively Reh. 63 Sed signifier sanctus

Quarter=144 Michael Chorus and Main Orchestra

JCG Vol. 31 No. 1 19 Same tempo as Reh. 64 Chorus and Main previous section Dotted quarter=96 Quam olim Abrahae Orchestra (simple to compound)

Rather deliberate Reh. 69 Tenor and Baritone So Abram rose, and Soloists, Chamber clave the wood Orchestra, Boys Choir

Same tempo as Reh. 79 Chorus and Main previous section Quam olim Abrahae Orchestra

Broadly The Boys Choir, singing on two melodic planes, sings Domine Jesu Christe. The upper voices, operating one octave above middle C#, sing the first part of the clause (Domine Jesu, Christe), answered by the lower voices, who finish the line of text in music that operates around middle C#. Their music is, once again, suggestive of plainsong. By using C# as the pivotal note, a tritonal harmonic relationship is created with the next G Major section. The organ accompaniment consists of cluster chords, introduced by scale-like flourishes and ending with a trilled C#.

Lively The Chorus asks Saint Michael for guidance into the holy light. While the shape of the choral lines suggests plainsong, the soprano and tenor voices sing one step above the alto and bass voices, creating harsh dissonance throughout the choral phrases. This section, only 17 bars long, really serves as a prelude to the upcoming fugue.

Same tempo as previous section Shifting from simple into compound meter, this is the most tonal and “academic” music in the work. Britten writes a fugue, a compositional form typically associated with this particular passage of Requiem text. The subject is introduced by tenors and basses, then immediately subjected to stretto, inversion and 13 imitation. Dynamics and energy gradually increase until the final statement of the subject (Rehearsal 68), in which the sopranos and altos (in parallel fifths) sing the inverted fugue subject as basses and tenors, also in parallel fifths, sing the normal subject.

Rather deliberate Woodwinds enter echoing the previous fugue subject. Here, Britten reuses the music of his Canticle No. 2: Abraham and Isaac, written in 1952, and based on the late fourteenth-century Chester Miracle play. “The Parable of the Old Men and the Young” is one of Owen’s most brutal poems. It begins as the Old Testament story of God ordering Abraham to sacrifice his son Isaac, where the story concludes with an angel telling Abraham to spare his son’s life at the final moment. In Owen’s retelling, Abraham ignores this instruction and proceeds to slay his son “and half the seed of Europe, one by one.” It is a horrifying twist and surely the most ironic juxtaposition of texts in the entire work. The final line of the poem triggers a reaction from the chamber organ, and the Boys Choir begins singing Hostias et preces. The melodic contour is built of minor thirds, adding an element of mockery. These boys are not living commentators, but rather the dead and wasted youth of which the poem speaks. These two performing forces, in different keys and tempos, sound simultaneously. The men sing their final line against the music of the Boys Choir six more times, Britten hammering home the moral to Owen’s story.

20 JCG Vol.31 No. 1 Same tempo as previous section Since Owen’s poem turns the Biblical story on its head, Britten brings back the fugal music in inversion, the dynamic never rising above pianissimo. The movement ends as the winds play a five octave descending line as the music seemingly dissipates into thin air.

Movement IV: Sanctus: the movement divides into 6 sections and is the only movement in which the liturgical text is sung without interruption by Owen poetry

Section Rehearsal Number Text Forces Involved Metronome Marking

Freely No MM Sanctus Soprano and Percussion of the Main Orchestra

Slow Reh. 85 Pleni sunt caeli Chorus and Main Half=40 Orchestra

Brilliant Reh. 87 Hosanna in excelsis Chorus and Main Quarter=69 Orchestra

Very quietly Reh. 89 Benedictus qui venit Soprano, Chorus and No MM Main Orchestra

Brilliant, as before Reh. 92 Hosanna in excelsis Chorus and Main Quarter=69 Orchestra

Very slowly Reh. 93, Eighth= After the blast of Baritone and Chamber Preceding Quarter lightening Orchestra

Freely The soprano sings Sanctus, accompanied by F#-C played by tubular bells, vibraphone, glockenspiel, antique cymbals, and piano. The color is different, somehow warmer and more comfortable (or perhaps we have grown accustomed to it). This passage clearly shows the influence of Indonesian gamelan music, which Britten discovered on a visit to that region in the late 1950s. The soprano soloist sings six phrases, each of which centers on the B#/C and F# pitches. The third and sixth phrases are melismatic, using all tones of the chromatic scale.

Slow The chorus divides into eight parts (SSAATTBB). Beginning with the second basses in their low register, each choral part, from lowest to highest, enters, aleatorically repeating “Pleni sunt caeli et terra” as they ascend in pitch and increase in volume. It is an overwhelming expansive cascade of sound, a simple yet astounding effect, as if all the angels in heaven were joining with the soprano in praising God.

JCG Vol. 31 No. 1 21 The moment’s power is surely heightened because this is the first time text and music has moved away from images of death and war.

Brilliant Arriving in the bright key of D Major, the full orchestra and chorus engage in joyous, imitative writ- ing. The three upper voices sing a phrase in choral parallelism, shifting through various tonal centers, led by the brass that plays the same music an eighth-note ahead of the choir. This is a passage surely meant to take full advantage of the cathedral’s generous acoustics. The orchestral and choral basses repeatedly perform short, three-note melodic cells that usually finish on D. It is a somewhat strange effect, as if they are earthbound, unable to join in the joyful chorus above them. These waves build in intensity but fail to reach a climax before dissolving into the Benedictus.

Very quietly The soprano soloist sings Benedictus, as the choir, singing in a purposefully archaic style (open fifths), overlaps and extends her phrases. The soprano melody is languid and gentle, with a small intervallic range that resembles plainsong. It is a stark contrast to her opening music.

Brilliant (as before) A twenty-bar recapitulation of the Hosanna in which the music reaches the climax it was denied earlier.

Very slow In Britten’s most daring juxtaposition of texts, the listener is immediately wrenched from the majesty and joy of heaven to the despair and gloom of a foxhole. The baritone sings Owen’s “The End,” a dark dirge of utter hopelessness and unremitting pessimism. He asks old age and mother earth for assurance of an afterlife, but receives none. This textual juxtaposition seems intent on forcing the listener to question the promise of eternal life, arguably the most important theological tenet of the Requiem Mass. As the solo ends, the accompaniment becomes bi-tonal. No attempt is made to reach consonance or resolution, in this, the bleakest moment in the work.

