Herbert Compositions Pre Pittsburgh

News From VHSource, LLC Vol 4 April 2014 Herbert Compositions Pre Pittsburgh

compositions which stand out, although to be totally Busy Musician Composer fair, these compositions are but the tip of the ice berg. Once a conductor heard Herbert’s composing skills, he et’s take some time to look at Victor Herbert’s was often asked, and/or simply felt the need to arrange compositional output for orchestra and band from a famous work by another composer for a particular Lthe time he arrived in Stuttgart, Germany as an orchestra or his own. orchestra member/student in 1881 until he was hired as conductor of the Pittsburgh Symphony in the fall of Edward Waters, Herbert biographer, lists 49 different 1898. Keep in mind that prior to 1894 when our composers receiving the Herbert treatment, while the composer first penned an operetta for the Bostonians – Library of Congress also has 47 composers listed with Prince Ananais (pronounced An-na-nigh-us - emphasis a large number of anonymous Irish songs. Let’s look on the “nigh”), Herbert was a freelance musician: ready at one that has been requested of Shop VHSource on to play with any orchestra conductor who asked, ready several occasions. It’s a Herbert take on Franz Lizst’s to solo at any time: ready join a small ensemble (i.e., Liebestraum No. 3 (part of three Songs under the title string quartet), ready to serve as a music director (i.e., “Dreams of Love” Emma Juch’s Salon Concerts), and/or takeup the baton originally written as an assistant conductor. On top of all those possible by Liszt in 1850). actiities, he was always in the process of composing There was no date and/or arranging something for small to large ensembles. on the original Note the one thing not really on the list – theatrical handwritten composer. From 1886 until 1893, telling a story through Herbert score. It is his music was not really on the agenda. No, that agenda possible the work was filled to the brim with simply settling into a new wa done sometime country and city with his wife and finding their way between the around the New York City musical community. summer of 1882 and the Fall of Any one of these directions – soloist, composer, 1886. It might even ensemblist, conductor, music director – could have have been an forged a major career for the 27 year old Herbert. The exercise. Shop fascinating thing is that Herbert ended up taking all VHSource found those directions plus several other avenues that hadn’t the score for this work in the Library even been thought of during this period – never failing Liszt is his later years at anything he attempted. That fact alone makes Victor of Congress and Herbert a huge game changer. vendor Quade Winter restored the work resulting in a fine score and orchestra parts. No matter what its During this beginning of Herbert’s creativity, which exact purpose, this wonderful work was probably also began almost fully formed, there are several 2 News From VHSource, LLC Vol 4 April 2014 a tribute in honor of Herbert’s wonderful memory of a much musical art owes to him, not only for his own first hand exposure to Liszt in 1882. direct work, but for that done indirectly in championing worthy composers, notably the great Wagner. Herbert found Pittsburgh Post, July 28, 1902 h i m s e l f a participant in an Just to have been alive and invited to participate in th elaborate music such a gathering of 19 century giants has to have festival in been a stunning experience. Zürich during the first two One may well ask where and when Herbert, the weeks of July, student, learned how to score for orchestra and his 1882. Liszt was beloved cello. He was known to have actually taken the honoree and composition classes for only three years while in was actually in Stuttgart. However, while serving as conductor of the attendance at Pittsburgh Orchestra, the local newspapers loved to the age of 70, get their new conductor talking and thereby giving us offering his this insight into Herbert’s education: oratorio Die A very young Camille Saint-Saëns Legende von ... I cultivated early the art of scoring for the orchestra, and during the intervals that my cello der heiligen was silent in the orchestra, I listened acutely for the Elisabeth. The event had a profound effect on Herbert effect of the various instrumental combinations. as you can imagine. He often recalled it as the “greatest When results were unsatisfactory I learned at once experience of my life.” On the final day, Liszt and the reason. In this way I developed my instinct for Saint-Saëns played a four-handed arrangement of Liszt’s orchestral coloring, and gained practical Mephisto Waltz. For years, Herbert would tell the knowledge of the possibilities of the various following story: instruments. [Interview in the Pittsburgh Post, Jan. 13,1901] You should have heard that playing. We were afraid every moment the piano would go to smash under My teacher gave me a few simple melodies, with Liszt’s gigantic hands that came down like very the request that I harmonize them, and this before sledge hammers. He played primo and St. Saëns I had gone very far in my theoretical studies. First secundo, and though St. Saëns had the more powerful I wrote them for a male quartet, then for mixed end of the piano Liszt soon overpowered his bass voices, next for strings, and finally for a cello solo notes completely. with string accompaniment. Of course, my first work was crude. On paper the harmony seemed all The occasion was the “Allgemeines Deutsches right, but in playing it the sound was awful. And Musikfest.” Liszt was the star guest, a large number why? Well, my instructor [Seifritz] pointed out of his compositions were played, and the great pianist why. The parts were too far apart, the progression was fairly worshiped by all present. I was playing were wrong, the skips were large or the parts cello in the Royal Orchestra of Stuttgart, which had crossed. The evils were point out, and corrected, been engaged upon recommendation of Brahms, and and so before I had even partly mastered harmony never will I forget the impression Liszt made upon or counterpoint, I could treat a theme quite my youthful mind. satisfactorily. Next I was allowed to invent my own melodies, and early exercise the power of fantasy. I see his kindly, beaming face yet, his long white [Interview in the Pittsburgh Post, Nov. 19, 1899] locks, as sitting in a box listening to the orchestra and choruses, he would fall into a short doze, then It would seem that Herbert literally sprang almost suddenly wake up again. fully formed as a composer once he decided to “give it a try.” We’ve already discussed his first really major Liszt was a grand old man, the idol of all who knew him, work – Suite for cello and orchestra, Op 3 generous to the extent of prodigality, and a musician in premiered on October 23, 1883 with the composer as every fibre of his body. Few people wholly realize how 3 News From VHSource, LLC Vol 4 April 2014 soloist in Stuttgart. We can now safely assume it was During the first three years Herbert was in New York, with the same Royal Stuttgart Orchestra he mentions it was a whirl wind of his wife Theresa Forester above. This is the work in which Movement 3 Herbert (1861-1927) settling in as a major soprano “Serenade” was so appealing, that it became a stand diva for the Metropolitan Opera Company as well as alone work, known eventually as the famous Herbert’s Victor acquainting himself with his fellow members of Serenade (not to be confused with the operetta of the the Metropolitan Opera Orchestra. One of the first same name). Fortunately, you may rent Movement 3, major new compositions he created in America was known simply as Serenade or Ständchen, Op 14, No. Serenade fur Streichorchestrer, Op 12 around 1889. 3 from Lucks Music Library in an orchestral version Theodore Thomas may have suggested compositions only. Lucks is a fine on-line music library located in for string orchestra as opposed to the full orchestra. Madison Heights, Michigan and is a great source of Thomas often composed for just strings, sometimes Herbert orchestral music, primarily for rent. If you are even leaving off the String Bass entirely. Trusting far a cellist interested in performing the entire work, Shop more in German publishing houses with offices in VHSource can help you out with the piano score and New York than in American ones, this work was solo cello part for the Suite. If you wish to involve an published in Berlin by Luckhardt. Herbert would orchestra, contact Alan Rafferty of the Cincinnati continue using German Publishers with offices in New Symphony who just performed the entire work with the York until he was won over in 1898 by Isidore Seven Hills Sinfonietta, William White, conductor. Witmark and his relatively new publishing company, M. Witmark & Sons, Inc. (incorporated in 1886). Herbert’s first full Concerto for cello and orchestra, Herbert and Witmark would remain lifelong friends Op. 8 was also written before arriving in America – and M. Witmark & Sons, Inc. would be his primary roughly 1884 or 1885. He premiered the work himself in publisher into the late 1910s. Stuttgart on December 8, 1885, again most likely with the Royal Stuttgart Orchestra. NOTE: It is important to The next huge new work would be his grand Irish keep in mind that listings of works by Herbert are often dated Rhapsody in 1892 (see VHS Vol 7 July 2013), written according to when they were published, not necessarily when and debuted with a freelance orchestra which the they were finished and debuted. This work can also be rented composer hired himself for a New York City Irish from Lucks Music Library. Song Festival. That same year Herbert would present his Pensee amoureuse for cello and string orchestra Here was an artistic talent that the giants of orchestra as well as the very popular Badinage which