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2014 Nineteenth-Century Performance Practice: Reassessing Tradition and Revitalizing Interpretation Deanna Georgia State University, [email protected]

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Recommended Citation Joseph, Deanna. “Nineteenth-Century Performance Practice: Reassessing Tradition and Revitalizing Interpretation” Choral Journal 54. 9 (2014): 18-31.

This Article is brought to you for free and open access by the School of Music at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NINETEENTH-CENTURY PERFORMANCE PRACTICE Reassessing Tradition and Revitalizing Interpretation Deanna Joseph

Deanna Joseph Director of Choral Activities Georgia State University [email protected] istorically informed per- have been slower to make their formance procedures way into the mainstream. Classically H have become popular trained musicians of our time have over the past fi fty years. Music of grown up playing and listening to the Baroque period has arguably the music of Romantic received the greatest attention, and and frequently assume that what musicians are now aware of issues they have been taught is stylistically related to the number of singers authentic. There is a certain comfort in Bach’s , the use of period level with this repertoire, so much instruments, and expressive ele- so that contemporary performers ments such as tempi, tone color, and often have a preconceived sound articulation. However, performance concept and thus take performance practices of the nineteenth century traditions for granted.

CHORAL JOURNAL Volume 54 Number 9 19 NINETEENTH-CENTURY PERFORMANCE PRACTICE

Scholarship of the last few decades their approach to interpretation. Orchestral seating was a subject of has seen an increase in analysis of his- The following article will present great interest to musicians in the fi rst half of the nineteenth century, torical recordings, as well as research research on nineteenth-century seating and treatises often published into nineteenth-century books on sing- and stage placement, tempo and tempo diagrams of famous . They ing technique and interpretation and freedom, tone quality and vibrato, and almost always show the at techniques on playing the , , the use of portamento. the front of the , facing and other instruments. Many treatises one another on opposite sides. shed light on issues of tempo, phras- The winds were often placed on risers, sometimes quite steep, in ing, dynamics, and tone color, serving Seating and as guides straight from the pens of the rear, with the brass at the very Stage Placement back. Violas, cellos and basses might the performers and teachers of the be found almost anywhere. When Romantic era. Examining this historical The manner in which nineteenth- there was a chorus, it was placed evidence can lead musicians to reas- century orchestras and choruses were in front of the orchestra or at the sess many preconceived notions about arranged in concert is well documented sides. The conductor of a concert nineteenth-century music and revitalize in various treatises and seating charts: orchestra usually stood in the

Für den Nortenpult Sollsten 3 - 6 Thomaner-Chor 40 Männer

100 Altstimmen 90 Sopranstimmen

Eingang Kapellmeister Eingang Nortenpult

Pauliner Gesangverein 150 Personen

80 Basse 70 Tenöre 20 zweite 20 erste für Vlolinen Vlolinen für Orchester Orchester resp. Choir 2 Solo Cellos resp. Choir

Männerchor Männerchor Männerchor 8 Sitzplätze 1 Sitplatz 1 Sitplatz 8 Sitzplätze 10 Cellos 10 Bässe

Trommel

Waldhömer Pauken Clarinetten Flöten

Trompeten Posaunen Fagotte Oboen Orgel

Figure 1. Gewandhaus Seating Plan, 1880s – Bibliography: Kling, Henry. Der Vollkommene Musik-Dirigent. Verfasst und herausgegeben von H. Kling. Hannover: L. Gertel, 1890

20 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

centre of the orchestra, among the Figure 2. Seating plan for the 1843 performance of Haydn’s Creation in the Gesellschaft der instrumentalists; often he faced the Musikfreunde, – Bibliography: Schünemann, Georg. Geschichte des Dirigierens. Leipzig: 1 audience. Breitkopf & Härtel, 1913

The fact that the chorus was virtually Eingang in das orchester (Entrance to the orchestra) Triangel always placed in front of the orchestra 4 Violin 4 Violin 4 Violin 2 Violin 2 Violin gran Tamburo is irrefutable. In some cases, this type 2 Celli of confi guration even carried over into 12 Celli 12 Celli 2 the early twentieth century. One of the 10 Horn 1 Ophicleid 1 Bleichfagott 6 Posanuen 4 Trompeten

biggest problems with of 1 Paar Pauken 10 Clarinetten 2 Contrafagotte 10 Fagotte Pauken 2 Paar this kind was that the chorus could not 3 Tamburin 10 Flöten 2ter Director 3 Tamburin see the conductor very well, if at all. 2 Trom- peten 10 Fagotte

Hector Berlioz describes the layout of 8 Violin IIdo 8 Viola 8 Viola 8 Violin I forces in the amphitheater of the 10 Violin IIdo 6 Viola 6 Viola 10 Violin I Conservatoire: 10 Violin IIdo 6 Viola 6 Viola 10 Violin I