Movement V: Agnus Dei: despite being the shortest movement, this is the emotional and spiritual crux of the work. It is also the only movement in which the poetry and liturgical words are in complete accord

Section Rehearsal Number Text Forces Involved Metronome Marking

Slow and solemn One ever hangs where Tenor and Chamber shelled roads part Orchestra, Chorus and Agnus Dei Main Orchestra

22 JCG Vol.31 No. 1 Slow The tenor sings “At a Calvary near the Ancre” divided into four petitions, each of which is completed by the choir singing Agnus Dei. The first petition speaks of a crucifix damaged by fighting; the second and third express disgust at the “priest and scribes” who “bawl allegiance to Britten”: “But they who love the greater love lay down their life; they do not hate.” Only by fully embracing this idea will humanity lose its seemingly persistent desire to fight and conquer. While Owen never shows a complete confidence that civilization is capable of such behavior. Britten’s setting arguably indicates he still does.

Once again, the C-F# interval is an integral part of the structure. The first bar consists of a five-note descending scale (grouped in 2+3) beginning on F#; the second bar has a five-note ascending scale (grouped in 3+2) beginning on C. These two bars become an ostinato accompaniment throughout the movement. The tritone finds its first resolution in the final three bars, as the tenor, profiled against a hummed pianissimo chord in the chorus, sings, for the first and only time, words NOT drawn from Owen’s poetry. Instead, he sings Dona nobis pacem (Grant us peace), which comes from the Ordinary of the Mass (a Mass for the living, as opposed to the Requiem text that focuses on those who have died). The tenor’s melody consists of two five-note scales: one beginning on F# and the other on C. With its final melismatic resolution to F#, the music, for the first time, seems to find the peace that has proven so elusive.

Movement VI - Libera me: the movement divides into 5 sections, the first section of which divides into six subsections of gradually increasing tempo and dynamics

Section Rehearsal Number Text Forces Involved Metronome Marking

March – Subsection 1 Libera me Chorus and Main (starting slowly Orchestra with gradual accelerando)

Subsection 2 Reh. 103 Quando caeli Chorus and Main (Very broad) Quarter=72 Orchestra

Subsection 3 Reh. 105 Dum veneris judicare Chorus and Main (Quick) Half=84 Orchestra

Subsection 4 Reh. 108 Tremens factus Soprano, Chorus and (Quicker) Dotted half=88 sum ego Main Orchestra

Subsection 5 Reh. 110 Libera me Soprano, Chorus and (Very lively) Whole=92 Main Orchestra

JCG Vol. 31 No. 1 23 Quarter=63 Orchestra, Organ added

Recitative: Reh. 118 It seems that out of Tenor and Baritone Slow and quiet No MM battle I escaped soloists, Chamber Orchestra

Very quiet until Reh. 127 Let us sleep now/ All forces the end Quarter=60 In paradisum

Very slow Reh. 137 Requiescant in pace. Chorus, a cappella No MM Amen

“A kind of recapitulation of the whole Mass, with the chorus, up to the climax of Dies irae, overtaken, as it were, by the steadily accelerating orchestra.”10

March The movement begins with a heavy, weary march, with the same quintuplet rhythms used in the first movement’s opening bars. Additionally, the bass line recalls, in rhythmic augmentation, the orchestral bass line of “Anthem for Doomed Youth” in Movement 1. The choir’s initial lament, Libera me, is melodically narrow, never growing beyond a minor third. At Rehearsal 103, the tempo increases with the words Quando caeli as the rhythmic figure in the orchestra becomes more insistent and the range of the choral lines expands to over an octave. At Rehearsal 105, the tempo accelerates and the choral lines are marked marcato, accompanied by march-like figures in the orchestra. The percussion becomes more vigorous when the whip makes it first appearance. Throughout this passage the choral entrances are imitative and increasingly in stretto. At Rehearsal 108 the tempo increases, again, as the soprano enters with a disjunct and chromatic line that fully captures her fear and trembling (Tremens factus). The orchestra has shifted into a ¾ time signature, but the choir and soloist remain in 4/4.The orchestral writing is intensely chromatic, shifting through many tonal centers to create an anxious, tense excitement. An A-Eb tritone appears in the choral entrance (9 bars after Rehearsal 108). At Rehearsal 110 (as the soprano ascends to a high C) the tempo accelerates once more. The brass play the bugle motif from the Dies irae as the chorus reiterates its music from the beginning of the Libera me. The choral lines ascend, increasing in energy and volume until Rehearsal 112, where a fully fledged recapitulation of the Dies irae begins in the orchestra. The choir quickly joins in, their scurrying downward scale passages now painting the image of people scattering in fear of the final judgment, as the soprano sings a pedal point above the choral-orchestral texture. Somehow, this tension builds inexorably to:

Very broad A huge climax – the largest of the work – as the full organ (which only plays in this movement) and orchestra play a massive g minor chord, the choir struggling to cut through the orchestral texture as they wail Libera me, using their melody from the beginning of this movement. The energy and power of the climax is expended, the music becomes softer and the texture ever thinner as the music moves into the final chamber music section. 10 Robertson, Requiem: Music of Mourning and Consolation, 266.

24 JCG Vol.31 No. 1 Recitative The tenor and baritone sing Owen’s poem “Strange Meeting.” This is the longest poem used in the work. (Actually, Britten removed the four lines of poetry that identified Hell as the location where the two sol- diers talk. Perhaps Britten felt this image to be incompatible with the upcoming In paradisum. The strings, playing a static g minor chord marked triple piano, immediately create a timeless, otherworldly quality. Throughout the tenor’s opening recitative (It seemed to me out of battle I escaped), this chord hangs lifeless, sustained almost inaudibly by the chamber orchestra as a reminder of the battlefield and the cries of mercy just issued by the chorus. The winds begin to more actively paint the text, recalling several motifs from former movements, many of which feature C-F#. All of this material carefully leads up to the emotional apex of the poem, where the baritone (German soldier) sings, “I am the enemy you killed, my friend. I knew you in this dark; for so you frowned yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.” It is an indescribable moment, the wastefulness and futility of war profoundly expressed with the minimum of means. The baritone then invites his fellow soldier to rest, singing “Let us sleep now.”