translates conducting in the America of 1886 - Theodore Thomas r o u g h l y t o ( 1835-1905), Anton Seidl (1850-1898) and Walter “conversation” for Damrosch ( 1862-1950) – must have salivated over. All orchestra. Even though three of them were constantly using Herbert’s cello this work became skills within their own orchestras, showcasing both the tremendously popular man and his compositions, utilizing him within their in the salon orchestra cello sections and enjoying his conducting skills as an world, the original assistant. It’s safe to say that all three wanted his version of this work services and competed on a regular basis to land him disappeared entirely. It even for awhile. Herbert could easily have ended up in was never published in Chicago as assistant conductor to Thomas of the brand its original form, and new Chicago Symphony in 1891, eventually inheriting the original Herbert that organization when Thomas died suddenly in handwritten score January of 1905. He could have found himself an disappeared relatively Otto Langey assistant to Seidl with the New York Philharmonic quickly. It was first Society and quite possibly a replacement for Seidel upon published in 1895 as a piano piece by Alexander that conductor’s sudden death in 1898. It boggles the Rihm. The orchestral version that can be found in mind to contemplate such “what ifs.” Lucks Music Library was done by Otto Langey in 1897 and definitely would have had Herbert’s 4 News From VHSource, LLC Vol 4 April 2014 approval. However, it is not the original version, Between 1892 and 1893, Herbert wrote and debuted although those parts were used for the Edison cylinder his Concerto No. 2 for cello and orchestra, Op 30. recording in 1909. Syracuse University Records, which It was premiered on March 9 and 10, 1893 by the New released the restored Herbert Edison Recordings (1909- York Philharmonic Society, Anton Seidl conducting. 1911) in a CD entitled Victor Herbert: The Collection While creating this work, Herbert lived down on 18th (2007), makes a fascinating reference in its liner notes Street, kitty corner from Anton Dvorak who was in that states: America to serve as Director of Mrs. Jeannette Thurber’s (1850-1946), National Conservatory of No piece of Herbert’s demonstrates how much the Music of America (1885-1952). Herbert was also a composer “left off the page,” and how recordings can professor with this school and often the two men document an extremely idiosyncratic performing would meet for drinks at the end of the day. Dvoøák style, than did his own recording of “Badinage.” The spent a lot of time listening to Herbert’s work on the original piano version and orchestral and band parts published by E. Schuberth and Company in 1897 Concerto through their open apartment windows as show none of the tempo changes, accelerandos, or well as attending its debut. He often related that ritardandos that occur every few seconds in this hearing Herbert’s work inspired him to write for the recording. Herbert’s performance takes a quasi-polka cello himself resulting in his Cello Concerto in B intermezzo, if read literally from the sheet music, and minor, Op. 104, B. 191 created between 1894-1895. turns it into conversational banter; or “badinage,” One does wonder why the composer never asked constantly changing, effervescent, always in flux. Herbert to play it. There must be a story there somewhere. It was premiered by cellist Leo Stern and Perhaps that really should have read, no piece denotes often performed often by cellist Hanuš Wihan, for how much Otto Langey left out of the composer’s work whom the work was apparently written. A cursory when he did the new arrangement. It also points up a search finds no mention of Herbert ever having played very common comment from those who actual heard the work. Herbert conduct a live performance: “No one gets more out of an ensemble or a piece of music than the T h e y e a r s conductor Victor Herbert!“ 1 8 9 1 t o 1 8 9 3 would prove to be NOTE: This entire CD showcases Herbert’s own conducting a huge shift in style, tempos, rubatos, etc. If you are a conductor and want Herbert’s career. to study Herbert’s style so that you can faithfully conduct his works yourself, you need this CD. Shop VHSource no longer The artist was carries the downloadable version, but you can obtain the CD desirous of through VHSource by contacting [email protected]. finally having his We wish we could connect you to a site at Syracuse, but a own ensemble. search for that has proved futile. Thus, when the New York 22nd During the next year 1893, Herbert soloed with Sam Regiment offered Franco’s American Symphony Orchestra, premiering him the baton of a new work of his entitled, Légende. This work for Patrick Sarsfield cello, strings and harp does not at first glance appear to Gilmore’s (1829- be in the Library of Congress nor can it be found as 1 8 9 2 ) h u g e published. This particular orchestra is interesting nationally known because it was a first attempt to create an orchestra band (known consisting of only American instrumentalists. In 1893, s i m p l y a s Herbert was still an Irish citizen and thus, could not play Gilmore’s Band) Patrick Sarsfield Gilmore IN the orchestra. He chose to support it frequently by in 1893, our soloing with it. NOTE: Herbert would become a naturalized composer leapt at the opportunity. A Band Conductor? citizen in 1902. It would be a decision that immediately removed him from Thomas’ further interest, and quite possibly 5 News From VHSource, LLC Vol 4 April 2014 significantly diminished him even in the eyes of him for Gilmore’s Band. The pieces are: “Molly Damrosch and Seidl. To be fair, Seidl remained a O’Brien,” “Me and Nancy,” “In Dreamland” from Herbert mentor until his unexpected passing in 1898. Wizard of the Nile and “The Silent Rose.” The first Down the road when someone was needed to conductor two were published as piano pieces in 1895, “In the Victor Herbert Orchestra after the sudden death of Dreamland” comes from Herbert’s second operetta, Herbert, the sad task fell to Walter Damrosch in 1924 to while “The Silent Rose” is part of a three song cycle guide the Victor Herbert Orchestra through one last gig composed by Herbert in 1887 and published in 1888. at Willow Grove Amusement Park before they totally Each piece is arranged for military band disbanded. Only Thomas withdrew completely, probably instrumentation and isboth written out and signed by using the distance between Chicago and New York as a Herbert the upper right hand corner – most likely as a graceful excuse. Herbert would eventually honor his model for the band member creating the individual relationship and debt to Thomas in a fine composition parts to follow. NOTE: To read more on Herbert and entitled The Auditorium Festival March in 1901 Gilmore’s Band, see the VHS newsletter Vol 7 Sept 2009. which we’ll talk about as we look at Herbert’s work with the Pittsburgh Orchestra. The most important work that Herbert composed for the Band was the wonderful American Fantasia Be that as it may, from 1893 to 1899, Herbert would (1893). The work was written for Herbert’s debut with thrill audiences with Gilmore’s Band, both in New Gilmore’s Band on November 26, 1893 in New York York and on tour across the country. Gilmore’s, dating City. By 1898 the composer would rework the piece back to 1858, just before the Civil War, would often for orchestra as Herbert, the conductor, frequently give the relatively new Sousa Band (1892–1931) all the used the work to end Gimore’s Band concerts as well competition it needed after Herbert took it over. It was as those for both the Pittsburgh Orchestra and the Gilmore’s Band which was chosen in 1897 to serve as Victor Herbert Orchestra. The work opens with a McKinley’s Inaugural Band, to play at all the major fanfare and then follows a very different set of Washington Festivities. For the actual Inaugural ball, American works with almost a “bow to the Brits” feel Herbert composed the “President’s March” (aka to it (remember this is very EARLY Herbert). You’ll “McKinley’s March”), also available through Lucks, hear a little Stephen Foster, a revolutionary war song, but only in orchestral format. When Herbert finally gave “Dixie,” and “Columbia, Gem of the Ocean,” before up that ensemble primarily because of his new job with it sails into an excellent arrangement of the “Star the Pittsburgh Orchestra, and his new life as a composer Spangled Banner.” This very Herbert version of our of operetta on Broadway, it would mark the end of this National Anthem was often used as a stand alone by fine old ensemble that had thrilled America for half a the Pittsburgh Orchestra and the Victor Herbert century. Orcehstra. Do click on this “American Fantasia” link to hear a recording made by the composer himself For Gilmore’s, Herbert the with the Victor Herbert Orchestra. Of course it’s composer contributed little, scratchy, but it will give you a good representation of but Herbert the arranger this work. was always taking his own and other composer’s An interesting side note about the American Fantasia works and arranging them concerns World War I. By the time 1917 rolled for his band. Scattered around, many orchestras were using Herbert’s version among the 1,000 or so of the Star Spangled Banner found in American pieces of the recently Fantasia. Do take the time to listen to the YouTube found Martin Ballmann clip in the previous paragraph. If you do, you will find Collection of Salon this next story a bit strange. Orchestra Music were four complete songs Once America actually joined the Great War in 1918, we became very cognizant of Germans among us who Herbert in his Gilmore composed by Victor Uniform Herbert and arranged by had never become citizens. One such poor fellow was Karl Muck (1859-1940), conductor of the Boston 6 News From VHSource, LLC Vol 4 April 2014

