Le Bal De Béatrice D'este by Reynaldo Hahn: a Critical Edition

University of Cincinnati

Date: 1/13/2011

I, Jared G. Chase , hereby submit this original work as part of the requirements for the degree of Doctoral of Musical Arts in Conducting, Wind Emphasis.

It is entitled: Le bal de Béatrice d’Este by Reynaldo Hahn: A Critical Edition

Student's name: Jared G. Chase

This work and its defense approved by:

Committee chair: Rodney Winther

Committee member: Steven Cahn

Committee member: Terence Milligan

1325

Last Printed:2/18/2011 Document Of Defense Form Le bal de Béatrice d’Este by Reynaldo Hahn:

A Critical Edition

A Doctor of Musical Arts document submitted to The Graduate Thesis and Research Committee Division of Graduate Studies University of Cincinnati

in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Wind Conducting at the University of Cincinnati College-Conservatory of Music (Division of Ensembles and Conducting) Committee Chair: Mr. Rodney Winther January 20, 2011

JARED G. CHASE

Bachelor of Music, Bachelor of Music Education (University of Colorado, 2003) M.M. Trumpet Performance (University of Cincinnati, 2006)

2363 Chapel Ridge Place #25F Salina, KS 67401 [email protected]

LE BAL DE BÉATRICE D’ESTE by REYNALDO HAHN:

A CRITICAL EDITION

Publication No. ______

Jared Chase, DMA

University of Cincinnati College-Conservatory of Music 2011 Cincinnati, OH

Advisor: Rodney Winther

ABSTRACT: This project will create a new critical edition of Le Bal de Béatrice d’Este. Suite pour instruments á vent, deux harpes et un piano by Reynaldo Hahn originally published by Heugel and Cie and later reprinted by Kalmus This piece for chamber wind ensemble has become standard repertoire for wind chamber music. This study explores and corrects the errors and inconsistencies found within the original published score and parts and describes the editorial changes needed to perform the work, including a complete errata list. The project also includes a biographical survey of Reynaldo Hahn’s life and the duchess and duke of the court of Milan from the late 15th century (Béatrice d’Este and Ludovico Sforza) as well as the history related to the commissioning and premiere of the suite for winds by Georges Barrére and the Societé

Moderne d’Instruments á Vent. While editing the previous edition, I identified over 700

ii mistakes and inconsistencies, which have been carefully edited and corrected for this new edition. A list of these mistakes and their corrections is included in the appendix of this document.

iii

ACKNOWLEDGEMENTS I would like to thank the members of my committee, Rodney Winther, Dr. Terence Milligan, and Dr. Steven Cahn for all of their help in preparing this document. I would especially like to thank my adviser, Mr.Winther, who first introduced me to quality of wind chamber music repertoire available and to the piece discussed in this document. Without the guidance of these fine individuals, I would not be where I am today. I would also like to thank my fellow CCM graduate students, Cormac Cannon, Dwayne Corbin, Brandon Jones, and Stephen Lytle for their work in 2005 by helping to locate errors in the score and parts during the beginning stages of this project. It was all of our work that got this project off the ground. Lastly, I would like to thank my beautiful wife Diana for her patience, love, and unending support. Everything I do, I do for her.

TABLE OF CONTENTS ABSTRACT…………………………………………………………………………… ii ACKNOWLEDGEMENTS…………………………………………………………… v INTRODUCTION…………………………………………………………………….. 1 CHAPTER ONE – REYNALDO HAHN…………………………………………….. 3

CHAPTER TWO – HISTORICAL BACKGROUND………………………………... 8 2.1 The Suite is performed in Boston………………………………………….. 8 2.2 Paul Taffanel and the Wind Society……………………………………….. 11 2.3 Georges Barrére and the premiere on March 28th, 1905………………….... 12 2.4 Béatrice d’ Este…………………………………………………………….. 15

CHAPTER THREE – WHY A CRITICAL EDITION?...... 17 3.1 Justification………………………………………………………………… 17 3.2 Rehearsing and conducting the work………………………………………. 17 3.3 What was the process?...... 18

CHAPTER FOUR– NOTES ON THE NEW EDITION………………………………. 22 4.1 Entrée pour Ludovic le More and Salut Final au duc de Milan……………. 22 4.2 Lesquercade………………………………………………………………………….. 23 4.3 Romanesque………………………………………………………………………….. 26 4.4 Iberienne……………………………………………………………………………… 27 4.5 Léda et l’Oiseau……………………………………………………………………… 29 4.6 Courante……………………………………………………………………………… 30

CHAPTER FIVE – THE CRITICAL EDITION………………………………………. 33 5.1 Cover Page………………………………………………………………….. 34 5.2 Contents and Instrumentation………………………………………………. 35 5.4 New edition of Le Bal de Béatrice d’Este……………………………………….. 36 5.4 Example of new edition parts……………………………………………….. 97

CHAPTER SIX - CONCLUSION AND SUMMARY………………………………... 104 APPENDIX OF CORRECTIONS AND CHANGES…………………………………. 106 BIBLIOGRAPHY OF SOURCES…………………………………………………….. 130

INTRODUCTION At the beginning of the twenty-first century most wind band conductors are in search for quality repertoire to perform with their ensembles. Beginning with the formation of the Eastman

Wind Ensemble in 1952, there has been a steady pursuit of original repertoire for the wind band.

Before this time the repertoire mostly consisted of transcriptions, marches, polkas, and different character pieces. Although many great composers had written original works for bands, such as

Milhaud, Holst, Grainger, Vaughan Williams, and Schoenberg, to name a few, there still was not a substantial repertoire to call our own. However, with the help from many, the past fifty years have seen a growing size of quality repertoire for bands and wind ensembles.

As we are constantly looking ahead for what is new, many of us have chosen to look back as well. The inclusion of wind chamber music in the wind ensemble repertoire has been an important trend ever since the formation of the Eastman Wind Ensemble. Many great composers did not write “band” music, but did write wind serenades, divertimenti, suites, overtures, and various other forms for the combination of wind, brass, and percussion. College wind ensembles and chamber groups now regularly perform original works by Strauss, Stravinsky, Mozart,

Dvorak and Beethoven. The search for more wind chamber music has led to the performance of outstanding compositions by lesser-known composers such as Krommer, D’Indy, Hummel, and

Hahn.

Reynaldo Hahn’s contribution to the music world was great. Although today he is mostly remembered for only a few of his more than one hundred vocal compositions (melodies), in his day he was recognized for his contribution to opera, operetta, concertos, quartets, ballet, and piano pieces. He had an enormous influence as the director of the Paris Opéra, conductor at the

Salzburg Festival, and music critic for le Figaro. His contribution to wind chamber music comes

in the ballet suite Le Bal de Béatrice d’Este. Le Bal has become an increasingly popular work

ever since its premiere. It was written for 2 flutes, oboe, 2 clarinets, 2 bassoons, 2 horns, trumpet,

piano, 2 harps, and percussion. Although it was believed to have been first performed on April

11, 1907 in Paris1, research has placed the premiere to be two years earlier on March 28th, 1905.

Le Bal de Béatrice d’Este was commissioned by the prominent French flutist, Georges Barrére

and performed by the Societé Moderne d’Instruments á Vent with Hahn conducting from the

piano.2 Today, Le Bal is performed in both collegiate wind band and professional orchestral

settings and is considered by many to be standard repertoire for wind chamber music ensembles.

Hahn enjoyed writing incidental music for which he wrote five ballets. Although, Le Bal may

have been originally intended as a ballet, my research has led me to no evidence that it was ever

performed as such. To my knowledge, it has only been performed as a concert suite, consisting

of seven short movements.

This document project includes an edited full score of the work, a complete set of newly

edited parts with all inconsistencies and errors corrected, an appendix listing all editorial

changes, a detailed history of the premiere of the work, relevant biographical and historical

information about the composer and characters of the ballet suite. The goal of this project is to

give this wonderful composition a new life, one that will make it easier to perform, and bring its

beauty to a wider audience.

1 http://reynaldo-hahn.net/Html/orchestrebal.htm. Hahn official website lists the premiere on April, 11th, 1907 at the house of Edmond de Polignac along with several other sources. 2 This discrepancy is further discussed in chapter two 2

CHAPTER ONE – REYNALDO HAHN

“Composer, conductor, singer, critic, and author, Reynaldo Hahn was a brilliant member

of a brilliant artistic era in France. He was a classmate of Ravel, an intimate friend of Marcel

Proust and Sarah Bernhardt, beloved student of Massenet, friend of Fauré and acquaintance of

many other notables of his age, including Debussy, Stravinsky, Saint-Saëns, Diaghilev and

Nijinsky.”3

Reynaldo Hahn spent the great majority of his life in France and is considered by most to

be a French composer. Like many other well-known French composers, Cesar Franck, Gluck,

and Lully, to name a few, Reynaldo Hahn was not French by birth. He was born in Caracas,

Venezuela during the summer of 1874 to a Venezuelan-Catholic mother and a German-Jewish

father.

Hahn’s mother, Elena Maria Echenagucia, came from a Spanish family established in

Caracas since the eighteenth century when Venezuela was still a Spanish colony. Hahn’s father,

Carlos Hahn, was born into a Jewish family in Hamburg, Germany. Carlos left Germany in 1845

to seek his fortune in Venezuela where his business would flourish. Together with his friend,

Guzman Blanco, they would introduce railways, gas lighting, and telegraphs to the country.