Very quiet and slow to the end The Boys Choir steals in, softly intoning In paradisum to a plainsong-derived, pentatonic melody. The main chorus quietly joins, first the basses, altos, tenors, and finally sopranos, each sec- tion divided into two parts, singing two-part canons based on the Boys Choir pentatonic melody. Finally, the soprano enters as all performers join together in a call for forgiveness and peace. This music is twice inter- rupted by the Boys Choir and tubular bells by music featuring the C-F# tritone (one bar after Rehearsal 135 and Rehearsal 136). This second interruption brings the paradise music to its conclusion.

Very slow The chorus finishes in the same manner as the first two movements, singing Requiescant in pace. Amen (Let them rest in peace. Amen)

CONCLUSION

War Requiem is a work that constantly rewards further study. As with any great work of art, there is always more to discover in its musical and textual wonders. More importantly, it stands as a uniquely powerful testament to Britten’s pacifist ideals. One only need pick up the daily newspaper or turn on the evening news to understand that we have yet to heed the Requiem’s warnings. Britten and Owen present us with a startling honest portrait of the evil of which we are capable, told through music and prose that displays the best in our creative, spiritual selves. Owen warned us and Britten warned us again. Sadly, the need for warnings continue, and there is perhaps no greater vehicle for such warning than Britten’s masterpiece.

*****

Dr. McConnell teaches and conducts at Alvernia and Pennsylvania State, Berks Campus, Universities, as well Lehigh Carbon Community College. He holds degrees from Westminster Choir College, Temple University, and the University of Cincinnati College-Conservatory of Music.

JCG Vol. 31 No. 1 25 SELECT BIBLIOGRAPHY Cooke, Mervyn. Britten War Requiem. New York: Cambridge University Press, 1996. Elliott, Graham. Benjamin Britten: The Spiritual Dimension. Oxford: Oxford University Press, 2006. Evans, Peter. The Music of Benjamin Britten. London: J.M. Dent, 1989. Kennedy, Michael. Britten. Oxford: Oxford University Press, 2001. Owen, Wilfred. The Collected Poems. New York: New Directions Publishing Corporation, 1965. Palmer, Christopher, ed. The Britten Companion. London: Faber and Faber, 1984. Robertson, Alec. “Britten’s War Requiem.” Musical Times. 103 #1431 (May 1962), 308-310. ______. “Requiem: Music of Mourning and Consolation.” New York: Frederick A. Prager Publishers, 1967.

DISCOGRAPHY London Symphony Orchestra and Chorus, Melos Ensemble, The Bach Choir, Highgate School Choir. Galina Vishnevskaya, Peter Pears and Dietrich Fischer-Diskau, soloists. Benjamin Britten, conductor, DECCA 000638902, 1963.

New Philharmonia Orchestra and Chorus, Melos Ensemble, Wandsworth School Boys’ Choir. Stefania Woytowicz, Peter Pears and Hans Wilbrink, soloists. Carlo Maria Guilini, conductor, BBC LEGENDS 4046, 1969.

City of Birmingham Symphony Orchestra and Chorus, Boys of Christ Church Cathedral, Oxford. Elisabeth Söderström, Robert Tear and Thomas Allen, soloists Sir Simon Rattle, conductor, EMI CLASSICS 770827, 1983.

London Symphony Orchestra and Chorus, Choristers of St. Paul’s Cathedral. Heather Harper, Martyn Hill and John Shirley-Quirk, soloists. Richard Hickox, conductor, CHANDOS 8983/4, 1991.

26 JCG Vol.31 No. 1 Villa-Lobos: “Bachianas Brasileiras” Editions as of 1/2013

Compiled by Clinton F. Nieweg, with assistance from Nancy M. Bradburd, David Daniels, Wilson Ochoa, Greg Vaught, David Stybr (Chicago, Il), Marcelo Rodolfo (Museu Villa-Lobos), Stuart Serio (Fleisher Collection), Eric Swanson (JoAnn Kane Music Service), Dean Fry (Villa-Lobos website), Charles Harmon. Original chart 2004. Update 2013. Links accessed 1/1/2013.

This listing was prepared in order to facilitate the finding of these titles. Scores and parts for sale can be ordered from your music dealer. Scores and parts on rental must be ordered directly (in the US) from the publisher’s agent listed.

“Because Villa-Lobos dashed off compositions in feverish haste and preferred writing new pieces to revising and correcting already completed ones, numerous slips of the pen, miscalculations, impracticalities or even impossibilities, imprecise notations, uncertainty in specification of instruments, and other problems inescapably remain in the printed scores of the Bachianas, and require performers to take unusual care to decipher what the composer actually intended. In the frequent cases where both the score and the parts are wrong, the recordings made by the composer are the only means of determining what the composer actually intended (Round 1989, 35).”

Round, Michael. 1989. “Bachianas Brasileiras in Performance”. Tempo, new series, no. 169 (June, “50th Anniversary 1939–1989”): 34–41.

VILLA-LOBOS, Heitor (b. Rio de Janeiro, 5 March 1887; d. Rio de Janeiro, 17 Nov 1959). Brazilian

BACHIANAS BRASILEIRAS No 1 (Appleby Catalogue Work number: A246) for 8 Violoncelli (para Conjunto de Violoncelos) Composed 1930-1932 (1936-1938 for the first movement) (SP = São Paulo) Lisa Peppercorn lists the composition dates as 1930-32 and 1936-38. She says: “I believe that the first movement was written only between 1936 and 1938, because until 1936 only the last two movements were ever performed. The first performance of the complete work was given in 1938.” Dur.: 18’to 21’ Pub.: Associated Music Publishers © 1948 U.S. sales agent: Hal Leonard Octavo score (6 by 9) ©1948 for sale # HL 50238920 Set of parts (no score included) for sale # HL 50242110 Instrumentation: sold as a set of one of each part: Viola, Violoncello 1 & 2 [one part], Violoncello 3 & 4 [one part], Violoncello 5 & 6 [one part], Violoncello 7 & 8 [one part]. Can be played by either 2 violas & 6 Violoncelli, or 8 Violoncelli, or an ensemble of Violoncelli.

JCG Vol. 31 No. 1 27 Movements: Introdução (Embolada): Animato (a popular song of northeast Brazil) Prelúdio (Modinha): Andante (a sentimental song) (Modinha: a very melodic style of song in the mood of serenades.) Fuga (Conversa): Un poco animato (Conversation)

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * • “Introdução (Embolada)”; 32.5 cm x 23 cm; 28 pp. • “Introdução (Embolada)”; draft, 34 x 25 cm; 14 pp. • “Introdução (Embolada)”; redução, fragment, s.d.; 34 x 25 cm; 2 pp. • “Prelúdio (Modinha)”; s.d.; 32 x 24 cm; 6 pp. • “Fuga (Conversa)”; draft, s.d.; 32 x 24 cm; 6 pp.