Symphony, whose controversial use of a particular World’s Fair of 1893 The grand event was set to version of the “Star Spangled Banner” led to such open officially in Chicago on May 1, 1893 and run audience ire and anti-German feelings that it altered through October 30, 1893. As early as 1891, the BSO programming and seemed to accelerate the impresario began dreaming of creating a eventual deportation of Muck simply because he was “spectatorium” presenting a “spectatorio” entitled German. The conductor did try to replace that version of The Great Discovery or The World Finder. our national anthem, but to his credit, he also never MacKaye reasoned that if, in fact, the entire World’s pointed out that it was the Victor Herbert arrangement. Fair was to be dedicated to Columbus’s wonderful This oversight was important because before America journey, there certainly needed to be an event that entered World War I, Herbert and the rest of the portrayed, depicted, and interpreted that physical and American Irish population were very pro-Germany spiritual journey as only America and Chicago could because their homeland’s relationship with Great do. MacKaye saw “tossing billows of the seas, the Britain. Once we did join the British side, that changed conflict of saints and demons, the fear and awe of the quickly, but it would have still been in the audiences’ impressionable sailors and the steadfast faith of minds. Columbus.” MacKaye knew exactly whom he wanted to compose the music to accompany this extravaganza The Boston Symphony quickly replaced the offending – Antonin Dvoøák (1841-1904) who happened to be version with one arranged by the Boston concertmaster residing in America at the time and the Thomas (1st chair violin), Anton Witek, who also happened to recommendation of Victor Herbert (1859-1924). be German. Eventually, Witek was himself suspected of enemy sympathies and also deported. Dvoøák’s participation never really materialized due to his position as Director of the National Conservatory You can rent this work from Lucks Music Library. It of Music of has a duration: 9:00 and contains excerpts from “Hail America (1885- Columbia,” “Swanee River,” “Girl I Left Behind Me,” 1952). However, “Dixie,” “Columbia Gem of the Ocean,” and “Star Herbert eagerly Spangled Banner.” Herbert was fully embracing his accepted the adopted country. challenge to actually write Finally, The Veiled Prophet march was most likely music that told a written for Gilmore’s Band sometime before 1896 when story. MacKaye’s it was published in both band and orchestra format. visions were While Herbert was solely a band conductor from 1893 unfortunately far to the fall of 1898, once he wrote a piece, if he liked it too grandiose to he would have definitely rework it for both his ever even be orchestras. attempted and the entire project was Even though Thomas had distanced himself from q u i c k l y Herbert after the composer became a Band Director, the abandoned long Dvoøák in early 1890s respect for Herbert’s compositional skills certainly never b e f o r e t h e left the great conductor. Thomas as Music Director for Exposition opened. However, the resultant Herbert the Columbus Exposition of 1893, assisted in composition was The Vision of Columbus (1893), launching Herbert’s theatrical composing career which would eventually become the 4th and final sometime between 1891-92. by recommending him to movement to Herbert’s wonderful Columbus Suite, American playwright, actor, theater manager and finished in 1903 which we will be discussing in a inventor, Steele MacKaye (1842-1894). future issue.