The violins and the violas are on 16 Violin IIdo 16 Violin I the stage, and only the basses and do wind instruments occupy the steps; 16 Violin II 16 Violin I the chorus is seated in the front 2 Violin 2 Violin do Violin I Director of the stage, looking toward the Violin II Director audience. All the sopranos and altos 2 Celli 2 Celli are unable to see the movements of the conductor, since their backs Bass Choir Tenor Choir are turned directly toward him. The 2 Celli 2 Celli is very inconvenient for this part of the chorus.3 1 Cont. Fagott

To solve this issue, rather than mov- Accomp. ing the chorus behind the orchestra as Erster we do today, two or more conductors Director 2 Fagott 2 Violon 2 Violin were often used. A Leipzig Gewandhaus seating plan from the 1880s depicts a 2 Celli 2 Celli 2 Clarinet 2 Trompeten large chorus positioned at the front of Alto Choir Soprano Choir the stage. There are two conductors, and x 1 Violon 2 Celli the orchestra is arched in the back with 2 Oboen Soli the strings fi rst, followed by the brass Clavier and woodwinds on platforms behind 3 Posanuen Soli 1 Cello Director them.4 (Figure 1) An 1843 performance 3 Flöten of Franz ’s Creation at the Bass Soprano Tenor

Gesellschaft der Musikfreunde in Vienna 2 Horn required a fi rst and second director, a Soli third keyboard director, and two addi- tional directors for the fi rst and second violins—fi ve directors in all.5 (Figure 2) From an orchestral standpoint, it is the violins and violas sat for theatrical Performances in venues outside interesting that “the eighteenth-century performances such as , where they major concert halls, such as churches, practice of standing to play in concert were required to play in a pit, and stood often created special problems due to situations still prevailed in many places in for performances that required them to the demands of the space. The position the nineteenth century.”6 Until this time, be on the concert stage. of the organ was the fi rst and usually

CHORAL JOURNAL Volume 54 Number 9 21 NINETEENTH-CENTURY PERFORMANCE PRACTICE

largest consideration and often forced Choice of Tempo Tempo is among the most variable and diffi cult issues in musical perfor- fl exibility regarding seating of the or- and Tempo Freedom chestra. Regardless of sight lines and mance. The idea of intuiting the proper other logistical issues, the chorus was still tempo or “feeling it” was popular with Every sensitive musician is aware that consistently placed in front or to the side progressive -conductors such the quest for historically appropriate as and Richard to- of the orchestra—never behind—and tempos must be concerned with ward the end of the nineteenth century. perhaps modern-day experimentation plausible parameters rather than with placing the chorus in front or to the with precisely delineated or very Wagner was particularly opinionated on side of the orchestra may reveal a new narrowly defi ned absolute tempos… the subject, stating, “If one wants to sum- sound world or solve balance problems. many psychological and aesthetic marize what the correct performance (See the section at the end of this article factors, as well as the varying physical of a piece of music is for a conductor, it titled “Putting Research into Practice” for conditions in which performance is based on his always setting the right takes place, militate against the more on incorporating this research into tempo; for the choice and determina- notion that a piece of music tion of that tempo immediately allows performances of today.) should be rigidly bound to a single immutable tempo.7 us to recognize whether the conductor understood the musical composition or not.”8 Though many nineteenth-century musicians chose to print metronome marks in their scores, by and large these marks were meant to be taken only as general indicators. The fi rst edition of Ein deutsches contained markings for every movement, yet Brahms had them removed from all later editions Let your music and commented repeatedly that the metronome encouraged mechanical be heard… performances. In 1880 he expressed his general view in a letter to George in Germany Henschel: “Those [markings] which are found in the Requiem are there because & ! good friends talked me into them. For “We had a tremendous I myself have never believed that my experience on every level. blood and a mechanical instrument go The entire trip was very well well together… What I know, however, executed. We had a great mix of is that I indicate my tempos in the head- concert venues: intimate spaces ing, without numbers, modestly but with with very enthusiastic audiences the greatest care and clarity.”9 and the larger, informal , too, was reluctant concerts, which were highly to notate specifi c tempi for his music, memorable experiences.” and “though in playing he never varied – Dr. Brian L. Altevogt, Director the tempo when once taken, he did Concordia University Choir not always take a movement at the Germany & Austria Tour, 2012 Historical Salzburg, Austria same pace, but changed it as his mood 10 Witte has been arranging exceptional was at the time.” Camille Saint-Saëns concert tours through Germany, Austria 800 GO WITTE reports that Berlioz did not observe his own tempo marks when leading a and the rest of the world since 1975. wittept.com performance of his Grande messe des