When Guzman Blanco became President of the Venezuelan Republic, Carlos was his financial

adviser. Together Carlos and Elena had twelve children of whom Reynaldo was the youngest.

Reynaldo was raised Catholic, although he was never much of a churchgoer. Following a

change in Venezuelan government, the family left in 1877 to return to Europe. They settled in

France when Reynaldo was less than four years old.

3 Gorrel, Reynaldo Hahn: Composer of Song, Mirror of an Era Introduction from On Singers and Singing. Transcribed by Leopold Simoneau (Portland: Amadeus Press, 1990), 13. 3

Reynaldo began formal training on piano when he arrived in France, making his debut as a pianist at the age of six when he performed for a musical soirée hosted by Princess Mathilde, niece of Napoleon I, who was a family friend. An attendant at the recital observed, “The child sang romantic excerpts from the comic operas of Offenbach and accompanied himself at the piano, holding his audience with charm and singing all the music which he had in his head.” 4

Both of Reynaldo’s parents shared a love for music, often going to the theatre or concerts, and undoubtedly passed this love on to their youngest son. Once, Carlos decided to take his youngest son with him. Reynaldo must have enjoyed himself thoroughly as this became a regular practice. From his father Reynaldo inherited a love for opera, drama, ballet, the music hall, café concerts, musical comedy and the circus.

Hahn had already begun studying composition at the age of eight, but while attending a concert a chance encounter led to an introduction to Massenet, the teacher and composer who changed Reynaldo’s life. An invitation to attend the Paris Conservatory in 1885 followed where

Hahn would begin studying at the age of eleven. While at the conservatory, Hahn studied composition with Massenet who was a man of great energy and charm. Later in life, Hahn often referred to Massenet’s exceptional teaching. Hahn cherished a photograph given to him by

Massenet in 1890 inscribed “To my dear pupil, Reynaldo Hahn, in whom I believe.” Hahn was

16 when his teacher presented this photograph to him.

Hahn is most famous for and loved to write melodies, small-scale vocal works for voice and piano. He was a skilled pianist, a fine singer, often performing his own works from the piano, and a captivating performer in the fashionable salons of the day. He sang freely with a

4 Gorrel, 14. 4

casual finesse and a studied use of mezzo voce and falsetto. He sang “conversationally” with a

cigarette at his lips and a glass of wine at his side, which he sipped in between numbers.

“He had the cool demeanor and aplomb of a polished performer, even at an extremely

young age. He had the ability to make a difficult task seem effortless, thus putting his

audiences at their ease and virtually guaranteeing himself several encores and repeat

performances.”5

Hahn’s biographer Bernard Gavoty describes Hahn’s singing:

I heard him [sing] only once, in Annales, too little to speak of him at length, enough to be

entranced. Was it beautiful? No, it was unforgettable. The voice was nothing

exceptional….a fine baritone voice, not very large, flexible as grass, ruled with a

marvelous intelligence, a reflective divination. An interminable cigarette dangled from

the line of his lips, not as a “pose” but out of habit. He sang as we breathe, out of

necessity.6

Si mes vers avaient des ailes, Rêverie and Mai were written by the time he was fifteen years old.

Massenet recommended Hahn to the publisher Heugel who published these early songs as well

as most of Hahn’s music including Le Bal de Béatrice d’Este.

Hahn’s love for the theatre was obvious from a very early age. At sixteen he was thrilled

by an opportunity to write two short pieces for a new play L’Obstacle by his favorite author,

Daudet. His first opera, L’Ile du rêve was performed at the Opéra-Comique in 1898 to favorable

reviews, followed by others of mixed success. His last opera, Le Oui des jeunes filles,was

5 Frank Rosengarten, The Writings of the Young Marcel Proust (1885-1900): An Ideological Critique (New York: Peter Lang Publishing, 2001), 65. 6 Gorrel, 17. 5

produced after his death in 1949. His operetta Ciboulette was first produced in 1923 and was the

highlight of his career composing for this genre; it is still performed and recorded today.

Hahn would become a man of many talents. He was already a skilled composer, singer

and pianist, who soon grew to be a thoughtful writer and a talented conductor. Hahn wrote as a

music critic throughout his career beginning when he was twenty-five for La presse (1899). He

continued to have jobs at various publications for the next thirty years, including La fleche

(1904), Foeming (1908-1910), Journal (1910-1914), L’Excelsior (1919-1921), and Le Figaro.

He also wrote books and journals including Du Chant (1920), La Grande Sarah (1930, about his

friend Sarah Bernardt), Notes: Journal d’un musician (1933), L‘Oreille au guet (1937) and

Thémes variés (1946). At present, only one of these works, Du Chant (On Singer’s and Singing)

has been translated to English.

Hahn also had a respected career as a famed conductor. Early in his career, at the

beginning of the twentieth century he conducted concerts of his own pieces and those of other

contemporary composers. Hahn always had a love for Mozart and developed a reputation as a

knowledgeable interpreter of his operas. In his book Notes (Journal d’un musician) Hahn stated:

“I am entirely taken by Mozart….Don Giovanni, Le Nozze di Figaro, Cosi fan tutte – there is my

daily nourishment. This musical charm envelops and penetrates me.”7

After organizing his own Mozart Festival in Paris, he was invited to conduct Don

Giovanni at the Salzburg Festival of 1906 along with other notable conductors of the time, J.F.

Hummel, Richard Strauss, Félix Mottl, and Gustav Mahler.8 Hahn went on to have a successful

career as a composer, conductor, and music critic. During WWII Hahn’s music was banned in

7 Reynaldo Hahn, Notes:Journal d’un musician (Paris: Plan, 1933), 134. 8 Daniel Bendaham, Reynaldo Hahn: Su Vida Y Su Obra (Caracas, C.A: Tabacalera Nacional, 1973), 48. 6

German occupied France. After the war, he was named the conductor of the Paris Opera and continued to perform Mozart operas there until his death in 1947.

CHAPTER TWO – HISTORICAL BACKGROUND

2.1 The ballet suite Le Bal de Béatrice d’Este was composed and premiered in 1905 during a busy time in Reynaldo Hahn’s life. Many references state that the premiere was on April 11 of

1907 at the Polignacs; however, I believe this to be inaccurate. The date of April 11, 1907, is often cited as the premiere of Le Bal because of a famous letter that Marcel Proust, Hahn’s closest and most intimate friend, wrote to him that night.

You were so mopchant that I couldn’t talk to you and say thank you thank you for bringing me to hear Béatrice d’Este…I’m mad about it and I’d like to know if Mama heard it. I think you led the first movement and all the last part admirably-brilliantly (better than Risler plays the overture to the Mastersingers). Elsewhere you indulge in too many tricks, too many mannerisms, too many grimaces, and that way of bouncing up and down on your bottom which I don’t find at all pretty. I understand today for the first time what pretty orchestration means and I’ve never seen such power mixed with purity. Although you didn’t have a baton, I could sense between your fingers the magic wand which flew to the far corner of the orchestra just in time to wake a sleeping triangle.9

The letter describes how Hahn had performed the work at the Polignacs probably conducting from the piano, which was customary for him at the time. This was not the premiere. In fact,

Hahn and others had already performed it several times before this evening. Proust had been ill and unable to attend any social events for the previous two years. In a letter from May 16, 1905

Proust wrote:

On Thursday the 25th there is a final performance of a thing Reynaldo wrote this year which he is more pleased with than anything else he has done up to now and which he specially wanted me to hear. But since it has always been performed in the daytime, and only once in the evening when I was ill, I wasn’t able to go. I am all the more anxious to do so as I haven’t been able to go to a single one of the various recitals he has given, and as I shan’t be going to the concert he is conducting tomorrow, nor in a week’s time

9 Philip Kolb, Marcel Proust: Selected Letters, Vol. 2 (New York: Oxford University Press, 1989), 275-276. 8

because it’s in the afternoon, nor have I been able to go to any of the performances of his Esther at Mme de Guerne’s.10

Although April 11 was the first night that Proust was able to see the suite, Hahn had performed it several times before. By 1907 the piece had already become popular enough that it was performed on a concert by the Longy Club in Boston on the evening of January 16, 1907, three months before the supposed premiere. Longy, was a French oboist who had performed in

Taffanel’s Le Société de Musique de Chambre pour Instruments á Vent in Paris. He had come to the United States to perform in the Boston Symphony. This concert featured many new original works for wind ensemble and for that reason was covered well in the local press. Two days prior to the performance an article was written for the Boston Transcript titled “Reynaldo Hahn, a

New Suite and the Longy Club” where the composer’s Parisian life was detailed.11 After the concert, this same newspaper published an extensive biography of the title character of the suite,

Beatrice d’Este. The writer of the article saw the entire Italian court scene vividly presented in

Hahn’s music.

“There is the sweep of harps, the ordered beat of drums, the acclaim of trumpets; the measured progress of the cortege. The impression is of stately and graceful formality. Then the dances – perhaps the dances of the peasant maidens from every corner of Italy…. The suite is artificial music, deliberately archaic, polished often to the last touch of elegance or piquancy, subdued as often to courtly form, sharpened now and then with fantastic contrast and superficial always. Yet with a little sympathetic imagination of the breath of a Renaissance pageant and the faint, far fragrance of Beatrice herself blow lightly through it.”12 –Boston Transcript, January 17th, 1907.

The Boston Advertiser also printed a review, providing details of the work. In addition, we learn that Longy conducted his ensemble for the first time, rather than appearing as principle oboe.