TIME: 20’08” (Composer’s recording) • Introdução (Embolada): 6’44” • Prelúdio (Modinha): 9’00” • Fuga (Conversa): 4’24”

PERFORMANCES: • 1st 12/9/32, Rio de Janeiro. “Prelúdio” e “Fuga”. Rio de Janeiro Philharmonic Orchestra. Heitor Villa-Lobos, conductor. Concert dedicated to [Walter] Burle Marx. Neste concerto, a 1st estante de violoncelos foi substituída por violas. Also listed by reference sources as Premiere: 12/9/32, by the Philharmonia Orchestra of Rio de Janeiro, Conducted by Walter Burle Marx; Not as the above; which was dedicated to [Walter] Burle Marx. • 1st 13/11/38, Rio de Janeiro, Casa D’Itália. Complete. Heitor Villa-Lobos, conductor. 13rd concert of the Sociedade Pró-Música. • 20/10/40, New York, Museum of Modern Art. Brazilian Music Festival. Walter Burle Marx, conductor. 1st performance in USA. • 3/3/51, Paris, Salle Gaveau. Orchestre de la Société des Concerts du Conservatoire; Heitor Villa-Lobos, conductor. • 1954, Rio de Janeiro, Teatro Municipal; Marila Gremo, choreographer. Entitled “A Seca.” • 10/12/58, New York, Town Hall. The Violoncello Society; Heitor Villa-Lobos, conductor. • 11/2/59, México, DF, Sala de Espetáculos del Palácio de Bellas Artes. National Symphony Orchestra (Brazil); Heitor Villa-Lobos, conductor.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32cm x 23cm; 10 pp. • Dedicated to Pablo Casals; • “Fuga (Conversa)”; dedicated to the memory of Sátiro Bilhar; • In the second edition of “Villa-Lobos Sua Obra”, there’s an indication: “mínimo de 8 violoncelos” (at least 8 Violoncellos); • The 1st and 2nd Violoncellos can be replaced, just in case, by violas, according to the composer’s performances records as well as by the information in the printed score. 3 pp (60 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), dated 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

28 JCG Vol.31 No. 1 *************************************************************************************** BACHIANAS BRASILEIRAS No 2 (A247) for Chamber Orchestra Composed 1930 (SP = São Paulo) Dur.: 19’to 24’ Pub.: Milan: Casa Ricordi © 1949. Plate 129643. Score and parts rental, U.S. agent: Boosey & Hawkes. Octavo size score for sale ©1952, U.S. agent: Hal Leonard # HL 50076880. Pub. Code: R129643, Width: 8 inches, Length: 10.5 inches, 88 pages.

1[1/pic] 1 1 1{contrabassoon is a typo in the score}— 2 0 1 0 —1sax[tsx/bsx]— tmp+5perc (chocalhos {metal tube filled with beads, i.e., rattle}, reco-reco {notched stick, i.e., guiro}, triangle, cymbals, ganza {metal tube filled with gravel, i.e., metal shaker}, pandeiro [tamburello] {tambourine}, bombo {bd}, matraca [Raganella] {ratchet}, tamburo {snare drum}, tamburo acuto {small high pitched [piccolo] snare drum}, tam-tam) — cel, pf — str

“Although the instrumentation list AND the first score page list “Controfagotto” [sic], nevertheless on all subsequent score pages the instrument is “Fagotto.” That would make the first 7 notes on contra and the rest on bassoon. But there’s no direction to change to bassoon, and internal evidence (horns & violas in octave with the bassoon) suggests that the contra is just a typo—like the misspelling. In any case, never is there more than one bassoonist playing. Likewise, there is never more than one sax playing. It’s tenor for the first 3 mvts, and baritone for the 4th (the celebrated “Little Train” movement).”— David Daniels email to Mr. Nieweg 12/20/2012. Movements: Prelúdio, (O Canto do Capadócio) (The Song of the Countryman [or scamp]): Adagio — Andantino mosso — Adagio 7’ Ária, (O Canto da Nossa Terra (The Song of Our Country): Largo — Tempo di Marcia — Largo 5’ Dança, (Lembrança do Sertão) (Memory of the Desert) or (Remembrance of the Bush): Andantino moderato — Allegro 5’ Tocata (O Trenzinho do Caipira) (The Little Train of the Brazilian Countryman) or (The Little Train of the Rube) or (The Little Train of the Caipira): Un poco moderato 4’

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * TIME: 21’42” (Composer’s recording) • Prelúdio (O Canto do Capadócio): 7’04’’ • Ária (O Canto da Nossa Terra): 5’38’’ • Dança (Lembrança do Sertão): 4’56’’ • Tocata (O Trenzinho do Caipira): 4’04’’

PERFORMANCES: • 1st 3/9/34, Venezia. II Festival Internazionale di Venezia. A. Casella, conductor [some reference sources give Dmitri Mitropoulos, conductor]. • 31/8/41, Rio de Janeiro, ENM. Edoardo de Guarnieri, conductor. 1st performance in Brazil. • 7/6/53, Rio de Janeiro, Teatro Municipal. Ballet of Teatro Municipal; Madeleine Rosay, choreographer; Heitor Villa-Lobos, conductor. Entitled “Mancenilha (A Flor que Embriaga).” Argumento de Heitor Villa- Lobos. • 25/5/55, Vienna, Grosser Musikvereinssaal. Orquestra Sinfônica de Vienna; Heitor Villa-Lobos, conductor.

JCG Vol. 31 No. 1 29 OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras” 32cm x 23cm; 10 pp. • Dedicated to Mindinha (nickname of Arminda Villa-Lobos, second wife of the composer, who founded and directed Museu Villa-Lobos since its creation until her decease on August 1985); • Violoncello and piano reduction of “Prelúdio (O Canto do Capadócio)”; • Violoncello and piano arrangement of “Ária (O Canto da Nossa Terra)”; • Piano reduction of “Dança (Lembrança do Sertão)”; • Violoncello and piano version of “Tocata (O Trenzinho do Caipira)”.