22 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

achieved. But such a symmetrical and spite what most musicians are currently square performance lacks magic. One taught, recordings demonstrate that in should deck the yoke that is imposed on the late nineteenth century and early “Regardless of sight lines the beat with fl owers, and from time to twentieth century, louder could mean 15 and other logistical time free oneself from it with felicitous faster and softer could mean slower. license.”13 Dynamics and tempi were natural issues, the chorus was But how does a twenty-fi rst-century partners. Since this was commonplace, still consistently placed conductor know how and where to composers had no need to mark these in front or to the side of employ the extensive rubato that would tempo changes in the score. have been considered tasteful and the orchestra. effective in the nineteenth century? A Ritardando and accelerando detailed list from 1839 by alternate all the time. This manner states that a ritardando or rallentando has already become so fi xed in the minds of the musical public that should be employed: ” they believe a diminuendo must be slowed down and a crescendo morts: “The moderato (quarter=96) • On the return of the principal subject speeded up; a tender phrase (e.g. in at the beginning of the ‘’ was an allegro) will be performed more more like an allegro and the andante • When we separate a phrase from the slowly, a powerful one faster. At times this kind of treatment may well be maestoso (quarter=72) following, like applicable but how to determine a moderato.”11 • On long notes strongly accented where requires very deep insight Flexibility of tempo is another impor- into the composition and very tant factor in nineteenth-century per- correct feeling.16 formance practice. A number of period • In the transition to a different time recordings demonstrate great freedom Tempo changes at major structural and spontaneity of tempo. Most tempo • After a pause divisions helped delineate the composi- rubato was not marked in the score, tion’s form for the audience. Brahms though “holding back some notes and • On the diminuendo of a quick, lively commented a number of times that the hurrying others was not merely permis- passage fi rst performance of a work would be sible but was an indispensable adjunct of the time to underline the structure of a sensitive performance.”12 There were • Where the ornamental notes cannot piece through marked tempo changes two general types of rubato: 1) the be played “a tempo giusto” within movements, whereas when the melody remained fl exible over a basic work became more familiar to the pub- pulse in the accompaniment (Frédéric • In a well-marked crescendo serving lic, this kind of exaggeration would not Chopin was known for this style of as introduction or windup to an playing); and 2) the tempo changed for important passage a short period of time, while the overall texture either slowed or rushed ahead • In passages where the composer or (a style associated especially with Liszt performer gives free play to his and Wagner). fancy Later nineteenth-century conductors apparently used the latter a great deal. • When the composer marks the pas- The fact that Liszt incorporated frequent sage espressivo tempo fl uctuations in his was RISERS, FOLIOS, BOARDS & 14 well known. As early as 1826, the article • At the end of a trill or cadence. MORE @ DISCOUNT PRICES! on the metronome in the Dizionario FREE MUSIC PRODUCTS CATALOG e bibliografi a della musica states, “If the Note that one phenomenon Czerny 1-800-280-40701-800-573-6013 beat is always kept with an extreme ex- mentions is the interrelationship be- www.valiantmusic.com actness, a perfect ensemble is necessarily tween tempo and dynamic changes. De-

CHORAL JOURNAL Volume 54 Number 9 23 NINETEENTH-CENTURY PERFORMANCE PRACTICE

be needed.17 As a conductor, Brahms sometimes added tempo modifi cations not provided in the published score.18 Of the limited number of Brahms’s conducting scores that are available, the most notable is the one he used to conduct Ein deutsches Requiem at the Gesellschaft der Musikfreunde in Vienna in 1870.19 (Figure 3) Notice the addition of a fermata and two tempo mark- ings—breit and tempo viv—in Brahms’s own hand. A 1920 recording by (1855–1922) and the Philhar- monic of Beethoven’s Fifth demonstrates a degree of freedom that seems extreme today but was most like- ly common during the late nineteenth century.20 (To listen to this example on YouTube, refer to the endnotes link.) In particular, one can hear the tempo fl uctuations that occur between the fi rst and second themes, which are ex- aggerated in the recapitulation, as well as considerable freedom of tempo in the development section. These tempo changes highlight structural aspects of the music. In summary, the philosophy of informed tempos having “plausible pa- rameters” is a good starting point when dealing with music of the nineteenth century.21 The “right” tempo depends on many factors that run the gamut from logistical considerations, such as the Figure 3. Used by permission of the Riemenschneider Bach Institute acoustic of the performance space, to subjective factors, such as the mood and musical understanding of the conductor. tempo was considered expressive and Tone Quality and Vibrato Metronome markings are meant to could help the audience more quickly Before the twentieth century, vocal be guides and should in no way bind understand the structure of the piece and instrumental vibrato were not a a performer to a “perfect” tempo that upon the fi rst hearing. Czerny’s guide- continuous part of tone production must be recreated in every perfor- lines for tempo rubato provide modern but rather were used as expressive mance. The general consensus among performers with parameters for when tools. Violinists such as nineteenth-century musicians was that and where to include this expressive (1831–1907) and his famous student various performances of the same device, although even he includes in (1845–1930), as well as piece could have a range of suitable this list of rules that it is also admissible major singing pedagogue Manuel Garcia tempos, and that fl exibility within a given “in passages where the composer or (1805–1906), all despaired at the intro- tempo was implied. Manipulating the performer gives free play to his fancy.”

