Journal of the Conductors Guild

Volume 31, Number 2 2014 719 Twinridge Lane Richmond, VA 23235-5270 T: (804) 553-1378; F: (804) 553-1876 Table of Contents E-mail: [email protected] [email protected] . . . Advancing the Art and Profession Website: www.conductorsguild.org Officers Gordon J. Johnson, President David Leibowitz, Secretary A Conductors’ Philosopher: page 1 John Farrer, President-Elect Christopher Blair, Treasurer Erin R. Freeman, Vice-President James Allen Anderson, Past President Susanne Langer on Music by Michael Luxner Board of Directors Ira Abrams Reginald Houze John Gordon Ross Agon; page 8 John P. Boyd John Koshak Lyn Schenbeck* Wesley Broadnax Anthony LaGruth Jonathan Sternberg* the Balanchine/Stravinsky Brooke Creswell Brenda Lynne Leach James R. Tapia Contribution to the Development John Devlin Sasha Mäkilä Emily Threinen of a Specialism Thomas Gamboa Jeffery Meyer Julius Williams by Dr. Eugenie Burkett Andrew George Jon C. Mitchell Burton A. Zipser* Jacob Harrison* Michael Mishra *ex officio Claire Fox Hillard Philip Morehead Bruno Walter, page 22 Advisory Council Leonard Bernstein, and Michael Griffith Harlan D. Parker Interpretation in Emily Freeman Brown Samuel Jones Maurice Peress Mahler Scores Michael Charry Tonu Kalam Donald Portnoy by Nathaniel F. Parker Sandra Dackow Wes Kenney Barbara Schubert Harold Farberman Daniel Lewis Gunther Schuller page 28 Adrian Gnam Larry Newland Leonard Slatkin Scores & Parts Max Rudolf Award Winners Tchaikovsky Romeo & Juliet Herbert Blomstedt Daniel Lewis Gunther Schuller Fantasy—Overture: A guide to David M. Epstein Gustav Meier Jonathan Sternberg preparing a correct score and parts Donald Hunsberger Otto-Werner Mueller Paul Vermel by David Bernard

Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike

Theodore Thomas Award Winners Claudio Abbado Sir Colin Davis Robert Shaw The publication date of the present issue of Maurice Abravanel Frederick Fennell Leonard Slatkin the Journal of the Conductors Guild is February, Marin Alsop Margaret Hillis Esa-Pekka Salonen 2014. Due to a change in editors, publication Leon Barzin Sir has been delayed. The Conductors Guild Leonard Bernstein Kurt Masur reserves the right to approve and edit all Pierre Boulez Max Rudolf David Zinman material submitted for publication. Publication of advertising is not necessarily Editor an endorsement and the Conductors Guild Lyn Schenbeck reserves the right to refuse to print any advertisement. Library of Congress No. 82- Conductors Guild Staff 644733. Copyright © 2014 by Conductors Executive Director Amanda Winger Guild, Inc. All rights reserved. ISSN: 0734- Assistant Director Scott Winger 1032. Intern Brianna Sklute Scores & Parts

Tchaikovsky Romeo & Juliet Fantasy—Overture A guide to preparing a correct score and parts

By David Bernard

INTRODUCTION

Tchaikovsky’s Romeo and Juliet Fantasy—Overture is a staple of the repertoire. With its abundant collective experience from countless performances, it is shocking that the materials available for performance contain significant errors and omissions. Norman Del Mar’s “Orchestral Variations” is helpful, but only scratches the surface. The objective of this guide is to help conductors and their librarians prepare a fully correct score and set of parts for Tchaikovsky’s Romeo and Juliet Fantasy Overture using the commonly available sources.