24 pp (460 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), dated 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS No 3 (A388) for Piano and Orchestra Composed 1938 (RJ = Rio de Janeiro) Dur.: 25’to 29’ Pub.: Ricordi Americana NY/Franco Colombo. Plate N.Y. 1945. © 1953 [Not G. Ricordi, Milano], Transferred to Warner Bro. Then transferred to: Score and parts on rental - U.S. agent: Alfred Music Rental . 2 piano reduction by the composer. Pub.: Ricordi Americana NY. Plate N.Y. #1945. ©1953 ©1958.

Solo Piano 3[1.2.pic] 3[1.2.Eh] 3[1.2.bcl] 3[1.2.cbn] — 4 2 4 1 — tmp+2 (or3) perc (xyl, tamtam, bd) — str Movements: Prelúdio (Ponteio): Adagio (an improvisation, like a guitarist) Fantasia (Devaneio) (Divagação): Allegro moderato (digression) Ária (Modinha): Largo — Grandioso — Quasi allegro — Largo (a sentimental song) Tocata (Pica-pau): Allegro (Woodpecker)

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * • Matriz fotostática; 38.5 cm x 31 cm; 122 pp. • Piano reduction, matriz fotostática (photocopy); 35 x 28 cm; 56 pp. • “Prelúdio (Ponteio)”; fragment, s.d.; 34 x 25 cm; 1 p. • “Fantasia (Devaneio)”; fragment, s.d.” 34 x 25 cm; 2 pp. • “Fantasia (Devaneio)”; fragment, s.d.; 34 x 25 cm; 4 pp. • “Ária (Modinha)”; fragment, s.d.; 34 x 23 cm; 2 pp. • Fragment not identified, s.d.; 34 x 25 cm; 1 p.

TIME: 27’33” (Composer’s recording) • Prelúdio (Ponteio): 7’10” • Fantasia (Devaneio): 5’57” • Ária (Modinha): 7’49” • Tocata (Pica-pau): 6’37”

30 JCG Vol.31 No. 1 Recording - Brana Records [email protected] Catalogue Number BR0001 Heitor Villa-Lobos - Brasileiras Bachianas No. 3 for Piano and Orchestra - Felicja Blumental - piano - Luigi Toffolo - conductor, Filarmonica Triestina orchestra. Preludio (6’50), Fantasia (6’28), Aria (8’53).Toccata (7’20).

PERFORMANCES: 1st 19/2/47, New York. Orquestra da CBS; José Vieira Brandão, piano; Heitor Villa-Lobos, conductor.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • Dedicated to Mindinha. • 2 pianos reduction arr. by the composer Pub: New York: G. Ricordi & Co., 1953. Plate N.Y. #1945.

94 pp (1860 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS No 4 (A264) Piano solo - original (1930/1941) Dur.: 16’ Prelúdio (Introdução) (1941, RJ = Rio de Janeiro) Coral (Canto do Sertão) (1941, RJ = Rio de Janeiro) Ária (Cantiga) (1935, RJ = Rio de Janeiro) Dança (Miudinho) (1930, SP = São Paulo)

Piano solo ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * “Prelúdio (Introdução)”; 33.5 x 25 cm; 4 pp. Pub: CMP, IV, AN. Copyright: © 1941 by HVL, ©1948 by CMP.

PERFORMANCES Premiere of the original piano version 27/11/39, José Vieira Brandão, pianist.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • Dedications: - “Prelúdio (Introdução)” a Tomás Terán. - “Coral (Canto do Sertão)” a José Vieira Brandão. - “Ária (Cantiga)” a Sylvio Salema. - “Dança (Miudinho)” a Antonieta Rudge Müller (according to printed scores). • Transcription for orchestra.

BACHIANAS BRASILEIRAS No 4 (A424) For orchestra (1930/1941) - orchestrated 1942. Dur.: 18’5” to 22’5” Pub.: Ricordi Americana NY/Franco Colombo. Plate N.Y. 1555. © 1953 [Not Ricordi Milano], Transferred

JCG Vol. 31 No. 1 31 to Warner Bro. Then transferred to: Score and parts on rental - U.S. agent: Alfred Music Rental

3[1.2.pic] 3[1.2.Eh] 3[1.2.bcl] 3[1.2.cbn] — 4 3 2{or3} 1 — tmp+3 perc ( xyl, bd, tamtam) — cel — str Originally for piano solo; orchestrated by the composer. “Rental sets include a 3rd tbn, but never are there more than 2 trombones playing at the same time.” — David Daniels.

Movements: Prelúdio (Introdução) (1941, RJ): Lento (Introduction) [for string orchestra] Coral (Canto do sertão) (1941, RJ): Largo (Song of the Bush) Ária (Cantiga) (1935, RJ): Moderato (Song, or lyric, as of the troubadours) Dança (Miudinho) (1930, SP): Molto animato (a rapid dance but with tiny steps) (Miudinho - one of the steps of the samba dance)

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: Matriz fotostática (photocopy); incomplete; 38.5 x 30 cm; 70 pp.

TIME: 22’29” (Composer’s recording) • Prelúdio (Introdução): 8’36” • Coral (Canto do Sertão): 4’08” • Ária (Cantiga): 6’05” • Dança (Miudinho): 3’40”

PERFORMANCES • 23/8/58, Rio de Janeiro - Teatro Municipal. “Prelúdio”. Brazilian Symphony Orchestra; Heitor Villa-Lobos, conductor. • 22/9/58, Brussels, Belgium. “Prelúdio”. Grand Orchestre Symphonique de la Radiodiffusion Nationale Belge; Heitor Villa-Lobos, conductor.

32 pp (640 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), dated 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS No 5 (A389) for Voice (soprano) and 8 Violoncelli Date of composition: 1938 (first movement); 1945 (second movement). Dur.: 10’to 11’ Pub. New York: Associated Music Publishers, Plate AMP 194546. © 1947, ©1948 by AMP. (© 1978 by “IV” only for Brazil.) U.S. sales agent: Hal Leonard Large Score (9 by 12) for sale : # HL 50242130 Parts for sale - Original version for Soprano Solo and 8 Violoncelli (1-Violoncello 1, 1-Violoncello 2, 1-Violoncello 3, 1-Violoncello 4). Set of Parts # HL 50242120 [ 2 players read from each of Violoncello 1, Violoncello 2, Violoncello 3, Violoncello 4: each part divides] Vocal score for sale ©1947 HL 073999346008

32 JCG Vol.31 No. 1 Portuguese and English words. English version by Harvey Officer. Movements: Ária (Cantilena) (1938, RJ = Rio de Janeiro): Adagio (lyrical song) (Lyrics, Ruth Valadares Correa) Dança (Martelo) (1945): Allegretto (song with rapid articulation) (Lyrics, Manuel Bandeira)

The liner notes of a recording of this piece conducted by Stokowski (rec. 1964), states that, ideally, Villa-Lobos wanted certain sections of the piece supplemented with an additional 4 Violoncellos (bringing the total to 12), and 2 basses. [W. O.] The 1951 recording with Bidú Sayão, soprano; has 8 violoncellos and double bass, Leonard Rose, solo violoncello; Heitor Villa-Lobos, conductor.