24 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

duction of noticeable and constant vi- lose by its introduction. The character brato in music of the time. For them, this of the music must be taken into con- was clearly an affectation that covered sideration, and good taste will surely be up a lack of true artistry and control. “Metronome markings suffi cient guide.”26 Musical authorities of the time believed are meant to be guides Around 1880, the anonymous author that “the basic sound should be a steady of Hints to Violin Playing linked the habit one and that vibrato, along with other and should in no way of continuous vibrato to bad taste and ornamental techniques, should occur as bind a performer to a poor technique: an incidental coloring or embellishment “perfect” tempo that on particular notes.”22 Constant vibrato The close shake is an imitation of was seen as either a technical fault or must be recreated in that tremulous wave which often a sign of a good singer past his or her every performance. comes unbidden into the human voice during the performance of a prime, and the basic belief was that strained note. Some singers, through something constant could no longer be ignorance or pernicious training, expressive. According to Garcia’s singing ” introduce this wave so often that treatises, the fi rst of which came from they eventually lose all control of 1840, singers should strive for “a steadi- the voice, and cannot sing a note ness of sound,” which he defi ned as “a I have explained fairly clearly why without the detestable and irritating it exists, and how it can be cured. fi rm and continuous fl ow of sound, free quiver rattling through it. Many good If it is not taken in hand at the very tenor and treble singers remain from every sort of tremor or quaver- fi rst singing lesson, it grows rapidly 23 in the second or third class, which ing.” into a habit, and becomes so fi rmly might easily advance to the fi rst, Garcia was one of the most infl uential established that it is most diffi cult to but for this wretched and damning pedagogues of the nineteenth century. eradicate and is always liable to crop tremola. A singer thus affl icted, or a His father, Manuel Garcia I, and sisters, up from time to time. A tremolo harmonium with the tremola stop and , were often reaches the audience as out- out, are the two things that any one of-tuneness and any teacher who has enormously successful opera singers. He with a sensitive ear wishes to be tried to teach the octave duet for taught singing for nearly fi fty years at away from.… My earnest injunction, soprano and mezzo soprano,“Agnus therefore…is, master the close shake, the Royal Academy of Music in London, Dei” in Verdi’s Requiem, to singers of but do not let the close shake master where he invented the laryngoscope; his whom one has a decided tremolo you.27 students included famed soprano Jenny and the other a true even, still tone, Lind, the important teacher Matilde will understand why. It is impossible Most vibrato techniques were es- to get the octaves to sound in tune. Marchesi, and Julius Stockhausen, who sentially for soloists. Continuous vibrato served as baritone soloist for the 1868 The voice with the tremolo never blends in with the still tones of the did not begin to spread into orchestral premiere of Brahms’s Requiem. Certainly, other. The sharpness and fl atness of string playing until early in the twen- there were singers who used notice- the tremolo becomes clear.25 tieth century.28 However, this did not able, steady vibrato, or Garcia would necessarily preclude use of vibrato in not have commented on it. However, ensemble music by instruments that Garcia’s treatises point to the fact that In regard to string playing, James Win- momentarily took on a soloistic role. In he did not encourage steady vibrato in ram made the following observations performing string quartets, German vio- 24 his students. about vibrato in his book Violin Playing linist (1784–1859) insisted Brown quotes Sir ’s and Violin Adjustment (1908): “[Vibrato] that only when the player “has a decided book The Gentle Art of Singing (1927), should be judiciously used at all times, solo part, and the other instruments as it gave an interesting account of the as it is quite possible to have too much merely an accompaniment, can he be increase of vibrato in singing: of a good thing. Beethoven’s music will allowed to embellish in the ordinary sound lovely with very little close shake manner of solo pieces.”29 Furthermore, There has been a good deal written [‘close shake’ is the old English term for in orchestral playing he instructed the and said lately about the vocal vibrato], or is preferred with none at all string player to abstain from “everything tremolo [vibrato], which is out of place, but it is no new fault. I think whereas Wagner’s will gain rather than appertaining to the embellishment of