MacKaye was very excited to participate in the Therefore, it was not exactly out of the blue that Columbus Exposition of 1893, also known as the Herbert said “yes,” when the Boston based operetta 7 News From VHSource, LLC Vol 4 April 2014 company, the Bostonians, asked Herbert also in 1893 to organization, you do have the board above you, but we compose a new operetta for them. Prince Ananias can guarantee that when things go south, the board (1894) was a good, solid success for that organization will not be taking the “blame.” and resulted in the Bostonians hiring Herbert on a couple of more occasions to write The Serenade (1897) When one looks at the program or poster for a for- and The Viceroy (1900) profit company (aka a Broadway show), one notices many names in the “producer” area of the program. The hiring of Herbert as the new conductor (3rd Funders love to be called producers and get their conductor) of the Pittsburgh Orchestra in 1898 caused names above the title on the poster/program. Often the eyebrows to raise in disbelief since now America list of producers will take up half a page. However, do appeared to be hiring band directors to conduct serious not be deceived. Funders really do nothing more than orchestras. In those years even as today, there was that contribute money – of which they know, and are told stigma attached to the seemingly lowly BAND repeatedly, they will most likely lose every cent. Often conductor. Further proof, of Thomas’ disdain for the productions fail because one or more funders decide Herbert band directorship move occurred when to take an active role in a business about which they Pittsburgh asked the great conductor’s opinion on routinely know fairly little. Hence you will sometimes choosing Herbert. He simply never answered. see the term Executive Producer underneath all those hoards of Producers (Funders). That would be the real Thus, Herbert’s three standing ensembles included producer – where the buck supposedly stops. Gilmore’s Band (1893 to 1899); the Pittsburgh However, if there are the hoards above that name, Orchestra (1898 to 1904); and the Victor Herbert those many “producers” will probably have a Orchestra (1904 to 1924). We shall soon see that wonderful time telling the Executive Producer just Herbert the composer worked frequently with Herbert where he/she is wanting in the skills area, and in what the conductor. Subsequent newsletter issues will delve direction the event needs to head. into his compositions for the Pittsburgh organization as well as his own Victor Herbert Orchestra. That all being said, if you choose to be a producer in the true sense – the one where the “bucks stops here” type of person – then here is a process and a lesson or two to be learned or hopefully remembered so you don’t have to learn them in person.