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * • “Ária (Cantilena):”; 33 x 23 cm; 18 pp. • “Ária (Cantilena)”; fragment, s.d.; 34 x 25 cm; 2 pp. • “Ária (Cantilena)”, incomplete; 34 x 25 cm; 4 pp. • “Ária (Cantilena)”; fragment, s.d.; 37.5 x 27 cm; 1 p.

TIME: 10’42” (Composer’s recording) • Ária (Cantilena): 6’18” • Dança (Martelo): 4’24”

PERFORMANCES: • 1st 25/3/39, Rio de Janeiro, “Ária”. Ruth Valadares Correa, soloist; Heitor Villa-Lobos, conductor. • 20/10/40, New York, Museum of Modern Art. Brazilian Festival Music. Virginia Johnson, soloist; Walter Burle Marx, conductor. 1st performance in USA. • 31/10/40, Buenos Aires, Teatro Colón. “Ária”. Ruth Valadares Correa, soloist; Heitor Villa-Lobos, conductor. 1st performance in Argentina. • 1st 10/10/47, Paris. Complete. Hilda Ohlin, soloist. • 18/5/51, Helsinki, Finland. Helsingfors Stadsorkester; Lea Pitti, soloist; Heitor Villa-Lobos, conductor. • 17/1/56, New Orleans. New Orleans Philharmonic-Symphony Orchestra; Heitor Villa-Lobos, conductor. • 8/7/57, New York, Lewisohn Stadium. Stadium Symphony Orchestra; Bidu Sayão, soloist; Aldo Parisot, Vlc; Heitor Villa-Lobos, conductor. • 11/57, Paris, Théâtre de la Maison Internationale. Commemorating the composer’s 70th birthday. Eda Pierre, soloist; Pierre Chaillé, conductor. • 10/12/58, New York, Town Hall. The Violoncello Society; Phyllis Curtin, soloist; Heitor Villa-Lobos, conductor. • 11/7/69, Rio de Janeiro, Teatro Municipal. Ballet of Teatro Municipal. Maria Lucia Godoy, soloist; Helba Nogueira, choreographer; Mario Tavares, conductor. Entitled “Yara”. Commemorating the Teatro Municipal’s 60th anniversary. • 1976, Leningrad, USSR. “Ária”, Balé de T. Maly; L. Lebedov, choreographer.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23cm; 10 pp. • Dedicated to Arminda Neves d’Almeida (Mindinha). • “Ária (Cantilena)”; arrangement for voice and guitar. • “Ária (Cantilena)” e “Dança (Martelo)”; reduction for voice and piano.

JCG Vol. 31 No. 1 33 4 pp (61 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** Aria (Cantilena) from Bachianas brasileiras No.5 (String Orchestra) (A389) Arrangement for String Orchestra by John Krance. Pub.: Associated Music Publishers (AMP) U.S. sales agent: Hal Leonard Large Score (9 by 12 inches) for sale HL 50242150 Large Score and Set of Parts (3-2-2-2-2) with guitar, for sale HL 50342140

*************************************************************************************** Aria (Cantilena) from Bachianas brasileiras No.5 (full orchestra) (A389) 2[1.2/pic] 2[1.Eh] 2[1.2/bcl] 2 — 2 2 2 0 — opt gtr — tmp+7 — opt hp — cel — str Originally for soprano & 8 violoncellos; arranged for Full Orchestra by John Krance. Pub.: Associated Music Publishers (AMP), ©1947, ©1971. Now POP. [Not listed in the AMP/Schirmer/Hal Leonard sales catalog or the Schirmer rental catalog as of 2013.]

The Aria (Cantilena) has also been arranged for; Voice and Guitar (W391) as performed by Andrés Segovia; Voice and piano (W390) by [Walter] Burle Marx; Concert Band by W. Herbert: Organ solo by Camil Van Hulse; Flute and Piano by James Galway; Viola and piano by William Primrose; Clarinet Choir by John Krance; Alto sax solo and sax quartet accompaniment by Frank Bongiorno: solo Soprano Sax (C Instrument); 2 Alto Sax, Tenor Sax, Bass Sax; all published by Associated Music Publishers. (AMP) U.S. Sales agent: Hal Leonard http://www.schirmer.com/default.aspx?tabId=2420&State_2874=1&Composer_2874=VILLA-LOBOS

*************************************************************************************** BACHIANAS BRASILEIRAS No 6 (A392) for Flute and Bassoon (1938, RJ = Rio de Janeiro) Dur.: 6’to 9’5” Pub.: New York: Associated Music Publishers, ©1946. Plate AMP 194534. U.S. sales agent: Hal Leonard. Set of parts, in 2 stave score form, for sale # HL 50223850. Movements: 1. Ária (Chôro): Largo (3’34”) (a sentimental improvisation) 2. Fantasia: Allegro (5’04”) (Fantasy)

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * • Matriz fotostática (photocopy); 35 x 24.5 cm; 11 pp. • “Ária (Choro)”; draft, s.d.; 34 x 25 cm; 3 pp.

TIME: 9’04” (gravação avalizada pelo Autor) • Ária (Chôro): 3’58” • Fantasia Allegro: 5’06”

PERFORMANCES: 24/9/45, Premier: Rio de Janeiro, ENM. “Música das Américas”. H.J. Koellreutter, Fl; Aquiles Spernazzati, Bsn.

34 JCG Vol.31 No. 1 OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • Dedicated to Evandro Moreira Pequeno (journalist, linguist and cellist) e Alfredo Martins Lage. • Encontrado no draft da “Ária (Choro)” o título “Ponteio-Ária”.