10 Kolb, 180-1. 11 “Reynaldo Hahn, a New Suite and the Longy Club,” Boston Transcript, Jan. 14, 1907. 12 H. T. P., “Reynaldo Hahn and Beatrice d’Este,” Boston Transcript, Jan. 17, 1907. 9

“The most important score of the concert was Hahn’s Suite, which was fully orchestral, save for the absence of the strings…. Hahn, the young Venezuelan is not a seeker after mysteries or tonal ugliness; he is a melodic and even a sentimental composer, and this Suite has a directness of tune in its short movements that ought to float it to popularity.

It is a free Suite, giving an occasional dance movement of the old type, but also several freer romantic touches…. Mr. Longy directed the little orchestra and read the work finely, giving the pomp and circumstance of the more bombastic movements with appropriate power, yet portraying the quaint old style of the Romanesca equally well.13

The Boston Herald also printed a less favorable review the following day.

Mr. Hahn, who of late has been as much interested in Mozart as he formerly was in Massenet – and imitation though in a diluted form is unmistakable admiration – is said to be a pet of all the ladies, in which respect he resembles Hildebrand Montrose. This charge may come from less successful composers in Paris, and as he purposes to visit the United States this season, let us give him the benefit of the doubt. The suite played last night contains pretty as well as quaint pages…. Hahn makes a brave attempt to be pleasantly archaic in this suite by the use of old modes, and he is at times fairly successful, though he falls far below Delibes, whose music to “Le Roi s’Amuse” 14 is a masterpiece in its suggestion of the formal grace and elegance of bygone years.15 The existence of these four articles from different Boston news papers all dated in

January of 1907 should make it clear that the premiere occurred before April 11th 1907. In fact,

Le Bal de Béatrice received its premiere on March 28th, 1905 by the Societé Moderne

d’Instruments á Vent. 16

13 Louis C. Elson, “The Longy Club Concert,” Boston Advertiser, Jan. 17, 1907. 14 Léo Delibes (1836-1891). Professor of composition at Paris Conservatory from 1881-1891 while Hahn was attending. The suite to Le Roi s’amuse (1882), for Hugo’s play by the same name, is based on renaissance dance music and contains Gaillarde, Pavane, Scene du bouquet, Lesquercarde (Lesquercade), Madrigal, Passepied, and Final. This could have been a possible influence for Hahn’s Lesquercade and the suite Le Bal de Béatrice d’Este. 15 Philip Hale, “Longy Club Gives Second Concert,” Boston Herald, Jan. 17, 1907. 16 Editorial, “Concerts of the Week,” New York Times, December 4, 1910. 10

2.2 Mozart had a profound influence on Reynaldo Hahn. After all, the first forty pages of

Hahn’s book Thémes Variés are about Mozart. In Paris, during the late nineteenth century, the

wind music of Mozart was not well known, nor was any of the classical repertoire for harmonie

octet. In 1879 Paul Taffanel founded Le Société de Musique de Chambre pour Instruments á

Vent as a way of promoting and developing wind chamber music repertoire. The founding of

this group was wittingly heralded in an article from Le Ménestrel:

The wind instruments of the Société des concerts have just hoisted the flag of mutiny against the strings, to whom they always have been subservient. The flute is weary of arguing with them; the clarinet is worn out launching its sad complaint into a vacuum; the oboe will groan no more; and the bassoon declares that it has grumbled for quite long enough without getting its rightful satisfaction. So, to avenge themselves once and for all on these squeky fiddles, Messieurs Taffanel, Gillet, Turban, Dupont, Espaignet, and Villaufret of the Société des concerts have banded together with the aim of offering us, this winter, six chamber music concerts devoted to works for wind instruments alone, or with piano, because they will make that one concession and have granted Monsieur Diémer the honour of playing opposite them.17

The concerts held by Le Société’s were based on the commissioning of new repertoire by modern

French composers, and the performance of the classical harmonie repertoire by Mozart and

Beethoven.18 During Taffanel’s fourteen years as the leader of Le Société, the group premiered

twenty-six new compositions, and performed wind works by Beethoven fifty-two times, and

Mozart fourty-eight times.19 This includes eleven performances of Beethoven’s Octet op. 103,

seven performance of Mozart’s Serenade in Eb, eight of the Serenade in Bb “Gran Partita”, and

nine of the Serenade in C minor. Very similar to today’s wind chamber groups, these classical

works represented a large portion of the ensemble’s repertoire.

17 Edward Blakeman, Taffanel: Genius of the Flute (New York: Oxford University Press, 2005), 68. 18 Blakeman, 236-248. 19 Ibid. 11

By 1885, the year Hahn began study at the Paris Conservatory, Taffanel’s Société de

Musique de Chambre pour Instruments á Vent was immensely successful. It soon premiered

Gounod’s Petite Symphonie, probably the most famous commission by Taffanel. As a student in

Paris, Hahn was exposed to this ever-growing repertoire and to the wind music of Mozart.20 The group was in its seventh season and had a solid position in musical society. It continued to give its concerts until 1893, when Taffanel was offered a prominent conducting position at the Opéra.

The members of Le Société ultimately decided to disband.21 They soon went on to form other similar groups such as the Société de Musique de Chamber pour Instruments á Vent et á Cordes.

2.3 One of Taffanel’s students at the Conservatoire, Georges Barrére, was greatly successful in continuing the work that Taffanel had begun. Barrére was a prominent French flute player, known most notably for playing in the Société Nationale de Musique and for performing the premiere of Prélude à l'après-midi d'un faune by Claude Debussy in 1894. Barrére later became a member of the New York Symphony (later the New York Philharmonic), and founded the New

York Symphony Wind Quintet and the Barrére Ensemble. In 1895, he started the Societé

Moderne d’Instruments á Vent which was molded after Taffanel’s Société and formed by younger players who recently graduated from the conservatory. This new group was also successful in promoting new wind chamber music. Barrére’s commitment to new music was perhaps even greater than Taffanel’s. In 1905, the group’s tenth anniversary, Barrére could claim state funding, and an astonishing amount of new music that had been written for the ensemble, totaling sixty-one new works by forty composers! Reynaldo Hahn had great interest in both these ensembles and wrote to Barréré;

20 Blakeman, 93. 21 Blakeman, 78-95. 12

During my early years of music study I attended, filled with wonder, the concerts of the Société des instruments á vent, and can confirm that yours are comparable in every way, and that one finds the same well-matched ensemble, the same effortless and skillful technique, the same impeccable taste in every detail. The artistry of Taffanel, Turban, Gillet, Brémond, Espaignet, and Teste, that refined artistry that they brought supremely to perfection, lives on, thanks to you and your colleagues, in all its brilliance and rare nobility. The French school of wind playing is unequaled throughout the world.22

On March 24th, 1903 Reynaldo Hahn was involved in a concert held by the Societé

Moderne d’Instruments á Vent. This was the season opening concert, and it featured two sets of songs by Reynaldo Hahn, sung by Jeanne Leclerc, with the composer at the piano. The same concert also included other notables of wind chamber music repertoire, Caplet’s Suite persane

(the sixth performance of this work by SMIV), Pierné’s Preludio e fughetta, and Beethoven’s

Quintet for winds and piano.23

The tenth anniversary of the Societé Moderne d’Instruments á Vent came in 1905 and it was greatly celebrated. A commemorative brochure was created, full of endorsements from the leading musicians of the day – among them Saint-Saëns, Pierné, Dubois, Alfed Bruneau,

Massenet, Fauré, and Widor.24 As was usual for the ensemble, the season was filled with premieres of new works. On March 28, the Société Moderne had “a veritable triumph with the premieres of Léon Moreau’s Nocturne for double quintet and Reynaldo Hahn’s Le Bal de

Béatrice d’Este for fourteen instruments.”25 The concert was given at the Salle des Agriculteurs and also featured Lefebvre’s Suite, op. 57; Brahms’s First Clarinet Sonata; a sextet by Coedés-

22 Blakeman, 93. 23 Nancy Toff, Monarch of the Flute: The Life of Georges Barrére (New York: Oxford University Press, 2005), 74. 24 Toff, 76. 25 Toff, 77. 13

Mongin; songs by Patrice Devanchy; and Gouvy’s Suite gauloise. “The success of this concert

was dazzling; an enormous crowd, recalls, encores, nothing was wanting.”26

Many other groups such as the Longy Club, which performed Le Bal de Béatrice in

Boston, and the Wind Instrument Chamber Music Society in London, were modeled after Barrére

and Taffenel’s group. Societé Moderne also performed the work in Paris for several concerts in

1905 and in 1907,27 including the performance from April 11, 1907 where Hahn’s close friend

Marcel Proust first heard the composition.28

Reynaldo Hahn’s Le Bal became one of Georges Barrére’s favorite works. Upon arriving

in New York as the new flutist in the New York Philharmonic, Barrére founded a chamber music

society similar to the Société Moderne. He called them the New York Philharmonic Barrére

Ensemble of Wind Instruments. On their first concert in December of 1910 they performed

Hahn’s suite at the Belasco Theatre along with other notable standards of the wind chamber

music repertoire such as Raff’s Sinfonietta.