SOURCES AND MATERIALS

This article covers Tchaikovsky’s third version of the Romeo and Juliet Fantasy—Overture, completed in 1880, which has become the commonly accepted version for concert performance. The currently available materials are:

Publisher Item Description Bote & Bock Full Score The first edition of the full score that was published in 1881. This version is also the source for Dover’s publication. Dover’s reproduction of the Bote & Bock score is the source for the scanned PDF version available on IMSLP. Bote & Bock Parts The first edition of the orchestral parts that was published in 1881. Note that there are errors that exist in these parts that are not in the score and vice-versa. This version is also the source for parts currently available from Kalmus, which was also used as the source for the scanned PDF parts available on IMSLP. The version of these parts on IMSLP have a few corrections marked by hand. Eulenburg Full Score This edition of the Score appeared after Bote & Bock’s first edition and contains a different set of errors and changes. As of this writing, the full score published by Kalmus is an enlarged version of the Eulenburg score. The Kalmus catalog therefore couples an enlarged reproduction of the Eulenburg score with a reproduction of the Bote & Bock parts, mixing editions. Belaieff Full Score Published in 2006, this edition has corrected most, though not all, errors. Unfortunately, the orchestral parts that correspond to this Full Score are rental.

Note: This article does not provide notes on the Belaieff Orchestral Parts, which are available only as a rental.

JCG Vol. 31, No. 2 28

CHOOSING AN EDITION Parts Orchestral parts are available in two editions: Bote & Bock and Belaieff.

Belaieff. The Belaieff parts have most, though not all, errors corrected. However, this edition is only available as a rental. Bote & Bock. The Bote & Bock parts contain a fair amount of errors, many of which appear only in the parts and not in the score. This edition is available for purchase from Kalmus and Lucks Music Library and is also available for download from IMSLP. Score The large score is available in three editions: Kalmus (a reprint of the Eulenburg mini-score), Bote & Bock (also available as a Dover Reprint), and Belaieff.

Kalmus (Eulenburg Reprint). While both Kalmus/Eulenburg and Bote & Bock contain a fair amount of errors, Kalmus/Eulenburg has additional challenges. First, there is a measure numbering error. Eulenburg places measure 100 a measure late, and as a result, all numbering past this point is off by 1. In addition, Eulenburg made the decision to change the rendering of the high cello parts from tenor to treble clef using the old notation where notes are written an octave higher than they sound. On the plus side, the Kalmus/Eulenburg is much easier to read than Bote & Bock, but this is a small benefit when considering its flaws. Addressing the issues listed in this article will certainly assist in making a Kalmus/Eulenburg score usable for those who already own this edition, but the Eulenburg/Kalmus score is not recommended as a starting point.

Bote & Bock (Dover Reprint). While the Bote & Bock edition contains many errors, measure numbers and most rehearsal letters are correct. Readability of the notation is difficult. The availability of this edition as a low cost Dover reprint makes this a viable practical option once the errors are corrected.

Belaieff. Published in 2006, M.P. Belaieff’s edition is the most current, and has corrected most errors. However, some errors do appear, including new errors introduced by Belaieff’s editors. Also in preparing their edition, Belaieff’s editors decided to dispense with the rehearsal letter scheme used by both Bote & Bock and Kalmus/Eulenburg, necessitating a comprehensive reapplication of rehearsal letters in this score when it is used alongside the Bote & Bock parts. Even so, the Belaieff edition is the best option for conductors as it corrects most errors and is the most readable.

29 JCG Vol. 31, No. 2

REHEARSAL LETTERS/MEASURE NUMBERS

Ensuring conformity between score and parts with regards to measure numbers and rehearsal letters is essential. Please note:

 There is an error in the version of the Eulenburg score that was used as the basis for the Kalmus reprint, placing measure 100 one measure late, causing all measure numbers past that point to be off by 1.

 The editors of the Belaieff edition adopted a new rehearsal letter scheme that differs from all other sources. As a result, using the Belaieff score with the Bote & Bock parts requires changing all the rehearsal letters in the score.

 While all sources except the new Belaieff edition are in agreement on the placement of Rehearsal Letters, a few letters are missing in these scores and parts. These rehearsal letter anomalies have been noted in the “Structural Changes” section below.

The following measure number/rehearsal letter cross reference will be useful in adjusting the rehearsal letters in the Belaieff score to ensure consistency with the rehearsal letters in the Bote & Bock parts:

Measure Numbering Guide: A=38 B=61 C=86 D=122 E=143 F=161 G=184 H=205 J=243 K=273 L=300 M=320 N=331 O=345 P=364 Q=387 R=419 S=446 T=462 U=485

JCG Vol. 31, No. 2 30

STRUCTURAL CHANGES

This section contains a detailed listing of all structural changes across all of the covered sources. A structural change is one that, left uncorrected, would result in wasted rehearsal time.

Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Viola. Accent is missing Viola. Accent is missing Viola. Accent is 12 on the third beat on the third beat missing on the third Correct beat 1. Accent is Violin 1. Accent is Violin 1. Accent is 14 missing on the third beat missing on the third beat missing on the third Correct beat Viola. Missing a diminuendo over two measures Correct Correct Correct 28-29 (corresponding to basses, winds and brass) Winds/Horns. Add “P” Winds/Horns. Add “P” Winds/Horns. Add Winds/Horns. 30 as the dynamic here as the dynamic here “P” as the dynamic Add “P” as the here dynamic here Harp. Add “P” as the Harp. Add “P” as the Harp. Add “P” as Harp. Add “P” as 32 dynamic here dynamic here the dynamic here the dynamic here Harp. Add “PPP” as the Harp. Add “PPP” as the Harp. Add “PPP” as Harp. Add “PPP” 36 dynamic here dynamic here the dynamic here as the dynamic here Violin 1 & 2. Add “P” as Violin 1 & 2. Add “P” Violin 1 & 2. Add 51 the dynamic here as the dynamic here “P” as the dynamic Correct here Viola. Second quarter Viola. Second 61 Correct should be a D-natural. quarter should be a Correct D-natural. Viola. A tie is missing 72-73 Correct between these measures Correct Correct (over G). Clarinet 1. The natural Clarinet 1. The sign next to the B in this natural sign next to measure is an error. It the B in this measure Correct Correct 73 should be B-flat (tied to is an error. It should the previous note). be B-flat (tied to the previous note). Oboe 1. The first note of 86 Correct this measure should be Correct Correct G-sharp. Horn 3. Add “F” as the Horn 3. Add “F” as the Horn 3. Change the 88 dynamic here dynamic here “P” dynamic to “F” Correct here Bass. The dynamic should Bass. The dynamic 102 Correct Correct be “PP” not “P” should be “PP” not “P” Violin 2. The C on the 115 Correct third beat should be C- Correct Correct natural.

31 JCG Vol. 31, No. 2 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Horn 4. The tie is in the wrong place. It should be moved to join the last eighth of this measure to the downbeat of the next measure.

Viola. The is 135 Correct incorrect and a tie is Correct Correct missing. The rhythm should be eighth rest- quarter-eighth tied to eighth.

Bass. A tie is missing between the two eighth notes (2+ to 3). Viola. The last note of this measure should be Correct Correct Correct 139 changed from a quarter note to an eighth note. Viola. The second note of this measure should 140 Correct be changed from a Correct Correct quarter note to an eighth note. 1. Last note Trumpet 1. Last note Trumpet 1. Last note (eighth note) should be (eighth note) should be (eighth note) should Correct. 151 changed from a “G” to an changed from a “G” to be changed from a “A” an “A” “G” to an “A” Clarinet 1. Beat 2+ should be changed from an “A” to the “C” above it.

157 Correct Viola. The slur should Correct Correct end with the fourth 16th note of this measure, re- articulating the fifth 16th note starting the second beat. Violin 1. The high “A” figure on the second beat of this measure should be 159 changed to a high “F- Correct Correct Correct sharp” a third below (similar to the second beat of 160). Bass. The “C-sharp” dotted half should be Correct Correct Correct 164 changed to an “A” dotted half a third lower Cello/Bass. The “Bassi” indication is Correct Correct Correct 168 unnecessary and should be removed