*************************************************************************************** BACHIANAS BRASILEIRAS No 7 (A432) for orchestra (1942, RJ = Rio de Janeiro) Dur.: 26’to 29’ Pub.: Eschig © 1978 (Editions Durand/Eschig/Salabert). Full score and Parts rental - U.S. agent: Boosey & Hawkes Octavo Score (7 by 10) for sale - U.S. sales agent: Hal Leonard # HL 50562275. 3[1.2.pic] 3[1.2.Eh] 3[1.2.bcl] 3[1.2.cbn] — 4 3 4 1 — tmp+2(or3) perc(tam-tam, xylo, coco {coconut shell}, bombo {bd}) — hp — cel — str Movements: Prelúdio (Ponteio): Adagio (an improvisation, like a guitarist) 7’ Giga (Quadrilha caipira): Allegretto Scherzando (Peasant Quadrille) 4’ Tocata (Desafio): Andantino quasi allegretto (Challenge, or Joust) 8’ Fuga (Conversa): Andante (Conversation) 7’

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * 36.5 x 27 cm; 174 pp.

TIME: 27’19” e 28’43” (gravações do autor) • Prelúdio (Ponteio): 7’11” / 7’49” • Giga (Quadrilha Caipira): 4’26” / 4’19” • Tocata (Desafio): 8’18” / 8’31” • Fuga (Conversa): 7’24” / 8’04”

PERFORMANCES: • 1st 13/3/44, Rio de Janeiro. Teatro Municipal Symphony Orchestra; Heitor Villa-Lobos, conductor. • 21/2/45, Boston, Sanders Theatre (Harvard University). “Tocata (Desafio)” e “Fuga (Conversa)”. Boston Symphony Orchestra; Heitor Villa-Lobos, conductor. • 26/10/46, Buenos Aires. Orquestra do Teatro Colón; Heitor Villa-Lobos, conductor. 1st performance in Argentina. • 28/7/53, Los Angeles - Orquestra Filarmônica de Vienna; Heitor Villa-Lobos, conductor. • 29/11/56, Cleveland, Ohio, Severance Hall. Cleveland Symphony Orchestra; Heitor Villa-Lobos, conductor. 1st performance in Cleveland. • 26/9/57, São Paulo, Teatro Municipal. Villa-Lobos Week (in honor of the 70th birthday of the composer). Orquestra Sinfônica Municipal; Heitor Villa-Lobos, conductor. • 23/4/59, Trieste, Teatro Comunale Giuseppe Verdi. “Prelúdio (Ponteio)”, “Giga (Quadrilha Caipira)” e “Fuga (Conversa)”. Orquestra Filarmônica Triestina; Heitor Villa-Lobos, conductor. • 1960, Rio de Janeiro. Ballet of Teatro Municipal; H. Lander, choreographer. Entitled “Yara”. • 1982, Cuba. Balé Nacional de Cuba; R. Magalhães, coreografia. Entitled “La Búsqueda”.

JCG Vol. 31 No. 1 35 OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • Dedicated to Gustavo Capanema.

37 pp (735 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS No 8 (A444) for orchestra (1944, RJ = Rio de Janeiro) Dur.: 23’- 24’ Pub.: Eschig © 1969 (Editions Durand/Eschig/Salabert). Full score and Parts rental. U.S. agent: Boosey & Hawkes Octavo score (7 by 10) for sale. U.S. sales agent: Hal Leonard # HL 50562579 (This is a special import item as of 2013). Pub. Code: ME0741400, Width: 7.25 inches, Length: 9.5 inches, 128 pages.

3[1.2.pic] 3[1.2.Eh] 3[1.2.bcl] 3[1.2.cbn] — 4 4 4 1 — tmp+3 perc (tam-tam, xylo, 3 madeiras {low, medi- um, high - wood blocks}, tarol {deep, narrow SD}, bombo {bd}) — celesta (see xylo part) — str Note: there exists an alto sax “ad libitum” part at the Museu Villa-Lobos which is not included in the full score.

Movements: Prelúdio: Adagio — Andante — Largo 7’ Ária (Modinha): Largo — Più mosso — Largo (a sentimental song) (Modinha; a very melodic style of song in the mood of serenades) 8’ Tocata (Catira batida): Vivace (scherzando) (a stamping dance) 6’ Fuga: (Conversa): Poco moderato 6’

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * • Matriz fotostática (photocopy); 34 x 23.5 cm; 107 pp. • Bassoon part, onion skin • Alto sax part, 3 pp.

PERFORMANCES: • 1st 6/8/47, Rome, Basílica de Massenzio. Orquestra da Academia de Santa Cecília de Roma; Heitor Villa- Lobos, conductor. • 14/8/47, Portugal, Pavilhão dos Desportos. OSN; Heitor Villa-Lobos, conductor. • 18/5/51, Helsinki. Helsingfors Stadsorkester; Heitor Villa-Lobos, conductor. • 30/8/52, Rio de Janeiro, Teatro Municipal. Festival Villa-Lobos. Brazilian Symphony Orchestra; Heitor Villa-Lobos, conductor. • 16/3/53, Caracas. Orquestra Sinfônica da Venezuela; Heitor Villa-Lobos, conductor. • 28/8/53, Los Angeles, Hollywood Bowl. Los Angeles Philharmonic Orchestra; Heitor Villa-Lobos, conductor. • 11/12/53, Havana, Teatro Auditorium. Havana Philharmonic Orchestra; Heitor Villa-Lobos, conductor. • 30/1/54, San Antonio (Texas). San Antonio Symphony Orchestra; Heitor Villa-Lobos, conductor.

36 JCG Vol.31 No. 1 • 14/1/55, New York, Carnegie Hall. Philadelphia Orchestra. Heitor Villa-Lobos, conductor. • 25/2/58, Toronto, Massey Hall. Toronto Symphony Orchestra; Heitor Villa-Lobos, conductor.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • dedicated to Mindinha; (nickname of Arminda Villa-Lobos, second wife of the composer, who founded and directed Museu Villa-Lobos since its creation until her decease on August 1985.) • There is a version of “Fuga (Conversa)” for a cappella choir under the title “Fuga”. • There exists an alto sax “ad libitum” part not included in the full score.

TIME: 23’59” (Composer’s recording) • Prelúdio: 5’32” • Ária (Modinha): 7’53” • Tocata (Catira Batida): 5’30” • Fuga (Conversa): 5’04”

81 pp (1610 entries) of errata forms for the score and parts by Wilson Ochoa (Librarian, Nashville), dated 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS No 9 (A449) for String orchestra (composed 1945, NY = New York) (For chorus, see next entries.) Dur.: 8’to 11’ “Para orquestra des vozes ou de cordes” (For orchestra of human voices [a cappella] or of strings). Pub.: Eschig © 1969 (Editions Durand/Eschig/Salabert) Full score and Parts rental, U.S. agent: Boosey & Hawkes Octavo score for sale, U.S. agent: Hal Leonard # HL 50561605 Pub. Code: ME0730400, Width: 7.25 inches Length: 10.75 inches, 20 pages.