The closing number, Le Bal de Beatrice d’Este, Duchesse de Milan, Sixteenth Century, is a pastiche or composition conforming to an old style, by Reynaldo Hahn. This was written for Mr. Barrére and played in Paris for the first time by his Société Moderne d’Instruments á vent, on March 28th, 1905, the composer playing the piano part. The picturesque subject seems singularly appropriate as a title for a chamber music composition. The court of Béatrice d’Estes was composed of men of talent and distinction, most of whom were poets and musicians. History tells how passionately fond of music were Ludovico Sforza and his wife, and the delicious melodies that daily resounded through their palace halls were the theme alike of chronicler and poet. It was no small relaxation of mind to Ludovico when he was able to escape from the cares and

26 Toff, 77. 27 P.F. Prestwich. The Translation of Memories: Recollections of the Young Proust (London: Owen London, 1999), 194-95. 28 Kolb, 302-305. 14

business of state to come and listen in his wife’s rooms. The composition opens with the entrance of the Duke of Milan and closes with his final salutation at the ball of Béatrice.29

2.4 Who is Béatrice d’Este? The title comes from Béatrice of the house of Este, one of the

most loved of the princesses from the Italian Renaissance. She lived a short life, from 1475-

1497. This should be noted, as the front page of the score reads that Béatrice d’ Este, Duchess of

Milan was from the sixteenth century when in fact she died at the end of the fifteenth century.

Beatrice was the second daughter of the Duke Ercole I of Ferrara. She married Ludovico Sforza

in 1491 when she was sixteen years old and became the duchess of Milan. Sforza’s original

name, Lodovicus Maurus, is the source of his nickname “Il Moro” and the source of the title of

the first movement, which means entrance for Ludivico the Moore. In Italian “moro” means

either dark complexioned or mulberry tree. Ludovico had dark eyes and black hair, and he

adopted the mulberry tree on his heraldry. The Duke was a great supporter of the arts and was

known for having a keen intellect and discerning artistic tastes. He employed many artists, most

notably Leonardo Da Vinci, and it is during this time at the Milanese court that Da Vinci created

some of his best work, including the fresco of the Last Supper and a portrait of Béatrice d’Este

which he presented to Béatrice as a wedding gift. The people of Milan loved her, and there were

frequent parties held in her honor.30

1496 was a very difficult year for Beatrice. While carrying her second child, Beatrice

learned of Ludovico’s taking of a mistress. This deeply upset her, as did the sudden death of her

closest companion and Ludovico’s illegitimate daughter, Bianca. Beatrice reportedly spent long

hours praying at the fresh tomb of Bianco in the Church of Santa Maria delle Grazie while

29 Editorial, The New York Times, December 4, 1910. 30 Julia Cartwright, Beatrice D’Este, Duchess of Milan (1475-1497): A Study of the Renaissance, 10th ed. (London: J.M. Dent and Sons, 1928). 15

Leonardo was working on The Last Supper in the church’s refectory. On the evening of January

2, 1497, after some dancing was presented in Beatrice’s chamber, she became ill. A letter by

Ludovico to Beatrice’s brother, Francesco Gonzago, details the dreadful events of that night;

"MOST ILLUSTRIOUS RELATIVE AND DEAREST BROTHER,—

"My wife was taken with sudden pains at eight o'clock last night. At eleven she gave birth

to a dead son, and at half-past twelve she gave back her spirit to God. This cruel and

premature end has filled me with bitter and indescribable anguish, so much so that I

would rather have died myself than lose the dearest and most precious thing that I had in

this world.”31

The duke's grief was terrible. For some time he refused to see any one, and many days passed before even his children were admitted into their father's presence.

In Le Bal de Béatrice d’Este, Reynaldo Hahn chose to evoke musically an evening in the palazzo of the Italian noblewoman Béatrice. Hahn had a love for books and reading, and was reportedly a lover of Da Vinci and the Renaissance. Each one of the seven movements was meant to represent either a character of the late fifteenth century court of Milan, or one of the many renaissance dance forms. For further study of this subject, please read Julia Cartwright’s study of Beatrice d’Este.

31 Ibid.

CHAPTER THREE – WHY A CRITICAL EDITION?

3.1 The work for this document began in 2005 for performance of Le Bal de Beatrice d’Este. I was a member of the CCM Chamber Players, and Rodney Winther was conducting the performance. I immediately was taken with the piece. While playing the trumpet part, I found that it is not as involved as the other wind parts, so I was able to listen and enjoy the beautiful music that Hahn had crafted. Mr. Winther brought to my attention and other fellow conductors the daunting number of mistakes in the score. These mistakes ranged from wrong articulations, wrong dynamics, inconsistent phrase markings, to sections where music was missing from the score. At that time, we began a search to find all the mistakes in an attempt to complete a new edition, but this effort was never finished.

Several years later, in 2008, I was given the task of performing this work again with the

CCM Chamber Players, this time as the conductor. I dove into the score and was immediately taken by the story behind the suite. I began working on program notes that could explain the origins of some of the titles of the movements and the history behind the characters of the ballet suite. Some of the titles seemed so interesting (Leda et l’Oiseau and Lesquercade) that I was engrossed by the search for their meaning and origins as well as the origins of the piece.

3.2 In rehearsing the piece, I immediately realized how extensive the mistakes are in the

Kalmus edition. This edition, a reprint of the original, has an excessive amount of errors and inconsistencies between the score and the parts. Before now, sorting through these errors has been an unfortunate but necessary task for any conductor preparing this piece. Even though we were playing off the same parts we used in 2006, and previous performers had made many hand written corrections, an inordinate amount of rehearsal time was wasted by answering questions

17 from the players. There were problems with wrong articulations, dynamics, and notes. To make matters worse, there is a lack of rehearsal marks in many of the movements, and some of the rehearsal marks are in the wrong places. This was not aided by the lack of measure numbers in the original. I could only imagine the amount of conductors who have faced similar frustrations while rehearsing Le Bal. For this reason I decided to continue the work of creating a critical edition that would solve these problems.

3.3 THE PROCESS

After a long and exhaustive search for the original manuscript (which has still not been located) I found other editions of the piece. The majority of my time was spent comparing the following sources:

The 1986 Kalmus reprint of the Heugel and Cie score and parts published in 1911

The four hand arrangement by Reynaldo Hahn, published by Heugel and Cie, and

The four hand, two piano arrangement by André Gédalge and published by Heugel in

1911, the same year as the original printing.

Recording from 1935 of Hahn conducting Le Bal de Béatrice d’Este

For the third movement, Romanesque, I also compared the above sources with the following:

Romanesque: pour flute, alto et piano. Paris: Heugel and Cie, 1910.

Romanesque: for flute, viola, and piano. Edited by Robert Cavally. San Antonio: Southern Music, 1988.

Romanesque: for flute, viola, and piano. Boca Raton: Masters Music, Publications, 2002.

Romanesque: for violin, viola, and piano. Edited by Robert Cavally. San Antonio: Southern Music, 1988.

The source that proved to be the most reliable was that of André Gédalge, which was published by Hahn’s publisher the same year as the original orchestrated version of Le Bal, and presumably known and approved by the composer. This edition, carefully engraved with far fewer errors, proved to be a great resource, especially in correcting articulations.

My work began with an intense look of the 1986 Kalmus score, which was prepared for performance. I studied the background of the composition and Hahn’s other works and life. I undertook an intense study of the Parisian chamber music scene from the late nineteenth and early twentieth centuries, including the groups of Taffanel and Barrére. I found and read program and concert reviews from this era in order to learn about the circumstances of the premiere of the work and for whom it was written. Was it intended as a ballet? When was it performed? Was it well received?

In the initial stages of editing the score I compared the score to the parts of the Kalmus reprint and found many inconsistencies between the two. This process often revealed discrepancies in articulation, dynamics, and style indications. I carefully marked all the mistakes found either through rehearsal or study in the score in red ink. During this time I was also searching for other editions of the work and the manuscript score.

Once I found and acquired the other editions, I began to input the material into the Sibelius notational software program. The following list outlines the basic process I used to create the new score for Le Bal de Béatrice d’Este.

1. I entered each individual instrumental part from the 1986 Kalmus score into Sibelius one

phrase at a time. I did a side-by-side comparison of that phrase to the other editions listed

above. I looked for discrepancies in articulation, dynamic, rhythm, notation, expressive

markings, etc. I also compared Hahn’s recording from 1935 when there was not a clear

solution to the problem.

2. As I entered each part into the score and throughout the creation of the new score, I

catalogued any changes that were made in a detailed list of errata (original vs. 2010

version) which can be found in the appendix of this document.

3. I added rehearsal marks and measure numbers at appropriate points throughout the work to

assist in the rehearsal process. This was especially important in the third movement,

which did not contain any in the previous edition.

4. I prepared and edited a set of parts for a performance on August 5, 2010. At that point, the

new edition was realized and printed out for the first time.

5. Through rehearsals on August 3rd and 4th, I corrected further inconsistencies, taking into

consideration the notes the individual players and I made during the rehearsal process.

The harp parts were updated, and optional music was written to make certain sections,

namely the second movement, playable. A description of these changes can be found in

chapter 4.

6. After the performance on August 5th, further changes were made to the score and parts to

reflect ideas learned through the performance.

7. I prepared a draft of my entire project, including a draft of the 2010 score, a draft of the

parts, all written work, and so forth, to be presented to each member of my committee.

8. I received comments and suggestions from my committee members.

9. I realized this final project: A critical edition of the work, a complete set of parts, and the

accompanying document.

The “Appendix of Corrections and Changes” explains, measure by measure, the corrections and changes made from the 1986 Kalmus reprint of the original 1911 Heugel and Cie edition

20 of parts/score to create the new critical edition.