JCG Vol. 31, No. 2 32 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Clarinets and Bassoons. Clarinets and Technically not an error, Bassoons. Technically but for consistency and not an error, but for 174 readability the rhythm consistency and Correct Correct should be changed to readability the rhythm match 175 should be changed to match 175 Horn 1. The flat sign on All. Add rehearsal See note on the second quarter should letter “G” Belaieff rehearsal be moved to the first letters Correct 184 quarter, resulting in “E- Flat” throughout the measure. Cello (lower divisi). First quarter should be a G- Correct Correct Correct 211 Natural. The natural sign is missing. Oboe 2. Add a slur over 212 Correct the 16th note run on the Correct Correct 2nd to 4th beats. Bassoon 2. “P” is missing Bassoon 2. “P” is Bassoon 2. “P” is from the downbeat here. missing from the missing from the downbeat here. Also the downbeat here. Correct 254 diminuendo should end with the “P” on the downbeat. Bassoon 2. Add a Sf, dim Bassoon 2. After the Sf, Bassoon 2. After the leading to “P” on the add a dim leading to “P” Sf, add a dim leading 257-258 following downbeat, on the following to “P” on the Correct similar to the Cello. downbeat, similar to the following downbeat, Cello. similar to the Cello. Strings (but not Bass). Strings (but not Bass). Strings (but not Strings (but not As a practical matter, As a practical matter, Bass). As a practical Bass). As a move the “Senza move the “Senza matter, move the practical matter, 260 Sordino” from 273 to 260 Sordino” from 273 to “Senza Sordino” move the “Senza 260 from 273 to 260 Sordino” from 273 to 260 Bassoon 1. A whole rest Cello & Bass. is missing from this “Arco” should be measure. added here. Correct Correct 273 Cello & Bass. “Arco” should be added here. Bassoon 1. A tie is missing over the two Correct Correct Correct 275 eighth notes (beats 2+ to 3) Strings. Add a Strings. Add a Strings. Add a Strings. Add a diminuendo over the full diminuendo over the full diminuendo over the diminuendo over 279 measure here (as in 301) measure here (as in 301) full measure here (as the full measure in 301) here (as in 301) Trumpet 1 (Transposed 289 Correct Notation Part Only). Correct Correct F-double sharp. Violin 1. Third note should be changed from Correct Correct Correct 293 a quarter note to an eighth note.

33 JCG Vol. 31, No. 2 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Horn 1. The written E is 295 Correct missing a flat sign—the Correct Correct note should be E-Flat. Flute 1. The first note should be changed from Correct Correct Correct 301 a quarter note to an eighth note. Flute 1. First note (half Flute 1. First note (half Flute 1 and 2. First note) should be C-flat, not note) should be C-flat, note (half note) C-natural. not C-natural. should be Flute 1: C- 319 flat, Flute 2: A-flat Correct (A-flat carries over through the measure)

Flute 2. First note 320 Correct (quarter note) should be Correct Correct a D-flat, not D-natural. Bassoon 1 and 2. The Bassoon 1 and 2. The Bassoon 1 and 2. last eighth of this measure last eighth of this The last eighth of this 333 should be an “A-natural” measure should be an measure should be an Correct not an “A-sharp” “A-natural” not an “A- “A-natural” not an sharp” “A-sharp” Bassoon 1 and 2. The Bassoon 1 and 2. The Bassoon 1 and 2. first eighth of this first eighth of this The first eighth of measure should be an “A- measure should be an this measure should natural” not an “A-sharp” “A-natural” not an “A- be an “A-natural” not (tied from the previous sharp” (tied from the an “A-sharp” (tied measure) previous measure) from the previous Correct 334 measure). Bassoon 2. The C- natural after the second Bassoon 2. The C- beat should be changed natural after the to a C-sharp. second beat should be changed to a C-sharp. Oboe 2. The quarter rest on the third beat of this 337 Correct measure should be Correct Correct changed to an eighth rest. Clarinet 2. Remove the 338 Correct eighth rest at the end of Correct Correct this measure Violin 1. Last eighth. Top note should be "B" as in the previous chord and Correct Correct Correct 342 should not go down to "A"

Bass Drum. After the Bass Drum. After the Bass Drum. After Bass Drum. After initial strike, the bass initial strike, the bass the initial strike, the the initial strike, drum is missing until the drum is missing until the bass drum is missing the bass drum is final chord in this final chord in this until the final chord left out of three passage. Recommend passage. Recommend in this passage. cymbal hits in 345- 345-349 adding Bass Drum adding Bass Drum Recommend adding 346. Recommend alongside each Cymbal alongside each Cymbal Bass Drum alongside adding Bass Drum hit in this passage. hit in this passage. each Cymbal hit in alongside each this passage. Cymbal hit in this passage.