NEVER BUILD THE HOUSE ON SAND. Sand shifts constantly whether it is visible or not, and producers have little if any control over any of the shifts. Ergo, get everything in writing.

Richard Straus in center with Herbert to the right A producer cannot really begin the march towards Pittsburgh Orchestra in 1904 project completion until there are solid dates and what’s known as a venue or the building or location wherein the event will take place. All else rests upon On Being A Producer those two items. Once they are in place, the ball will be officially rolling. NOTE: Next month we’ll cover It takes a strong will to be a producer. If you decide to the wonderful production calendar that needs to be in try it, first and foremost know that the “buck definitely place before this article’s hints and tips. While that stops here.” A producer is the person who makes it may appear a bit backward, this “house built on happen – period. Every nut, bolt, nail and human being sand” idea is fresh on our mind and tremendously falls under the Producer in one way or another. No one important. else. If and when things go “south,” – and they will – one can’t blame it on anyone else since there is no one Often a venue is determined by historic precedent. above to take the fall. If you are working for a non-profit “We always use VYW Hall – have for years – how 8 News From VHSource, LLC Vol 4 April 2014 could we not use it.” This can be a really tough road to Offers of co-sponsorship, amazing prices to fill follow if your vision does not include that historic dark days, weeks or months, total sympathy relationship. with your project – all make the decision much easier to make and trust. There is the old cliché Sometimes it’s determined by the cheapest cost. – “if it looks too good to be true, it probably is.” “Would you believe VYW Hall offered a really great Old sayings arise first out of experience – which rental price for our dates.” There can be no bigger is the hardest taskmaster you will ever meet. high than to land the perfect dates and venue for a miraculously low deal. One has a tendency to float for a The producer asks the booking agent for days. something in writing “in case either of us gets hit by a bus.” However, nothing ever actually Sometimes it’s the old union versus non-union aspect materializes. The asking gives both sides a that seals the deal. “We had to use their staff which feeling of sealing this deal correctly. The one cost a fortune, and thus, we had to say no.” Although asking pats himself on the back for dotting all to be fair there are times where one needs the expertise the “i”s and crossing all the “t”s. The one of unions and the choice becomes worth the cost. agreeing that such a thing is most important, feels basically the same way. Remember the Sometimes it’s a really great back story that connects the booking agent is only a facilitator for filling the work with the venue or particular date in some exciting calendar. There remains that pesky boss above way. “Would you believe, this play was first written who probably agrees it’s “great to fill as much for this venue and it has our dates available at a space as possible and this is certainly a worthy miraculous price.” Great stories always help you raise project....” but cautions the booking agent that money and support. They are definitely valuable, “we have a ways to go before we need to get especially in fund raising. However, if the back story is serious about paper work so let’s put it off for tied to the exact date and/or the venue and either one is now.” The real rub comes when the Producer lost for whatever reason, it can be crippling to the realizes that even a written agreement cannot project in many ways. The producer may then have to stand up to a significant amount of money being tap dance to find another compelling tie-in or simply offered by a third party. A large institution will give up the tie-in. rightly and correctly assume “this is a single event producer.” How much money can he/she Producers must be smart enough to not allow any possibly have earmarked for launching a reason, no matter how wonderful and perfect it may lawsuit? The sand has just begun to shift into sound, to sway the project onto that sand. “quick sand” modality.

Tips that the sand is there even if negotiations appear to Lastly, the producer and the booking agent be resting firmly on the ground: care about the brilliance of the connection between the event and the hall, story-wise, The producer and the booking agent form an however, the higher ups never seem to have immediate rapport that makes the whole the time to meet the producer face to face. negotiation feel comfortable and trustworthy. Alas, the sand is growing soupier by the minute. This can sometimes happen between old friends, Beware of any officer of any company that does sympathetic listeners, really, really nice sincere not want to meet a client of the company face to people. Always remember the booking agent is face. Face to face builds rapport and personal NOT the “buck stops here” person. They all have contact. If a corporate entity is going to bosses above them. No matter how much they like contemplate ditching a client for any reason, the you and your project, they do not have the final last thing that entity wants is to put a human say. The floor is always a bit gritty in these cases. face to the contact.