CHAPTER FOUR – NOTES ON NEW EDITION

4.1 Entrée pour Ludovic le More and Salut Final au duc de Milan

The first and last movements titled “Entrée pour Ludovic le More” and “Salut Final au duc de Milan” display the pageantry and nobility of entrance and exit music for Ludovico Sforza, the Duke of Milan. Although this music seems simple, Hahn carefully notated the exact articulation throughout. In rehearsing the old edition, many problems arose because not all of the players had the same articulations marked. Throughout the old edition, the articulation marked in the score is not always what is marked in the parts, and each part is different from the others. Letter A is a good example of this, were some players have tenuto marks with dots, some don’t (2nd horn). In the third measure some instruments are marked with slurs and staccato marks on beat three, others do not have any markings. This trend continues throughout the entire piece.

Although I have corrected these inconsistencies in the new edition, conductors should anticipate questions in rehearsals and know what articulations are needed and how to describe the difference between the various indications, such as a tenuto with staccato, or a slur with

22 staccato mark. A very important consideration for the last movement is to make sure the principal flute has a piccolo. Although the score indicates the last movement should be play with the “petite flute,” the original part does not indicate the change to piccolo, and I suspect there have been many performances without it on the last movement.

4.2 Lesquercade

The title for the second movement has caused some questions in the past. Previous research has suggested that the word Lesquercade may be a French translation of the name of the

Greek scholar Constantine Lascaris, who was the tutor of Ludovico’s sister Ippolita.32 As the author states, this is highly unlikely, but no other reasonable explanation has ever been offered.

The word Lesquercade comes from the word Lesquercarde. A Lesquercarde is a type of renaissance dance form that is closely modeled after the pavane. The pavane was a slow processional dance in duple meter that was often danced in pairs and coupled with the Galliard.33

Examples of Lesquercardes such as one by Pierre Phalese from 1571 are often titled Pavane

Lesquercarde and are in duple meter.

The most likely inspiration for Hahn’s Lesquercade comes from Leo Delibes’ very famous renaissance suite, Le Roi s’amuse. Delibes was professor of composition at the Paris

Conservatory from 1881-1891 while Hahn was attending. Delibes wrote the suite for Hugo’s play by the same name which is based on renaissance dance music. It contains a Gaillarde,

Pavane, Scene du bouquet, Lesquercarde (Lesquercade), Madrigal, Passepied, and Final which is

32 Carolyn A. Barber, “An Introduction to Reynaldo Hahn’s ‘Le Bal de Béatrice d’Este,’” Journal of Band Research 36, no. 1 (2000): 52. 33 Frances Barulich. "Albéniz, Isaac." Grove Music Online. Oxford Music Online. 19 Jan. 2011 .

a reprise of the Gaillarde. Hahn’s suite is remarkably similar to that of Delibes. In addition to

containing renaissance dance music, both suites contain seven movements. Delibes’ suite begins with a Gaillarde. This Gaillarde, a dance in triple time, is very similar to the entrance and exit music of Le Bal de Beatrice. Also, both works end with a reprise of the first movement.

The other considerations for the Lesquercade;

1) It is in the key of Cb Major. Although in a reading there will undoubtedly be a few

mistakes by the players, performers should be careful of the many wrong notes found

in the original. These have been corrected for this new edition. This is most

problematic in mm. 37 and 38. There are wrong notes in both the first flute and oboe

parts in m. 37, and mistakes in the piano part in m. 38 (circled below). The harp part

in m. 38 has a Bb minor chord while everyone else is playing Db major. After closer

inspection of other editions, I have determined that this is correct, and adds a nice

harmonic color to the section.

In measure 32 there were some inconsistencies in the piano part. The score and part have different music here. As was the case with all of the mistakes in the original score, I consulted all the available sources. In this case, the 1935 recording was also different. It is very likely that Hahn was conducting a ritardando and lifted his hands off the keyboard to direct. After studying the other sources, I concluded that the correct music is found in the piano part with all four beats being played.

Here is an example;

2) As is the case with the entire suite, care should be taken so that the harp and piano

parts are always heard clearly to preserve this unique aspect of the composition. The

harp part in this movement is difficult, due to the distance between the arpeggiated

notes. In some sections, the part is impossible for one person to play.

In the past it was only possible for the harpist to play the top line of measure 16, and

the bottom line was left out. Therefore, in m. 16 I have added an optional second

harp, which may be used in order to allow all the notes to be played, as well as the

corrected wrong note in m. 16.

4.3 Romanesque

The third movement is entitle Romanesque and must have been one of Hahn’s favorites

since he wrote several other arrangements of it for various different instrumentations.34 This is

the most intimate music of the suite. Hahn used the fewest players, only seven of the fifteen, to

create a truly romantic setting. Although the word Romanesque reminds us of “romance,” that is

not necessarily the origin of the title. Romanesque in French does mean “romance;” however,

the title Romanesque could be a simple play on words. A Romanesque, or Romanesca, was a

form of renaissance instrumental dance in triple meter, similar to the Galliard.35 It was built on a

repeating bass line with instrumental variations. Hahn’s teacher, Massenet wrote an ‘opéra

romanesque’ called Esclarmonde. It is full of enchantment and spectacular effects evoking the

world of medieval chivalry with a splendid scene set in the Byzantine court.36 Any one of these

could explain the origins of the Romanesque in Le Bal de Béatrice.

34Flute, viola, piano and violin, viola, and piano. 35 "Romanesca (It.), Romanesque (Fr.)." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. 19 Jan. 2011 . 36 Hugh Macdonald, et al. "Massenet, Jules." Grove Music Online. Oxford Music Online. 19 Jan. 2011 . 27

The greatest problem that needed correcting was the addition of rehearsal marks. The original has no rehearsal marks, making it very difficult to rehearse. I have added rehearsal letters, as well as measure numbers throughout the entire suite in order to make rehearsing much more efficient.

4.4 Ibérienne

Instead of renaissance dances, the next two movements are musical portraits. Although it is difficult to discern a direct biographical reference, the title of Ibérienne certainly evokes a

Spanish sound related to the Iberian Peninsula. Some have suggested that this movement is a musical portrait of Beatrice’s sister Isabella or of a friend of Béatrice. No research has indicated any such relationship, so I have a different hypothesis. It is possible that Hahn had an interest in his Spanish heritage from his mother’s side, which he wanted to describe in this short Spanish characterization. Another possible influence is the Spanish composer Issac Albéniz who was active in Paris from 1902-1908 and befriended much of the Parisian music society. Albéniz felt he could better advocate for Spanish music through his colleagues in Paris, and his friends included the same group of French composers that Hahn was closely associated.37 It is very likely that Hahn and Albéniz met, and Hahn’s knowledge of Spanish would have made it easier for them to communicate. It may be no coincidence that Albéniz is composing his masterpiece,

Iberia, for solo piano at the same time.38

There are two distinct characters in this movement. The first section has a difficult hemiola between harps and piano, as well as a bold trumpet solo that gives the movement its

37 Elizabeth Wood, “Sapphonics,” in Queering the Pitch; the new gay and lesbian musicology, edited by Philip Brett, Elizabeth Wood, Gary C. Thomas (New York: Routledge, 2006), 46. 38 Frances Barulich. "Albéniz, Isaac." Grove Music Online. Oxford Music Online. 19 Jan. 2011 . 28

Spanish quality. I have added accents in the trumpet part that were found in the 1911 four hand version by André Gédalge. These accents help to bring out the hemiola in this passage. The middle contrasting section has long legato melodies that are marked chanté or “sung.” These should be well supported and well balanced so that the melody is heard in the first clarinet and horn.

4.5 Léda et l’Oiseau

Although the fifth movement is one of the shortest movements, it also has a very interesting background. Léda et l’Oiseau is French for “Leda and the Bird” which is in reference to the

Greek and Roman myth of Leda and the Swan. Of the many versions of the myth, two are considered to be standard. The first is that the Greek high god Zeus became captivated with

Leda, the queen of Sparta. Zeus came to Leda in the form of a swan and seduced her as she walked along a lake. They subsequently produced an egg containing Helen of Troy. Helen, known for her beauty, was the “face that launched a thousand ships.” This myth has been a popular subject for artists throughout the ages, including Leonardo da Vinci and Michelangelo.

Hahn’s choice to include this myth within the suite is no coincidence since Leonardo had a very close connection to Béatrice, Ludovico, and the House of Este.

This connection with the myth and Leonardo da Vinci must have been interesting to

Hahn because in André Gédalge’s version for two pianos, this movement is subtitled Intermède

Léonardesque, or Leonardo Intermezzo. Possibly in reference to Leonardo’s painting of Leda and the Swan, which was unfortunately lost and only exists in copies.

Leda et l’Oiseau could be a portrait of many different people. Some think it is a portrait of Bianca, Ludovico’s illegitimate daughter and Béatrice’s close friend. Other’s think it may

29 represent the beauty of Béatrice herself. It might also be a musical portrait of Leonardo’s painting or of the myth itself. Regardless of the subject, it is possibly the most beautiful movement in the suite, which has a very progressive use of harmony and chromaticism.

The piano and harp begin this movement. In Hahn’s recording from 1935, the piano begins alone, and then the harps follow, instead of beginning together as is indicated in the score.

Being an excellent pianist, Hahn most likely conducted from the keyboard. He might have played the beginning this way in order to properly cue the harps after playing the arpeggio on the piano. Regardless, the effect is captivatingly beautiful.

The pacing of this short movement should be taken with great care, as the climax seven measures from the end could be the climax of the entire work. The climax is marked sweetly and expressively, but in another version is also marked appassionato, or passionately. I have added this indication to the new edition.