JCG Vol. 31, No. 2 34 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Clarinet 1. The C- Clarinet 1. The C- natural on the second natural on the second Correct Correct 352 beat (eighth note) should beat (eighth note) be a C-sharp. should be a C-sharp. Cymbal. Rhythm is Cymbal. Rhythm is Cymbal. Rhythm is Cymbal. Rhythm incorrect. Should be incorrect. Should be incorrect. Should be is incorrect. eighth rest, eighth note eighth rest, eighth note eighth rest, eighth Should be eighth 356 (instead of quarter rest, (instead of quarter rest, note (instead of rest, eighth note quarter note). quarter note). quarter rest, quarter (instead of quarter note). rest, quarter note). Timpani. “Muta in Fis-A” should be Correct Correct Correct 365 changed to “Muta Fis in A” Oboe 1. Add a tie Oboe 1. Add a tie between the “A” quarter between the “A” 373, 375 Correct Correct notes on beats 2 and 3. quarter notes on beats 2 and 3. Flute 1. Second Quarter should be an “F- Correct Correct Correct 387 Natural”, not an “F- Sharp” Timpani. “Muta in A-Fis” should be Correct Correct Correct 411 changed to “Muta A in Fis” Viola. 2nd-3rd and 4th Viola. 2nd-3rd and 4th Viola. 2nd-3rd and 4th quarters should be “C#-D- quarters should be “C#- quarters should be Correct 412 E” not “E-F#-G” (a third D-E” not “E-F#-G” (a “C#-D-E” not “E-F#- lower). third lower). G” (a third lower). Flute 1 and Oboe 1. Rhythm is incorrect in the first two quarters--should Correct Correct Correct 427 be dotted quarter then eighth.

Trombone 1. Second Quarter should be a D# not a D-natural 435 (same as previous Correct Correct Correct measure—sharp is missing)

Violin 2. The triplet on Violin 2. The triplet on Violin 2. The triplet the third beat should be the third beat should be on the third beat Correct 443 “F#-G” not “E-F#” “F#-G” not “E-F#” should be “F#-G” not “E-F#” English Horn. First note should be an eighth to match the rest of the winds. For 453 consistency, the brass, Correct Correct Correct bassoons, cello and bass should also be changed to an eighth.

35 JCG Vol. 31, No. 2 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Bass Drum. The whole Bass Drum. The whole Bass Drum. The Bass Drum. The measure rest should be measure rest should be whole measure rest whole measure rest replaced with two quarter replaced with two should be replaced should be replaced 454 note strokes on the first quarter note strokes on with two quarter note with two quarter and second beat, as in the first and second beat, strokes on the first note strokes on the 455. as in 455. and second beat, as in first and second 455. beat, as in 455. Trumpet 2. The first note is missing a dot. Correct Correct Correct 455 Should be a dotted eighth-sixteenth. Viola. Third 16th note Viola. Third 16th note Viola. Third 16th should be an “E” not an should be an “E” not an note should be an “E” “F-Sharp”. The four “F-Sharp”. The four not an “F-Sharp”. sixteenth notes in the first sixteenth notes in the The four sixteenth 459 beat should be identical to first beat should be notes in the first beat Correct the four sixteenth notes in identical to the four should be identical to the second beat. sixteenth notes in the the four sixteenth second beat. notes in the second beat. All. Rehearsal Letter “T” All. Rehearsal Letter All. Rehearsal Letter See note on 462 is missing. “T” is missing. “T” is missing. Belaieff rehearsal letters Oboe 1 & 2, English Horn. The rhythm on the second beat is 463 Correct Correct Correct incorrect. It should be eighth- sixteenth-sixteenth, not sixteenth- sixteenth-eighth Flute 2. “G” on second quarter should be a “G- Flat” not a “G-Natural”. Correct Correct Correct 465 The natural sign is in error and should be replaced with a flat. Bass. In beat 1, the off- Bass. In beat 1, the 468 beat should be an “E” not Correct off-beat should be an Correct an “F-sharp”. “E” not an “F-sharp”. Bass. In beat 1, the off- Bass. In beat 1, the 469 Correct beat should be an “F- off-beat should be an Correct sharp” not an “E” “F-sharp” not an “E” English Horn. On the English Horn. On the English Horn. On fourth beat, the “G” fourth beat, the “G” the fourth beat, the 470 eighth note should be a eighth note should be a “G” eighth note Correct “G-natural” “G-natural” should be a “G- natural” Trumpet 1. The first note of this measure has a flat which is in error. 473 Correct This note should be a Correct Correct “D-Natural” in original notation or “G-Natural” in the transposed part.