The offer seems miraculous and too good to Following quickly on the heels of non- pass up. There’s that sand beginning to sift in. meetings comes that moment when the 9 News From VHSource, LLC Vol 4 April 2014

producer realizes that the higher ups could care least about his/her project – they care only March Highlight about the bottom line. Is the facility paying for itself? If not, why not? Be very wary of any n Saturday, March 22 and Sunday, March 23, venue with what would appear to be a large 2014, at 4:00 pm, Concert Operetta Theatre, number of fairly dark months! If performances ODaniel Pantano, Executive and Artistic and rehearsals are not carrying the day, then let’s Director, presented a wonderful offering to do catered galas and dinners – that will do the Philadelphia audiences and a few of us outsiders, trick. Once this disconnect occurs, the producer’s entitled Two One Acts by Victor Herbert, project is dead in the water, especially if the Madeleine (1914) and Cyrano de Bergerac (1899). producer and the booking agent have cut some sort of miraculous deal for the space. No matter Pantano’s company performs primarily in a concert how historic, how famous, how amazing, how setting in the beautiful Helen Corning Warden long your project has been on the schedule, or Theater at The Academy of Vocal Arts, 1920 Spruce your subject matter – nothing cuts through the Street, Philadelphia, PA 19103. Tim Ribchester “make money now” formula. served as music director and pianist for Madeleine as well as music director and conductor for Cyrano. In summary, get it in writing first no matter what. If you can’t, abandon the deal no matter how perfect it may This production of Madeleine was a first ever hearing seem. Once that signature is on the dotted line, while in Philadelphia. This rarely performed work was you still don’t have a ton of recourse, you do have the particularly a great choice, since this year is also the th ability to threaten with a lawsuit. While the reality may 100 anniversary of its composition. be that the majority of smaller organizations have no resources with which to sue, it is amazing what legal Madeleine is a 50 minute 1914 Victor Herbert one act, signatures and attorney threats can accomplish. conversational opera composed roughly 3 years after the opening of his grand opera Natoma. The Cyrano, Do we know whereof we speak. Absolutely - first hand. is the one hour twenty minute “pocket version” of If you read the calendar column closely you will see Victor Herbert’s seventh operetta composed in 1899. some new information there. Experience and the sharing This work has a new libretto by Alyce Mott of information become the best training ground. However, it can almost be guaranteed that you will not really learn the final lesson unless you go through the stress and panic of losing that date or venue or both through one of the above methods.

The real message of this particular article is that should you choose to become a producer, expect there to be rough times and expect to be challenged with obstacles. The more important question to ask yourself, is “do I have the stamina and determination to see this through?” If the answer is no, then your window to re-think being a producer is relatively small. Once that date and venue are in stone [or sand], it’s pretty much too late. Good producers find a way around any obstacle. Great producers avoid obstacles altogether. So whether you intend to be “good” or “great,” just make sure that you

NEVER BUILD YOUR HOUSE ON SAND. Frances Alda 10 News From VHSource, LLC Vol 4 April 2014

Madeleine is a purely experimental attempt at an Jessica Lennick, her growing ire is not always intimate black box one act opera based it upon a short apparent and therein lies the difficulty. This is a non- French play Je dine chez ma mère by Adrien melodic work - tunes do not flow from our composer’s Decourcelle (1824-1892) and Lambert Thibaut (no pen – deliberately. See above. Herbert wanted the dates). Grant Stewart (1866-1929) initially fashioned “effectiveness of a great actor.” If there is not enough a Herbert translation of the French play into an opera focus on the acting side, the singing side does not libretto for which Herbert then purchased the exclusive appear to have enough melodic line to sustain the rights and proceeded to compose the opera for no audience’s full attention. express purpose other than to attempt a new form. In our experience, this is the only time Herbert ever During the course of the 50 minute work, three initiated a project entirely on his own. erstwhile suitors offer their respects and a token of their devotion to the Diva, BUT do not have the time The original production starred New Zealand born to dine. Oh no, each man’s presence has been soprano Frances Alda (1879-1952). This soprano was demanded by .... his Mother. Two of these gentlemen apparently in need of a starring vehicle, liked the work (both wealthy nobility) are ably sung by Brian Ming and in 1910, just happened to have married Giulio Chu and Jonas Hacker, but the rising temper of our Gatti-Casazza (1869-1940), artistic director of the Diva isn’t always evident. Her good friend Didier, the Metropolitan Opera Company (1908–1935). Its third caller, is a common-man visual artist and original opening was January 24, 1914, at the childhood friend. He is the last to arrive, delivering a Metropolitan Opera House (1411 Broadway between portrait of Madeleine’s own mother which the diva 39th & 40th, [1883-1966]), and was actively produced by has commissioned from him. the Metropolitan Opera Company. Didier is Madeliene’s sole remaining possibility as a Madeleine is not an easy work to present. It is dinner partner for the festive evening. The role is sung conversational opera. Very little happens beyond three by Paul Corujo who fairly bursts onto the stage and different men visiting our heroine on New Year’s Eve adds tremendous energy to the scene. Still, the acting and her staff wishing to be released early in order to side lets the audience down a bit as we realize a bit celebrate. Not what one would call action filled material. belatedly that there has developed a softening and The trick to producing this successfully lies in DICTION change to this woman. The audience is just not quite and a healthy amount of acting. sure how or why.