CHORAL JOURNAL Volume 54 Number 9 25 NINETEENTH-CENTURY PERFORMANCE PRACTICE

solo playing which, if transferred to the technique has become the artist’s ability connotations: both implied a smooth orchestra, would destroy all unity of to vibrate on every note. One could say connection of one sound with performance.”30 that nowadays technique informs style another, but this connection could be seen either simply as legato or According to Brown, some singers rather than style informing technique, as as a linking of different notes by a produce a signifi cant number of rela- it was in the nineteenth century. Remov- more or less audible slide through tively long notes with little or no vibrato, ing vibrato, especially in late Romantic the intervening pitches.35 while the voices of others have a fairly repertoire, might seem shocking to continuous vibrato. However, as with the modern audiences. However, using it Interestingly, complaints about the violinists on these recordings, vibrato, as an occasional expressive tool rather overuse of portamento began almost where it is used, is almost always very than as a steady constant can increase instantly, as “it became increasingly com- narrow and controlled, and seems to the palette of tone color and stylistic ex- mon to associate portamento with a be a vibrato of intensity rather than one pression available to the contemporary conspicuous slide.”36 of pitch.”31 A recording of Schubert’s conductor and can result in more varied, A reviewer of at the Mag- Heidenroselein, sung by German soprano exciting performances of this repertoire. deburg Theater in 1798 noted that the Minnie Nast (1874–1956) is an excel- prima donna, Toscani, “constantly slid lent example of the clear tone and lack through the in between notes on rising of continuous vibrato that was prized by Portamento or falling fourths, fi fths, or sixths, and singers of the time.32 Keep in mind when since she carried on with this inces- listening to this excerpt that Nast was Portamento in violin playing became santly, with her in any case piping voice, a famous opera singer; she created the widespread as early as the 1770s. By the a dreadful meow developed out of what role of Sophie in ’s Der end of the century, singers had started was supposed to be an Italian embel- Rosenkavalier in 1911. Note that even to incorporate portamento into per- lishment.”37 the sustained notes are pure; not much formance.34 The term portamento, at Portamento initially came from vocal vibrato is heard. its root, means “to carry.” music, and it is diffi cult to discern just Today, vibrato is considered basic how much was employed and where to vocal and instrumental tone pro- In singing, string playing, and wind it was deemed appropriate. Joseph duction.33 A new standard for proper playing “portamento” had two basic Joachim and Andreas Moser’s Violin- schule (1905) states that “[a]s a means borrowed from the human voice…the use and manner of executing porta- mento must come naturally under the same rules as those which hold good in vocal art.”38 This is important for un- derstanding how singers may have used portamento, because “the bowings and fi ngerings in string music make it more revealing.”39 Haydn’s string quartets, op. 33 (from 1781– 82), contain fi ngerings by the composer and indicate the use of porta- mento for special effects. Mendelssohn’s quartets contain bowings and fi ngerings by his close colleague Ferdinand David and suggest portamento in places that most modern musicians would not expect.40 Although there are few clues in vocal music, the operas of contain many clear indica-

26 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

tions for vocal portamento. Wagner also included instructions for vocal por- tamento in specifi c places in his scores. Using vibrato as an occasional expressive tool rather In Der fl iegende Holländer, he added the than as a steady constant can increase the palette marking con portamento to indicate his “ wishes.41 of tone color and stylistic expression available to In addition, recordings by performers the contemporary conductor and can result in more who knew late nineteenth-century com- varied, exciting performances of this repertoire. posers provide helpful information for analysis. Portamento plays a signifi cant part in two arrangements of Brahms’s ” Hungarian Dances by Joseph Joachim (1903) and in a 1916 recording of Ed- ward Elgar’s Violin made under Because a tolerated evil always gets His entries on choral portamento the direction of the composer; both the worse, such a mannerism, particularly are inconsistent. In one place he refers in a full orchestra, must necessarily soloist (Marie Hall) and the orchestra to it as an Unart (a bad habit, common change a harmonious body into a employ portamento liberally.42 Brown in bad ) but then also gives de- collection of whining children and tailed directions on how to execute it. notes that “[v]irtually all the authors meowing cats.46 who discussed portamento in singing For example, he explains how to train a choir to make a portamento in the and in string playing stressed the danger An excellent, and perhaps extreme, fi rst movement of Brahms’s Requiem of abusing it; but their notation of abuse example of orchestral portamento by sliding on the “L” in “Die da Leid.”48 is directly dependent on what they con- appears in Willem Mengelberg’s 1927 43 Wilhelm Furtwängler’s recording of Ein sidered to be the norm.” recording of the prelude to Act I of deutsches Requiem from 1947 demon- Wagner’s .47 Portamento is strates a pronounced portamento at added primarily in melodic passages this very spot.49 A 1941 recording of the Instrumental Portamento rather than those of an accompanying St. Olaf Choir singing “Beautiful Savior” Although various early-nineteenth- nature, and they draw the listener’s conducted by its founder and fi rst con- century sources criticize portamento in attention to the given line, adding an ductor, F. Melius Christiansen, is another ensemble music, by the middle of the expressive element. example of choral portamento.50 century it was an accepted practice.44 Portamento in choral singing as well Similar to the use of vibrato, the use as orchestral string playing has been so of portamento was most likely due to Vocal Portamento limited in musical performance for so the rise of conservatory training, which If instrumental ensembles in the many years that to modern audiences prepared violinists to be soloists, even nineteenth century applied portamento it tends to sound in poor taste. How- though their careers would probably more freely than we do today, what ever, there can be no doubt that by the be spent playing in ensembles. As with about choral ensembles? Early record- middle of the nineteenth century, it had vibrato, composers assumed that per- ings of choral groups are rare, making become a freely employed expressive formers would apply portamento “with the practice somewhat hard to discern. tool—and was at times subject to abuse. taste, and in the right places,”45 although Portamento is discussed a number of Portamento remained present in vocal the overuse of this technique continued times in the writings of Ochs and instrumental technique until well to be criticized, as seen in the following (1858–1929), founder of the Philhar- into the twentieth century. biting quote from : monic Choral Society of Berlin. Ochs wrote a series of books called Der This feeble and childish mannerism deutsche Gesangverein (“The German Putting Research has, like an infectious disease, spread Choral Society”), which consisted of to some orchestral players and, what into Practice is most ridiculous, not merely to our practical journal entries for conductors courageous violinists, but also to that addressed problem spots in choral- Can any of this fascinating research violists and even double bass players. orchestral masterworks. work in performances of today? The