4.6 Courante

Of all the movements in Le Bal de Béatrice d’Este, the Courante has the greatest number of editorial problems that were addressed in this new edition. The Courante was a popular dance form from the sixteenth century until the mid-eighteenth century and was an important part of the baroque dance suite. Although courantes were a very important courtly dance in later years, it is not known whether they were danced at the court in Milan. Hahn’s music, however, is one of great charm and elegance.

Characterized as either a fast lively dance in Italy, or a statelier dance in France, courantes are traditionally in triple meter. The courante in Le Bal de Béatrice d’Este bears no

30 resemblance to these dance forms, mostly because it is in duple time. Therefore, the title is merely to evoke a courtly dance, even if it is historically inaccurate.

The variety of articulations found in the Courante is an important consideration when rehearsing this movement. In the original edition, an extreme amount of inconsistencies exists from part to part and from section to section. In this new edition, I have corrected those articulation discrepancies.

Another problem with this movement is the several sections where the piano part is missing from the score. Specifically, mm. 41 through 48 and mm. 97 through 104. These missing piano parts have also been restored in the new edition. There are also a lot of discrepancies in the dynamic markings. This is the case throughout the whole suite, but from rehearsal C to D, I have adapted new dynamic markings from other sources which are more appropriate to this section of the piece.

Choosing a proper tempo for this movement is important. In Hahn’s recording from

1935 he takes this movement at a very brisk, almost hurried tempo. A statelier tempo that is quite a bit slower, takes more of the French elegant courante style. Also, in Hahn’s recording he added a repeat within the trio of this movement. Although the courante is the longest movement and does not need a repeat, I have included it to give conductors the option.

CHAPTER FIVE – NEW CRITICAL EDITION

5.1 This chapter contains the new critical edition score and parts of Le Bal de Béatrice d’Este.

REYNALDO HAHN LE BAL DE BÉATRICE D’ESTE Suite pour Instruments à vent, deux harpes, et un Piano

CRITICAL EDITION Edited by JARED G. CHASE

34 CONTENTS

MOVEMENTS Page

I. ENTRÉE DE LUDOVICO LE MORE………………………………………………………… 2 II. LESQUERCADE………………………………………………………………………………………….... 9 III. ROMANESQUE…………………………………………………………………………………………… 23 IV. IBÉRIENNE…………………………………………………………………………………………………… 30 V. LÉDA ET L’OISEAU…………………………………………………………………………………….. 39 VI. COURANTE…………………………………………………………………………………………………. 44 VII. SALUT FINAL AU DUC DE MILAN………………………………………………….. 58

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15 tt [Rit.] CHAPTER SIX – CONCLUSION AND SUMMARY

Three years ago I began searching for the manuscript copy of Le Bal de Béatrice d’Este feeling this would be the only way to complete a critical edition of the work. At that time, I felt that without this source the new edition would not have the same value. Although this may be true, and I will continue to look for the manuscript, I am very pleased with the result of this new edition. Many of the mistakes that were in the score and parts were obvious discrepancies where the correction could be easily distinguished simply by comparing the parts and the score.

However, the existence of the 1935 recording by Hahn was extremely helpful not only for the instances of discrepancies within the music, but also for insights into his interpretation of the work. I would highly recommend anyone who is interested in this work to examine the sources to receive a greater understanding of this composition. I would especially recommend conductors and players to examine Hahn’s 1935 recording as it contains many insights to the

French style of wind playing and phrasing as well as Hahn’s interpretation of the work.

When I compare performing the original edition as both a player and conductor, to preparing and conducting this new critical edition there is a vast difference in rehearsal time that is needed to prepare the work. Performing this piece has always been a joy because of its simple beauty and elegance, but preparing this new edition was an even greater pleasure. Rehearsals flowed, with far less stopping to fix mistakes in the parts, the majority of rehearsal was spent on musical ideas. For this reason I think we were able to achieve an equal or even higher musical result with about half the amount of rehearsal time. Unfortunately, this new edition is not going to solve the problems of finding two harp players to perform with your chamber wind ensemble, or eliminate the questions about the variety of articulations Hahn uses within this piece. I hope

104 this new edition will make this beautiful suite even more of a joy to rehearse and perform than it already was, and perhaps this document peaked your curiosity of groups like the Société de

Musique de Chambre pour Instruments á Vent, Societé Moderne d’Instruments á Vent,the

Barrére Ensemble, and the Longy Club as well as their repertoire.

105

APPENDIX OF CORRECTIONS AND CHANGES The following summarized the corrections and changes: (from the 1986 Kalmus edition of parts/score to 2010 Critical Edition)

I. ENTRÉE POUR LUDOVIC LE NORE M2 Horn 1 added tenuto to match other parts Horn 1 removed staccato to match other parts

M7 Flute 1 added tenuto to match other parts Flute 2 added tenuto to match other parts Oboe removed staccato on beat 1 to match other parts Timpani added tie Piano added tenuto to match other parts Piano changed rhythm to match other parts

M8 Timpani added staccato on beat 1 to match other parts Timpani added tie

M11 Timpani added tie

M12 Bassoon 1 removed tenuto on beat 3 to match other parts Bassoon 2 removed tenuto on beat 3 to match other parts Horn 2 added tenuto/staccato on beat 1

M14 Oboe added slur/staccato to beat 3 Clarinet 1 removed redundant mf Clarinet 1 added slur/staccato to beat 3 Clarinet 2 added slur/staccato to beat 3 Bassoon 1 removed redundant mf Bassoon 2 removed redundant mf Horn 1 added slur/staccato to beat 3

M17 All Parts added tenuto to to beat 1 to match other sections Bassoon 1 added f Bassoon 2 added f Horn 1 added f

M18 Timpani added tenuto/staccato

M19 Horn 1 added slur/staccato Horn 2 added slur/staccato Trumpet added slur Timpani added slur/staccato

106

M20 Horn 1 added tenuto/staccato Horn 2 added tenuto/staccato Trumpet added tenuto/staccato Timpani added tenuto/staccato

M21 Flute 1 added sur le temps Flute 2 added sur le temps Trumpet added sur le temps Timpani added tie

M22 Bassoon 2 removed staccato and slur Bassoon 2 added tenuto Horn 1 removed staccato and slur Horn 2 removed staccato Horn 2 added tenuto

M23 Horn 1 removed redundant p

M26 Clarinet 1 removed accent Clarinet 2 removed accent Cymbals added tie (l.v.) Piano removed accent

M27 Clarinet 1 removed accent Clarinet 2 removed accent Timpani removed staccatos Cymbal ` removed redundant f Cymbals added tie (l.v.) Piano removed accent Piano changed rhythm to match other parts

M28 Bassoon 1 added accents on beat 3 Bassoon 2 added accents on beat 3 Horn 1 added accents on beat 3 Horn 2 added accents on beat 3 Trumpet added accents on beat 3 Timpani added accents on beat 3 Piano added accents on beat 3 Piano changed rhythm to match other parts

M29 Trumpet added accents Piano added accents

M31 Clarinet 1 added accent Timpani added accent

107

Cymbals changed f to ff Cymbals added tie (l.v.) Piano added accents and ff

M32 Horn 1 added staccatos Horn 2 added staccatos Cymbals removed redundant ff Cymbals added tie (l.v.)

M34 Timpani removed staccatos Piano added accent on beat 1

M35 Timpani added accent

M36 Clarinet 1 added slur from E to F Horn 1 added tie from Bb Timpani added p Harp 1 added p Harp 2 added p

M37 Flute 1 added accents Flute 2 added accents Oboe added accents Clarinet 1 added accents Clarinet 2 added accents Bassoon 1 added accent Bassoon 1 added tie from Eb Horn 1 removed misplaced f Horn 2 added f Trumpet added f Timpani added f Piano added accents Piano added ff

M38 Piano added accents

M39 Timpani changed rhythm (correct in part) Cymbals added tie (l.v.)

II. LESQUERCADE M1 Piano added slur M2 Piano removed redundant p

M4 Oboe changed phrasing mark to match other sections Clarinet 1 changed phrasing mark to match other sections Clarinet 1 changed pp to p (correct in score) 108

M5 Oboe removed tenuto/staccato on beat 4 Clarinet 1 removed tenuto/staccato on beat 4 Harp 1 added slur

M6 Harp 1 added slur Piano added p

M7 Flute 1 added decresc. Harp 1 changed beat 4 Eb to Db Harp 1 added slur Piano added slur

M8 Bassoon 2 added slur to m. 9 Harp 1 added cresc. Piano added cresc.

M9 Harp 1 added descresc. Piano added descresc.

M10 Harp 1 changed beat 4 C to Db

M11 Piano added slur

M12 Oboe changed slur to match other sections Clarinet 2 removed redundant pp Clarinet 2 changed slur to match other parts (correct in score) Bassoon 1 removed redundant pp Bassoon 2 removed redundant pp

M13 Horn 1 added decresc. on beat 4 Piano added dim. (in part)

M14 Flute 2 changed pp to p (correct in part) Flute 2 added slur on beat 2 Bassoon 2 changed rhythm to match other parts Horn 1 changed rhythm to match other parts Harp 1 corrected engraving mistake

M16 Harp 1 changed beat 3 Db to Eb

M18 Clarinet 2 added cresc.