Herbert said so himself when he was interviewed in Pantano and his music director Tim Ribchester also March of 1913 after the Met announced it had chose to accompany this work with a grand piano and committed to producing the work: solo violin, wonderfully performed by Philip Kates of the Philadelphia Orchestra. This choice actually I have tried to place the drama above everything in turns the piece into a fascinating duet between the my treatment of the story. Thus I have fashioned the diva and the instrument. It should also be noted that score with the idea of giving the singers a chance to while Herbert managed to refrain from writing truly deliver the lines with all the effectiveness of a great hum-able music for his singers, his wonderful actor. orchestration ability for Madeleine was quite evident in the incredible violin part. In short, this was an experiment from Herbert – always the innovator – dipping his toes once more into the Following an intermission, the audience was world of opera, barely three years after the critical press introduced to Herbert’s 7th operetta, the 1899 Cyrano rejection of his grand opera Natoma. de Bergerac, composed a mere year after the French play by Rostand debuted in Paris. In this case, Herbert The largest demands fall upon Madeleine, a brilliant is astounding in his lush, rich romantic score that fits prima donna with the Paris Opera, who has no one to this tragedy to a “T.” Because of the starkness of the dine with on New Year’s Eve. This is apparently a experimental Madeleine, this score felt like a breath tremendous evil. While Madeleine is ably sung here by of fresh air. 11 News From VHSource, LLC Vol 4 April 2014

In trying some experimentation of their own, Ribchester girl. After all, Daniels had already placed his girl and Pantano chose a small ensemble of flute, clarinet, friend LuLu Glaser into the role of Roxane. violin, cello and piano from the full orchestration that is available as their choice of accompaniment. It is always These changes were in keeping with two leads who a surprise that such a ensemble can sound very well really were not singers. Suffice it to say that Smith without any arranging by a third party. was embarrassed enough by what he created to use a the pseudonym Stuart Reed in the credit titles. The writer was willing to take credit for the lyrics, just not the spoken words and structure of the plot. Can you imagine Herbert’s surprise when he arrived at the first rehearsal whether a lush romantic score only to find a wholly altered story. He was definitely not happy and probably had to do a tall amount of composing on the “fly.” The work failed after 26-28 performance, and someone made very sure that the Daniels’ version of the plot was immediately lost to posterity, never to be seen again.

Librettist Alyce Mott has created a viable operetta version of the real Cyrano story and this audience was introduced to a “pocket” version with only three characters, a narrator and very small chorus of men. This work has suddenly become very popular with three productions (San Jose, California, New York City and Philly) in the past 8 months.

Pantano chose to use a female narrator which works perfectly well and to add a small chorus of four men to fill out the rich choral work and play 5 different small roles. Herbert is admittedly a master of choral Francis Wilson writing and this was a welcome effect.

We again heard Brian Ming Chou, this time as an The whole evening proved to be 2 ½ hours worth of admirable Cyrano and Jonas Hacker as Christian, while beautiful music as well as a fascinating look at the Evelyn Rossow joined the men as Roxanne The diction state of opera in the mid-portion of the second decade was perfect throughout, and Herbert was at his tuneful of the new 20th century. It certainly proved that best. It also helps that there are few who are not familiar Herbert was not above trying new things. with the Cyrano story. Once again Daniel Pantano and his Concert Operetta This is not the original Cyrano written for Herbert’s Theater continue to educate both his singers and music in 1899. Actor/vaudevillian Francis Wilson Philadelphia audiences as to the existence of fine (1854-1935) commissioned Herbert to write a score for operetta repertoire, keeping great music alive and well Cyrano which the composer fulfilled admirably. in the Pennsylvania area. Visit their website to see Unfortunately, Daniels, a vaudevillian, did not wish to what’s up next for this exciting group as well as their do a tragic play. After hiring Herbert simply to write a YouTube offerings to see the breadth and quality of score for Cyrano, the producer/actor hired Harry B. COT’s work. Smith to write a new “lighter” version of Cyrano. Daniels wanted to be a buffoon character with a huge Here are links to two reviews beginning to come in for nose and lots of slapstick. He wanted every character to this wonderful production: click the links to read live and most importantly, he wanted Cyrano to get the Steve Cohen’s thoughts in the Broad Street 12 News From VHSource, LLC Vol 4 April 2014

Review;and more analysis in the Operatoonity.com’s Blog. Alyce's Musings . . .