JCG Vol. 31, No. 2 36 Bote & Bock Bote & Bock Eulenburg / Measure Belaieff Full Score Full Score Parts Kalmus Full Score Violin 1 (Lower). The first quarter note is missing a in between the top and Correct Correct Correct 478 bottom note. After adding a ledger line, the bottom note should read “A” not “C” Oboe 2. There is a Oboe 2. There is a Oboe 2. There is a natural sign missing from natural sign missing natural sign missing the entrance on the second from the entrance on the from the entrance on half of this measure. The second half of this the second half of Correct 507 note should be “A- measure. The note this measure. The natural” not “A-sharp” should be “A-natural” note should be “A- not “A-sharp” natural” not “A- sharp” Flutes. Though technically not an error, reminder sharp signs 510 Correct should be placed on the Correct Correct “D-sharps” at the beginning of this measure.

INTERPRETIVE CHANGES

In addition to the structural changes above, the following Interpretive Changes—changes that are not due to error, but still require consideration—are included to complete this article.

Measure Description Number Violin 1 and 2 have a full quarter as the third note in this measure, differing from the corresponding passage at measure 297 that contains an eighth note and an eighth rest. 315 All sources are in agreement with the altered repetition, but the alternate solution, adjusting measure 315 to conform with measure 297, has its merits and is viable. All sources are in agreement with avoiding the Cymbal hits in measures 446-448 and 446, 454 454-456 that would conform to other tuttis. However, many conductors have added them back in. The Harp’s G-flat major chords in the lower line have been reinterpreted in the Belaieff edition. Bote & Bock and Eulenburg/Kalmus have 2nd Inversion (D-flat in the bass), 1st inversion (B-flat in the bass), 2nd inversion (D-flat in the bass), Root (G-flat in the bass) leading to the C-flat root chord on the downbeat of 510. The Belaieff edition provides an alternate approach with 2nd inversion (D-flat in the bass), Root (G-flat in the bass), 1st inversion (B-flat in the bass), 2nd inversion (D-flat in the bass) leading to the C-flat root chord on the downbeat of 510. 509 Belaieff’s reading has some merit musically by providing a more natural ascent and avoiding the awkward gaps of the traditional approach. However, the justification provided by Belaieff’s editors is somewhat misleading. Belaieff’s editorial notes cite “There are incorrect chords in the second, third and fourth crotchets in all editions. We follow A.” “A” is defined as “Autograph score (first version and some fragments of the second version).”

37 JCG Vol. 31, No. 2

Reviewing the earlier versions of Romeo and Juliet, the ascending harp chords in measure 439ff of the first version and measure 529ff of the second version do indeed appear in consecutive inversions, but the chords start in a different position (Root) and leave a gap, forcing a shift just before the final chord, similar to the Bote & Bock and Eulenburg/Kalmus rendering of the third version. It is therefore difficult to conclude that the passages in the older versions dictate the solution Belaieff has provided. Belaieff’s labelling of the traditional rendering of this passage as reflected in Bote & Bock/Eulenburg/Kalmus as “incorrect” is perhaps too strong a description of the variance. The decision to adopt the Belaieff rendering is a musical choice and does not likely have a scholarly mandate.

CONCLUSION

Tchaikovsky’s Romeo & Juliet Fantasy—Overture is an important work in the symphonic repertoire. It is the hope of this author that this guide will help conductors and their librarians ensure the best possible performances through use of fully corrected and clean parts and scores. ***** David Bernard is Music Director of New York City’s Park Avenue Chamber Symphony and is an active guest conductor, recently appearing with the China Conservatory Orchestra, the Long Island String Festival, the Massapequa Philharmonic, the New York Symphonic Arts Ensemble, the Putnam Symphony and the South Shore Symphony Orchestra. A two-time First Prize Winner of the Orchestral Conducting competition of The American Prize, David Bernard’s discography includes 17 albums spanning music from Vivaldi to Copland, and released on Amazon.com, iTunes, Napster and Rhapsody.

JCG Vol. 31, No. 2 38 ...Advancing the Art and Profession

719 Twinridge Ln. Richmond, VA 23235