M19 Clarinet 1 added f

M20 Oboe added editorial [p]

109

Clarinet 1 added pp Horn 1 added decresc Piano added p

M21 Clarinet 1 removed pp

M22 Oboe changed beat 3 Cb to C-natural

M23 Oboe added accent to beat 3 Clarinet 2 added accent to beat 3

M24 Flute 1 moved natural sign to beat 2 Oboe added tenuto to beat 3 Clarinet 1 moved natural sign to beat 2 Clarinet 2 added tenutos to match oboe

M25 Oboe added tenuto on beat 1 and accent on beat 3 Clarinet 2 added tenuto on beat 1 and accent on beat 3

M26 Flute 1 removed tie to F-natural to match previous section Oboe removed staccato on beat 1 Oboe added tenuto on beat 2 and 3 Oboe added reminder p Clarinet 1 added p to match oboe part Clarinet 1 added tenuto on beat 2 and 3 Clarinet 2 added pp Bassoon 1 removed tie to B-natural to match previous section Bassoon 1 added reminder pp

M27 Flute 1 added missing F natural (correct in score) Oboe added tenuto and accent to match previous sections Clarinet 1 added tenuto and accent to match previous sections M28 Clarinet 1 added cresc. to match other parts Clarinet 2 added p to mach oboe part Bassoon 2 added cresc to match other parts

M29 Clarinet 1 added decresc. to match other parts Bassoon 1 added decresc. to match other parts Bassoon 2 added decresc. to match other parts

M30 Clarinet 1 added cresc. to match other parts Clarinet 1 added tenuto to match previous section Bassoon 1 added cresc. to match other parts Bassoon 1 added tenuto to match previous section

M32 Clarinet 1 removed natural (because of tie)

110

Clarinet 1 removed pp Piano added missing music (correct in part)

M33 Flute 1 changed mf to p to match other parts Flute 1 added espress. Flute 2 added espress. Bassoon 1 extended slur to m. 34 Bassoon 2 extended slur to m. 34 Triangle added tie (l.v.)

M34 Triangle added tie (l.v.)

M35 Clarinet 1 added espress. (correct in part) Clarinet 1 removed tenuto/staccato Clarinet 1 added reminder p Clarinet 2 added espress. (correct in part) Clarinet 2 removed tenuto/staccato Clarinet 1 added reminder p Horn 1 removed redundant pp Piano added p

M37 Flute 1 changed beat 4 B-natural to Bb Oboe changed beat 3 G-natural to Gb Piano added pp

M38 Harp 1 changed beat 1 Bb’s to Ab Harp 1 changed beat 2 Bb to Ab Piano changed beat 1 Fb to F-natural (correct in score)

M39 Clarinet 2 added cresc. to match other parts Piano removed pp

M40 Clarinet 2 added decresc. to match other parts Bassoon 1 added decresc. to match other parts

M41 Flute 1 added [p]

M44 Flute 1 added decresc. Bassoon 1 added decresc. Harp 1 added slur

M45 Bassoon 2 changed slur to beginning on Gb Harp 1 added slur

M46 Oboe added decresc. Harp 1 added slur

111

M47 Flute 1 added dolce (Hahn’s piano reduction) Flute 2 added dolce (Hahn’s piano reduction) Clarinet 2 added p (correct in score) Clarinet 2 added dolce (Hahn’s piano reduction) Horn 1 changed pp to p

M49 Flute 1 removed redundant p Oboe removed tenuto Oboe added pp Clarinet 2 removed redundant p Horn 1 added tenuto/staccato to match other parts Horn 1 changed p to pp

M51 Flute 1 moved dim. to correct position Flute 1 removed decresc. Horn 1 removed p

M53 Oboe added slur Clarinet 1 removed pp Clarinet 2 added pp Piano changed slur to match other parts

M54 Oboe added slur Piano changed slur to match other parts

M57 Flute 2 added cresc. to match other parts Bassoon 1 added pp

M58 Flute 1 added slur Flute 2 added slur Flute 2 added decresc. to match other parts

M59 Flute 1 added pp

M60 Bassoon 1 added tie

M61 Flute 2 removed redundant pp Bassoon 1 removed redundant pp

III. ROMANESQUE M1 Flute 1 added grazioso (from Romanesque for flute, viola, piano) Horn 1 changed time signature from 3/8 to 6/8

M2 Piano added slur (from Romanesque for flute, viola, piano)

112

M4 Piano added cresc (from Romanesque for flute, viola, piano)

M5 Piano added decresc. and slur (from Romanesque for flute, viola, piano) changed articulation M8 Horn 1 added pp to match other parts

M10 Flute 1 removed accent from beat 3 (part only)

M11 Flute 1 changed position of phrase mark

M12 All parts added rehearsal A

M13 Horn 1 removed tenuto mark

M18 Horn 1 added tie

M19 Clarinet 1 changed rhythm to match other parts Clarinet 1 removed redundant pp Horn 1 changed rhythm to match other parts

M20 Clarinet 1 added cresc. to match flute 1 Piano changed slur to match score Piano added cresc. to match flute 1 (Gédalge)

M21 Bassoon 1 removed fermata on 3

M22 All parts added rehearsal B Horn 1 removed redundant pp

M24 Flute 2 changed slur to end on 5 Clarinet 1 corrected wrong note on 5 (C#) Clarinet 1 changed slur to end on 5 Bassoon 1 changed slur to end on 5

M26 Piano changed articulation to match other parts

M27 Piano changed articulation to match other parts

M28 All parts added rehearsal C Clarinet 1 changed rhythm to match other parts Bassoon 1 changed rhythm to match other parts Bassoon 1 removed redundant pp Horn 1 changed rhythm to match other parts Piano added sempre p

M30 Clarinet 1 added tenuto mark to match flute 1

113

Bassoon 1 added pp to match other parts Piano removed sempre p

M32 Flute 2 changed p to pp

M34 Piano added roll (arpeggio)

M35 Flute 1 added tie to match other parts Flute 1 added tenuto mark Clarinet 1 added tenuto mark Flute 2 removed tenuto mark Bassoon 1 added tenuto mark Piano removed roll (arpeggio) from beat 4

M36 All parts added rehearsal D

M38 Flute 2 removed redundant pp Horn 1 added pp to match other parts

M39 Piano added decresc. to match flute 1

M40 Flute 2 removed redundant pp Piano added pp to match other parts

IV. IBÉRIENNE M4 Percussion added staccato

M6 Trumpet added accent

M7 Trumpet added accent

M8 Trumpet added accent

M9 Trumpet added accent

M11 Oboe f changed to p Bassoon 1 f changed to p and changed accent to staccato Bassoon 2 f changed to p and changed accent to staccato Horn 1 f changed to p and added staccato Horn 2 f changed to p and added staccato Piano f changed to p and changed accent to staccato

M12 Horn 1 added accent Horn 2 added accent

M13 Horn 1 added accent 114

Horn 2 added accent M14 Percussion added staccato

M15 Trumpet added accent

M16 Trumpet added accent

M17 Trumpet added accent

M18 Trumpet added accent Piano added Eb on beat 2 (missing from part)

M20 Trumpet added accent Timpani added staccato/accent

M21 Flute 2 removed p Piano removed arpeggio (roll) M22 Piano removed arpeggio (roll)

M23 Piano removed arpeggio (roll)

M24 Piano removed redundant p Piano removed arpeggio (roll)

M25 Piano removed arpeggio (roll)

M26 Percussion added pp and staccato

M27 Flute 1 added léger Flute 2 added léger Oboe added léger Clarinet 1 added léger Percussion added staccato Piano changed p to pp

M28 Percussion added staccato

M29 Flute 1 added staccato to beat 3 Flute 2 added staccato to beat 3 Percussion added staccato

M30 Percussion added staccato Harp 1 changed ff to f Harp 2 changed ff to f Piano added accent to beat 2

115

M31 Piano removed redundant f

M32 Harp 1 added staccato/accent Harp 2 added staccato/accent Piano added accent and sffz

M34 Clarinet 1 removed redundant p Clarinet 1 added chanté en dehors and espress. Clarinet 2 changed p to pp to match other parts Horn 1 added chanté en dehors and espress. Horn 1 removed redundant p Horn 2 changed p to pp to match other parts Piano added chanté en dehors

M39 Piano changed rhythm to match other parts

M40 Clarinet 2 changed p to pp to match other parts Horn 2 changed p to pp to match other parts

M49 Bassoon 1 changed f to d on beat 1 Bassoon 2 changed f to d on beat 1

M57 Trumpet added staccato Percussion added staccato Piano changed E to C in left hand

M58 Trumpet added accent

M59 Trumpet added accent

M60 Trumpet added accent

M61 Trumpet added accent

M63 Trumpet added accent

M64 Piano changed ff to p to match earlier section Piano added staccato to match earlier section

M65 Piano removed redundant ff Piano added staccato to match earlier section

M66 Piano added staccato to match earlier section

M67 Bassoon 2 added staccato Horn 1 added staccato

116

Horn 2 added staccato

M68 Clarinet 1 added chanté en dehors and espress. Clarinet 2 changed p to pp to match other parts Horn 1 added chanté en dehors and espress. Horn 2 changed p to pp to match other parts

M72 Piano removed D on beat 3

M73 Piano changed rhythm to match other parts

M74 Clarinet 2 changed p to pp to match other parts Horn 2 changed p to pp to match other parts

M83 Bassoon 1 changed f to d on beat 1 Bassoon 2 changed f to d on beat 1

M86 Clarinet 2 changed p to pp to match other parts Horn 2 changed p to pp to match other parts

M90 Piano removed D on beat 3

M92 Trumpet added accent

M93 Trumpet added accent

M94 Trumpet added accent

M95 Trumpet added accent

M97 Trumpet added accent Timpani added accent/staccato

M101 Piano removed redundant p Piano added decresc.