CHORAL JOURNAL Volume 54 Number 9 27 NINETEENTH-CENTURY PERFORMANCE PRACTICE

answer is yes. I conducted two choral- orchestral performances incorporating this research, and each was well received by both the performing musicians and the audiences. On April 11, 2010, I conducted a per- formance of Bruckner’s Mass in with a two hundred-voice choir, standing in front of the orchestra, and a large orchestra standing (not sitting) behind them. (Figure 4) Logistically speaking, choral-orchestral performances tend to be quite complex due to the number of people involved. This performance had the additional challenges of seating and other placement logistics unfamiliar to the musicians, the presence and co- ordination of two conductors, and the implementation of performance tech- niques that were new to every musician involved in the project. Encouraging these new techniques Figure 4. Photograph during the April 11, 2010, performance of Bruckner’s Mass in D Minor at was diffi cult early on in the rehearsal Sacred Heart Cathedral in Rochester, NY. Performance utilized organ (back center), full orchestra, process. The soloists, choir, and string and a chorus of 200 singers, SATB soloists, a main conductor, and a sub-conductor. players were accustomed to playing Photo by Leslie Scatterday. with consistent vibrato, and minimizing this took many reminders. Vibrato for it. I was fortunate to have the luxury not marked, and the musicians became them, unlike their nineteenth-century of ample rehearsal time to experiment comfortable with being fl exible. counterparts, was a ubiquitous part of with these techniques and allow them Seating was initially a challenge, par- their technique, and achieving a different to evolve. ticularly for the orchestra, because or- aesthetic required a signifi cant amount The addition of tempo rubato was a chestras today are comfortable playing of “undoing” their previously rehearsed challenge in two ways. First, perform- in only a few standard seating plans. The approach. The addition of portamento ers of today are accustomed to having majority of choirs, however, are more was met with similar resistance, and ritardandos and accelerandos written in accustomed to changes in seating. The many of the musicians thought it sound- the score. To remedy this problem, I had winds were off to the left; brass, to the ed silly and even humorous. the choir and orchestra members write right; both on platforms. To make things Eventually the performers were in a few of the tempo changes, just to even more challenging, the acoustic in able to implement a small amount of keep everyone relatively together. The the cathedral where we performed was portamento in the places I requested, second challenge was, of course, coor- reverberant, and it was diffi cult for them but it was hardly audible. At this stage, dinating this with two conductors. The to hear one another. We also added the I decided to have them practice por- sub-conductor and I rehearsed leading organ, which could only be utilized in tamento out of context; before they and following in a few of the chorus the fi nal dress rehearsal at the cathedral. could execute it in a performance, they rehearsals the week before the concert. Despite all of the unknowns, the needed to learn how to do it correctly. Thankfully, my colleague was a sensitive concert was a huge success and cre- Once a comfort level was established, musician who was able to follow every ated buzz among the audience and the the choir and orchestra were able to one of my whims quite impressively. By musicians. The overwhelming comment utilize portamento with relative ease the performance, we were able to add after the performance was, “Why don’t and eventually even be expressive with in even more tempo rubato where it was we perform this repertoire with the

28 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

chorus in front of the orchestra more From Nineteenth-Century on this shift: perhaps the growth of often?” Arranging the chorus in front Traditions to Today audio recording, an advance that gave of the orchestra allowed the chorus musicians the ability to scrutinize their Contemporary musicians often as- to sing an haunting pianissimo and also performances after the fact; perhaps the sume that the way they are trained allowed the orchestra to play fortissimo reign of conductors who were known to perform music of the nineteenth when marked, rather than having the for their precision and who made many century represents an accurate and typical dynamic battle with the chorus recordings, such as Arturo Toscanini and unbroken tradition. Piecing together constantly striving to be heard and the Robert Shaw. The increasingly complex information about performance prac- orchestra being silenced. It was freeing music of the twentieth century some- tices of the time, however, suggests that for both groups. The two-conductor times required a metronomic precision great value can be found in rethinking setup worked well, and I found it ad- and clarity, and many composers of this our approach to performing music of vantageous to have one conductor who period ask performers to do exactly the Romantic era. By the mid-twentieth could give all attention to the orchestra what is on the page. century, music had evolved into a more and one who could focus on the chorus. Musicians of the 1800s valued a dif- “standardized” art in which perfection ferent aesthetic, one in which expression tended to outweigh self-expression. was encouraged in every way possible. It is unclear exactly what brought