You’ll find a performance package of Victor Herbert’s t has been a tough winter Madeleine in Shop VHSource and the Cyrano for the majority of us in production will be ready for licensing this Fall. Both I2014. That comment could works are available with full orchestrations. refer to weather. It could refer to the producing article a couple of pages back. Sometimes it simply refers to life in general. Whatever your Upcoming Herbert Performances particular challenge may be, I think you would agree that 2014 has been, and Friday, April 25, 2014 and Saturday, April 26, 2014, remains, a challenging year. The real trick is to be able 7:30 pm, Light Opera of New York will present Victor to roll with the punches and thoroughly enjoy life as Herbert’s 1922 Orange Blossoms. Performances will it spins along. take place at The Thalia at Symphony Space, 2537 Broadway at 95th Street, NYC. Visit Symphony Space A tip for accomplishing that “enjoying part” is to for ticketing. always, and I do mean always, look for the benefits attached to each and every happening. It does not June 14 through August 9, 2014 – Ohio Light Opera matter whether it is a good happening or a real has announced their 35th Festival Season. Lo and behold, humdinger - once it has landed, immediately start they are doing Victor Herbert’s Dream City and The looking for the pros. If you focus on the cons, I can Magic Knight. This is spectacular news as this 1906 almost guarantee that those negatives will do their best production most likely may not have been done in full to derail you and/or your dreams and/or your goals, production since touring during 1907. For sure The and/or your relationships. Magic Knight has never been in its proper place within Dream City. This is not to be missed. VHSource will be This past month has definitely taught me the above at the 2pm matinee on Friday, July 25th. If you see us, lessons. To ignore this advice is to allow stress to slam please say introduce yourself! into your life, either keeping you up at nights or awakening you at ungodly hours with all the “what Sunday, July 13, 2:00pm, Victor Herbert ifs” that could possibly go wrong. It’s not a pleasant Renaissance Project LIVE! will present the official way to live and it will destroy that project, goal or first “read through” in a century (yes, 100 years) of dream so swiftly that you hardly know what hit you. Victor Herbert’s grand opera Natoma. The “read through” event is entitled Restoring Natoma, Herbert’s So what’s the solution, you say? 1911 Grand Opera and will take place in the DiMenna Center’s Mary Flagler Cary Hall on the first floor of 1. Look immediately for those pros - they are there. 450 W. 37th Street, New York, NY. Seating is going to 2. Do not allow a single negative to escape your be much tighter than first expected (100 seats for mouth. Sunday only) and it is important, especially if you are 3. Do not react immediately. It’s almost never as bad coming from out of town, that you get your reservations as it first appears. in as soon as possible. While there are no tickets per se 4. Sleep on it and go to sleep asking (a) why is this for this free event, getting on the reservation list is happening right now? and (b) let the universe take imperative. Contact: [email protected] to reserve your care of it. seats.. 13 News From VHSource, LLC Vol 4 April 2014

5. Every waking moment ask yourself - is it worth July 13, 2014 at 2pm if you wish to join us in hearing doing? If the answer is yes – this will sound silly Herbert’s grand opera Natoma with full orchestra and but – keep going forward, no matter what, as if the wonderful singers for the first time in 100 years.. castrophe hasn’t happened. If you must, pretend everything is great. Reminder: Performance materials are available for an amazing number of Herbert works and new materials Stop screaming “Pollyanna thinking” at me. Attitude is are being created every year. All the information you everything. I find that if I focus only on the cons, no new need is in Shop VHSource right now. E-mail us with ideas flow other than desperate ones. When I relax into any questions you may have or any work you do not knowing the project, goal, dream, etc. is worth doing, find listed. invariably I wake up with great ideas.

Philosophical moment: The purpose of MAN: we are See you next month. here to create and have fun doing it. My greatest joys come when I am focusing on that and with those thoughts, great ideas flow towards me like a river.

Here’s an interesting tidbit regarding the Suite for cello and orchestra, Op 3 thought to be recently premiered in its entirety in America on November 17th, 2013, by Seven Hills Sinfonietta, William White, conductor, with cellist Alan Rafferty of the Cincinnati Symphony. By entirety we simply mean all 5 movements. As sometimes happens, we have just run across a reference to Herbert himself premiering all 5 movements on December 17, 1893 in an orchestral concert conducted Two places can supply referenced back issues you may like to read: by Frank Van der Stucken (1858-1929) for the Arion 1) The E-Book section of Shop VHSource has the new Society of New York City. Ah, well. It was a nice Foundations which will give you all the VHS newsletters from thought while it lasted. Apologies to Rafferty and Seven March 2009 through February 2013. Explore discussions of the Herbert operettas from Prince Ananias (1894) through The Dream Hills Sinfonetta but Herbert himself beat you to it after Girl (1924) in one searchable source. Or 2) simply login to all. www.vhsource.com and choose “Archived Newsletters in the User Menu” for 2013 newsletters. Reminder: if you are not logged in, you will not see a User Menu or any samples. Sorry, for the lack of pictures this month. I had one of those pesky viruses on top of everything else this past All current newsletters are available to registered users of www.vhsource.com. Simply follow the link, create a user name month and now my word processor no longer recognizes and password and enjoy this newsletter delivered to your inbox *.jpg files. Ah, well I’ve done all I can do for this free of charge every month. month.

If you have read this far, you have probably figured out that, yes, the Victor Herbert Renaissance Project LIVE! did lose our wonderful Manhattan Center 7th Floor Grand for the Restoring Natoma Project. A gift given eight months ago can easily be taken back by the corporate world who really know and care nothing about art, performance or historic background. Bottom lines are the only thing important to many corporate CEOs and thus, our project has reeled since Feb 18th. Fortunately, we are back on track with a beautiful space but much reduced room for audience involvement. So please do not wait to make your reservation for Sunday,