Movements: Prelúdio: Vagaroso è místico (vague and mystic) 3’ Fuga: Poco apressado (rather learned) 7’

ORIGINAL MANUSCRIPT AT MUSEU VILLA-LOBOS: * onion skin; 34 x 27 cm; 29 pp.

TIME: 10’55” (string version) (Composer’s recording) • Prelúdio: 2’47” (cordas) • Fuga: 8’08” (cordas)

PERFORMANCES: • 1st 17/11/48, Rio de Janeiro, Teatro Municipal. Quinteto de Cordas da Brazilian Symphony Orchestra; Eleazar de Carvalho, conductor. • 1960, Rio de Janeiro. Associação de Balé do Rio de Janeiro; I. Guiser, cor. Entitled “A Morte de um Pássaro”. 11 pp (110 entries + Roberto Duarte comments) of errata forms for the score and parts by Wilson Ochoa

JCG Vol. 31 No. 1 37 (Librarian, Nashville), dated 2004 are available on the Orchestra Music Errata Catalog hosted on the MOLA website.

*************************************************************************************** BACHIANAS BRASILEIRAS N. 9 (A449) [New Edition] For choir or string orchestra Roberto Duarte: musicological revision and art direction Astrogilda Pinto: visual adjustments Dalva Duarte: collation Felipe Resende: collation and printing Nara Alina de Andrade: typing and extracting sections Digital Villa-Lobos project

*************************************************************************************** BACHIANAS BRASILEIRAS No 9 (A449) for mixed chorus, a cappella (SMATBB) [M = mezzo-soprano] (1945, NY = New York) Dur.: 9’30” Pub.: Eschig © 1984 (Editions Durand/Eschig/Salabert) U.S. sales agent: Hal Leonard SMATBB Choral score for sale # HL 50561307 Women’s chorus part for sale # HL 50561930; Men’s chorus part for sale # HL 50560872

PERFORMANCES: • 1st 25/10/75, Rio de Janeiro, Sala Cecília Meireles. Coral Artis Canticum; Nelson de Macedo, conductor.

OBSERVATIONS: • * There is an original manuscript which contains thematic material of all series “Bachianas Brasileiras”; 32 x 23 cm; 10 pp. • Choir version dedicated to Aaron Copland; • The original manuscript contains the information: “Para orquestra de vozes ou de cordas” (for voice orchestra or string orchestra).

*************************************************************************************** The Portuguese and Brazilian governments standardized and simplified the Portuguese language in 1943. Therefore the name Villa-Lôbos would now be spelled Villa-Lobos, without the diacritical mark. However the composer lived most of his life before that year, so he spelled his own name Villa-Lôbos.

During visits to Paris, Villa-Lobos recorded these and many other works with the French National Radio Orchestra from 1954 to 1958 (reissued on EMI CDZF 67229, 6 CDs, mono).

For the Villa-Lobos centennial in 1987, Enrique Bátiz and the Royal Philharmonic Orchestra made new digital recordings of the Bachianas Brasileiras (EMI/Angel CDCC-47901, 3CDs). Corrected editions recorded by the Nashville Symphony Orchestra: Physical Release: 11/2005 Villa-Lobos: Bachianas Brasileiras (Complete) Heitor Villa-Lobos (Composer), Andrew Mogrelia (Conductor), Kenneth Schermerhorn (Conductor), Nashville Symphony (Orchestra), Jose Feghali (Performer), Rosana Lamosa (Performer), the Nashville Symphony (Artist). [Corrected editions by Wilson Ochoa ( Orchestra Librarian, Nashville)]

38 JCG Vol.31 No. 1 Format: Audio CD http://www.naxos.com/catalogue/item.asp?item_code=8.557460-62 http://www.amazon.com/Villa-Lobos-Bachianas-Brasileiras-Complete-Heitor/dp/B000BK53DI

Reference Sites: 1. The Villa-Lobos museum < http://www.museuvillalobos.org.br/ingles/index.htm> < http://www.villalobos.ca/museu.html> 2. The major Villa-Lobos web site < http://www.villalobos.ca > 3. Villa-Lobos reference page < http://en.wikipedia.org/wiki/Bachianas_Brasileiras >

Reference Books: Appleby, David P. Heitor Villa-Lobos: A Life (1887-1959) Lanham, MD, Rowman & Littlefield, 2002.

Appleby, David P. Heitor Villa-Lobos: a bio-bibliography. New York: Greenwood Press, 1988.

< http://www.henrysrecords.org> The duration listed for these pieces are taken from the meticulous research in; Fogel, Henry. Timings of Orchestral Literature. From the recording library of Henry Fogel. Chicago, Private printing, August 12, 2000. 349 pages. The files of the Museu Villa-Lobos have also been consulted for timings - see Reference Sites No. 1 above.

Peppercorn, L. M. (Lisa Margaret) Villa-Lobos: Collected Studies. Aldershot, Hants, England: Scolar Press; Brookfield, Vt., USA: Ashgate Pub. © 1992.

Secretaría General, Organización de los Estados Americanos,[1955]- .-- Compositores de América: datos biográficos y catálogos desus obras = Composers of the Americas: biographical data and catalogs of their works. Washington DC, Vol 3, 1957 Book POP as of 1/1/2013.

“Several observations about premieres and such, in CdA -Compositores de América, are probably highly sus- pect compared to the other sources.” — Greg Vaught email to Mr. Nieweg, 2004.

Wright, Simon. Villa-Lobos. Oxford; New York: Oxford University Press, 1992.

*****

Compiled by Clinton F. Nieweg, with assistance from Nancy M. Bradburd, David Daniels, Wilson Ochoa, Greg Vaught, David Stybr (Chicago, Il), Marcelo Rodolfo (Museu Villa-Lobos), Stuart Serio (Fleisher Collection), Eric Swanson (JoAnn Kane Music Service), Dean Fry (Villa-Lobos website), Charles Harmon. Original chart 2004. Update 2013. Links accessed 1/1/2013.

JCG Vol. 31 No. 1 39 ...Advancing the Art and Profession

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