2014 Worship & Music Conferences

Montreat “Rise, O Church, Montreat, NC Like Christ Arisen”

Week 1: June 15-20, 2014 Conference Director: Week 2: June 22-27, 2014 Mark Kemp Conference Faculty Includes: Susan Palo Cherwien, Jon Walton, Mo-Ranch/PAM Chris Aspaas, Heather Potter, Hunt, TX Shannon Jeffreys, Kenney Potter June 15-19, 2014

“Come, Holy Spirit, Dwell in Us Again”

Conference Director: Joshua Taylor Conference Faculty Includes: Reggie Weaver, John Bell, Pearl Shangkuan, Mary Ibis

502-569-5288 www.PresbyMusic.org

CHORAL JOURNAL Volume 54 Number 9 29 NINETEENTH-CENTURY PERFORMANCE PRACTICE

Each performance was to be a distinct September 22, 2012, http://www. Press, 1986), 175. Koury goes on to say, artistic experience aimed to stir the oxfordmusiconline.com. surprisingly, “The violins and violas in emotions of the audience. Fortunately, 2 Richard Sternfeld, Chronik des Leipzig did not sit to play until about ten audiences of the twenty-fi rst century Philharmonischen Chores in Berlin (Berlin, years after the advent of Artur Nikisch are becoming more open to experi- H.G. Hermann, 1907), 53. as conductor, which would be about 3 mentation along the lines of tempo, , Berlioz’s Orchestration 1905.” 7 seating, stage placement, and expressive Treatise: A Translation and Commentary, Clive Brown, Classical and Romantic techniques. Studying performance tradi- trans. and ed. Hugh Macdonald Performing Practice 1750–1900 (Oxford: (Cambridge: Cambridge University , 1999), 283. tions of the nineteenth century gives 8 us the opportunity to appreciate more Press, 2002), 204. Warren Bebbington, “Wagner as Con- 4 Diagrams of these stage arrangements can ductor” (unpublished manuscript, fully the sound world of the people who be found in the introductory notes to Melbourne, 2009). composed and performed the music of David Friddle’s edition of Liszt’s oratorio, 9 Quoted in Styra Avins, “Performing this period, revitalizing our understand- “Christus.” See Franz Liszt, “Christus,” ed. Brahms’s Music: Clues from His Letters,” ing and interpretation of this beloved David Friddle, (New York: Bärenreiter, in Performing Brahms: Early Evidence of repertoire. 2005), 19. Performance Style, ed. Michael Musgrave 5 Franz Liszt, “Christus,” ed. David Friddle, and Bernard D. Sherman (Cambridge, (New York: Bärenreiter, 2005), 13. UK, 2003), 22. Henschel was a well- NOTES 6 Daniel J. Koury, Orchestral Performance known baritone, , composer and Practices in the Nineteenth Century: Size, conductor, and good friend of Brahms. 1 John Spitzer and Neal Zaslaw, “Orchestra,” Proportions, and Seating (Ann Arbor, 10 Sir George Grove, ed., A Dictionary of Music in Grove Music Online, accessed MI: University of Michigan Research and Musicians (London 1879–89), s.v.

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ACDA Member Wins First-Ever Music Education Grammy

The fi rst-ever Grammy in music education was award- ed to Kent Knappenberger at the 56th annual Grammy awards in January 2014. More than thirty thousand nominations from all fi fty states were submitted for the award, which was created to honor current music educa- tors who have made signifi cant contributions to the fi eld of music education. Knappenberger has been a music teacher and choral director at Westfi eld Academy and Central School in Westfi eld, NY, for almost three decades. The American Choral Directors Association would like to congratulate Kent on this well-deserved achievement.

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30 CHORAL JOURNAL Volume 54 Number 9 Reassessing Tradition and Revitalizing Interpretation

“Mendelssohn.” Quoted in Brown, Performing Practice 1750–1900, 522. Violinschule, 3 vols., (Berlin: 1905), Classical and Romantic Performing Practice 26 J. Winram, Violin Playing and Violin Adjustment quoted in Brown, Classical and Romantic 1750 –1900, 284. (Edinburgh and London, 1908). Quoted Performing Practice 1750–1900, 580. 11 Camille Saint-Saëns, Musical Memories, in Brown, Classical and Romantic 39 Brown, Classical and Romantic Performing trans. E.G. Rich (London, 1921), 136–7. Performing Practice 1750–1900, 533. Practice 1750–1900, 580. Brown Quoted in Brown, Classical and Romantic 27 Hints to Violin Playing, c. 1880, quoted in also states that “the employment of Performing Practice 1750–1900, 287. Brown, Classical and Romantic Performing portamento in string playing was largely 12 Brown, Classical and Romantic Performing Practice 1750–1900, 534. analogous with that in singing.” Practice 1750–1900, 375. 28 Brown states that “orchestral string and 40 Ibid., 583–4. 13 Pietro Lichtenthal, Dizionario e bibliografi a wind sections would have naturally 41 Ibid., 581. della musica (Milan, 1826), quoted in played without vibrato unless it was 42 Ibid., 586. Brown, Classical and Romantic Performing so marked…[and] the view that 43 Ibid., 587. Practice 1750–1900, 390. vibrato was detrimental in ensemble 44 Ibid., 564. 14 Carl Czerny, Vollständige theoretisch- playing seems to have been generally 45 Allgemeine musikalische Zeitung, 16 (1814), practische Pianoforte-Schule, op. 500, 3 acknowledged.” Classical and Romantic 175–6. Quoted in Brown, Classical and vols (Vienna, 1839). Quoted in Brown, Performing Practice 1750–1900, 528. Romantic Performing Practice 1750– Classical and Romantic Performing Practice 29 Louis Spohr, Louis Spohr’s Celebrated Violin 1900, 565. 1750–1900 386. School, trans. John Bishop (London: 46 Allgemeine musikalische Zeitung (1811), 15 Brown, Classical and Romantic Performing Cocks, 1843), 233. quoted in Brown, Classical and Romantic Practice 1750–1900, 384. 30 Ibid., 234 Performing Practice 1750–1900, 563. 16 Caecilia J. Feski, Eine Zeitschrift für die 31 Brown, Classical and Romantic Performing 47 , Lohengrin, Prelude to Act I, musikalische Welt, vol. 15 (1833), 270. Practice 1750–1900, 535. with the Amsterdam Quoted in Brown, Classical and Romantic 32 ’s Heidenröslein, Minnie Nast, Orchestra, conducted by Willem Performing Practice 1750–1900, 384. soprano. EMI Centenary Edition 1897- Mengelberg, recorded June 10, 1927. 17 Musgrave and Sherman, Performing Brahms, 1997: 100 Years of Great Music (11 CD In Mengelberg: Maestro Appassionato, 143. box set). ASIN: B000002S8V. London, Maestro History 205253, 10 compact 18 Ibid. EMI Classics, 1997. http://www.youtube. discs, released in 2001. http://www. 19 , Ein deutsches Requiem, com/watch?v=ws5gRdnOzJo&feature=y youtube.com/watch?v=RTc9SBHZsYA Op. 45. Leipzig und Winterthur: Rieter- outu.be &feature=youtu.be Biedermann, 1868. Duplicate from 33 With the noted exception of ensembles 48 Siegfried Ochs, Der deutsche Gesangverein the library of the Gesellschaft der dedicated to historical performance (Berlin: Max Hesse Verlag, 1926). Musikfreunde, Vienna. practice. Quoted in Musgrave, Performing 20 , Symphony No. 5, 34 Brown notes that Manuel Garcia, in his Brahms, 159. with Arthur Nikisch (conductor) and Traité complet de l’art du chant (1840), 49 Johannes Brahms, Ein deutsches Requiem, the Berlin Philharmonic, recorded used the terms “port de voix and con with the Orchester und Chor der November 13, 1920. In Arthur Nikisch, portamento…to designate the technique Luzerner Festwochen, Elizabeth Symposium Records 1087, 2 compact of sliding audibly from one note to Schwarzkopf, soprano, Hans Hotter, discs, released in 1991. http://www. another, reserving the term legato for baritone, conducted by Wilhelm youtube.com/watch?v=C0iFnC_ the normal smooth connection between Furtwängler, recorded August 20, 1947. WpVU&feature=youtu.be notes.” Classical and Romantic Performing In Johannes Brahms, Ein deutsches 21 Brown, Classical and Romantic Performing Practice 1750–1900, 559. Requiem: Two Live Performances, Music Practice 1750–1900, 283. 35 Brown, Classical and Romantic Performing and Arts CD 1085, 2 compact discs, 22 Ibid. Practice 1750–1900, 558. released in 2001. http://www.youtube. 23 Manuel Garcia, Garcia’s Treatise on the Art of 36 Ibid., 559. com/watch?v=fQymrCUKREU Singing (London: Leonard, 1924), 49. 37 Johann Freidrich Rochlitz et al., eds., 50 F. Melius Christiansen, Beautiful Savior. 24 Musgrave and Sherman, Performing Brahms, Allgemeine musikalische Zeitung (Leipzig, Recorded ca. 1941. Choral Masterworks 151. Breitkopf & Härtel: 1798/9-1848), Series, vol. 1. St. Olaf College, E-2178-9. 25 Sir Henry Wood, The Gentle Art of Singing quoted in Brown, Classical and Romantic http://www.youtube.com/watch?v=0xx (London: Oxford University Press, 1927). Performing Practice 1750–1900, 563. NW67UReQ&feature=youtu.be Quoted in Brown, Classical and Romantic 38 Joseph Joachim and Andreas Moser,

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