M102 Piano added pp to match other parts

M103 Percussion added staccato Percussion added pp to match other parts Percussion added “avec la baguette de tambour”

M104 Flute 1 added léger Flute 2 added léger Oboe added léger Clarinet 1 added léger

117

Trumpet added léger Percussion added staccato

M105 Percussion added staccato

M106 Percussion added staccato

M107 Percussion added staccato Harp 1 changed ff to f Harp 2 changed ff to f

M108 Piano removed redundant f

M109 Timpani added staccato to match other parts Timpani changed dynamic to ff to match other parts Harp 1 added staccato/accent to match other parts Harp 2 added staccato/accent to match other parts Harp 2 added ff to match other parts Piano added ff to match other parts Piano added staccato/accent to match other parts

V. LÉDA ET L’ OISEAU M4 Clarinet 1 changed to dolce espress. Bassoon 1 added slur

M5 Horn 1 changed to dolce espress.

M7 Bassoon 2 changed Fb to E

M8 Clarinet 1 added sempre pp Piano added sempre pp

M9 Clarinet 1 removed sempre pp Bassoon 2 removed redundant pp

M10 Clarinet 2 added espress. Bassoon 1 added pp Horn 1 added pp

M11 Clarinet 1 added descrec. Clarinet 2 added pp and decresc. Clarinet 2 changed E to Eb on beat 1 Bassoon 1 added descrec.

M12 All Parts added rehearsal A Horn 1 removed redundant pp 118

Harp 1 added arpeggio (roll) Piano added pp

M13 Harp 1 removed redundant pp Harp 1 added arpeggio (roll) Piano removed pp

M14 Bassoon 1 added slur Harp 1 removed redundant pp Harp 1 added arpeggio (roll)

M15 Harp 1 removed redundant pp Harp 1 added arpeggio (roll)

M16 Bassoon 2 added pp Harp 1 added arpeggio (roll)

M18 Bassoon 2 added pp and descresc. Harp 1 added arpeggio (roll)

M19 Harp 1 removed redundant pp Harp 1 added arpeggio (roll)

M20 All Parts added rehearsal B Bassoon 1 added amoroso Harp 1 added arpeggio (roll) Piano added p

M21 Harp 1 added arpeggio (roll)

M22 Clarinet 1 changed p to pp

M23 Clarinet 1 added decresc.

M24 Piano removed tremolo

M25 Horn 1 added [p] Piano removed tremolo

M26 Oboe added cresc. Piano removed tremolo M27 Piano removed tremolo

M28 All Parts added rehearsal C Flute 1 added appass. Flute 2 added appass.

119

Oboe added mf Oboe added appass. Clarinet 1 changed p to mf Clarinet 2 added mf to match other parts Bassoon 2 added mf to match other parts Horn 1 added mf and descresc. Timpani added mf to match other parts Piano added mf to match other parts

M29 Piano added dim.

M30 Flute 2 removed dim. Clarinet 2 added dim. Clarinet 2 removed slur from part Horn 1 removed cresc. Horn 1 added dim. to match other parts

M32 Oboe changed pp to p to match other parts Clarinet 2 added descresc.

M33 Clarinet 2 added pp Horn 2 added pp

M34 Horn 2 removed redundant pp Harp 1 added pp to match other parts Harp 1 added arpeggio (roll)

VI. COURANTE M1 Clarinet 2 added slur to match other parts Bassoon 1 added slur to match other parts

M2 Clarinet 1 changed slur to match other parts Clarinet 1 added tenuto to match other parts Clarinet 2 changed slur to match other parts Clarinet 2 added tenuto to match other parts Bassoon 1 changed slur to match other parts Bassoon 1 added tenuto to match other parts

M3 Clarinet 1 added slur to match other parts Clarinet 2 changed second f to e Clarinet 2 added slurs to match other parts

M4 Clarinet 1 added tenuto to match other parts Clarinet 2 added slur and removed tenuto Bassoon 1 added slur and removed tenuto 120

Horn 1 added slur and removed tenuto

M5 Flute 1 changed ff to p to match other parts Flute 1 added slur to match other parts Flute 2 changed ff to p to match other parts Flute 2 added slur to match other parts

M6 Flute 1 changed slur to match other parts Flute 2 changed slur to match other parts Horn 2 changed slur to match other parts

M7 Flute 1 added slur to match other parts Flute 2 added slur to match other parts

M8 Flute 1 added tenuto Flute 2 added tenuto Clarinet 1 removed tenuto and added slur Bassoon 2 added slur Horn 2 removed tenuto and added slur

M9 Oboe added slur to match other parts Oboe added cresc. (found in part, not score) Clarinet 1 added p to match other parts Bassoon 1 added cresc. to match other parts Horn 1 added cresc. to match other parts

M11 Oboe added slur to match other parts Bassoon 1 added decresc. Horn 1 added decresc. Horn 1 added slur to match other parts

M12 Oboe added decresc.

M13 Flute 2 added cresc. to match other parts Flute 2 changed second g to f Oboe added cresc. to match other parts Clarinet 1 changed mf to p to match other parts Clarinet 1 added cresc.

M14 Flute 2 added decresc. to match other parts Oboe added decresc. to match other parts

M15 Flute 1 added p espressif Bassoon 1 added slur

M16 Bassoon 1 removed staccato

121

Horn 1 removed staccato

M17 Flute 1 changed mf to p (Gédalge) Flute 1 added tenuto to match other parts Flute 2 added tenuto to match other parts Oboe added tenuto to match other parts Oboe changed pp to p to match other parts Bassoon 1 added p to match other parts Horn 2 changed beat 4 d to eb (match clarinet 1) Piano added tenuto to match other parts Piano added slur/staccato to match other parts

M18 Piano added tenuto to match other parts

M19 Oboe removed redundant pp Piano added slurs to match other parts Piano added tenuto to match other parts

M20 Oboe added tenuto to match other parts Piano added tenuto to match other parts Piano changed half note (part only) to half note tied to quarter note

M21 Oboe changed pp to p to match other parts Bassoon 1 added slur to match other parts Bassoon 2 added slur to match other parts Horn 2 added p to match other parts Piano added p to match other parts Piano changed slur to match other parts Piano added slur/staccato to match other parts

M22 Bassoon 1 added slur to match other parts Bassoon 2 added slur to match other parts Horn 1 added slur to match other parts Horn 2 added slur to match other parts Piano added slur/staccato to match other parts

M23 Oboe removed redundant pp Piano added tenuto, slur, and slur/staccato to match other parts

M24 Horn 1 added tenuto mark to match other parts Horn 2 added tenuto mark to match other parts Timpani changed rhythm to ee Q (3& 4) to match Hahn’s recording Piano added tenuto to match other parts

M25 Clarinet 2 added slur to match other parts Bassoon 1 added slur to match other parts

122

Horn 1 added slur to match other parts Horn 2 added slur to match other parts

M27 Flute 2 removed tenuto/staccato and added slur to match other parts Oboe removed tenuto/staccato and added slur to match other parts Clarinet 2 added slur to match other parts Bassoon 1 added slur to match other parts Bassoon 2 added slur to match other parts Horn 1 added slur to match other parts Horn 2 removed tenuto/staccato and added slur to match other parts

M29 Bassoon 1 added slur to match other parts Bassoon 1 added p to match other parts Horn 1 added slur to match other parts Horn 2 changed slur to match other parts Piano added p to match other parts Piano changed beat 1 G to Bb

M30 Piano changed beat 2 C to Bb

M31 Oboe removed redundant p Clarinet 1 removed redundant p Clarinet 2 added p

M32 Piano removed staccato

M33 Flute 2 added mf to match other flute part

M36 Flute 1 removed tenuto

M38 Flute 1 added tenuto Flute 2 added tenuto

M41 Piano added, missing from score (mm. 41-48)

M44 Flute 1 removed tenuto Flute 2 removed tenuto

M49 All Parts changed to f (Gédalge and Hahn piano reduction) All Parts added mais léger All Parts added a tempo Flute 1 changed beat 1 f to g Flute 1 added slur to match other parts Flute 2 added slur to match other parts Oboe added slur to match other parts Clarinet 1 added slur to match other parts

123

Clarinet 2 added slur to match other parts Piano changed beat 1 G to Bb Piano removed tie to match other parts Piano added tenuto/slur and staccato/slur to match other parts

M50 Flute 2 added slur to match other parts

M51 Flute 1 changed beat three Eb to C (correct in part)

M52 All Parts added dim. to match piano and piano reductions Horn 1 changed beat three g to f

M53 All Parts changed to mf (Gédalge) Piano added tenuto to match other parts Piano added slur to match other parts Piano added staccato/slur to match other parts

M54 Piano added slur and staccato to match other parts

M55 Horn 1 added staccato/slur to match other parts Horn 2 added staccato/slur to match other parts Piano added tenuto, slur, and staccato/slur to match other parts

M56 Flute 2 added tenuto Flute 2 removed staccato Oboe added tenuto Clarinet 1 added tenuto Clarinet 2 added tenuto Horn 1 added tenuto Horn 2 added tenuto Piano added tenuto

M57 Flute 1 removed accent Clarinet 1 added p to match other parts Clarinet 2 added slur to match other parts Bassoon 1 added slur to match other parts

M59 Flute 2 removed tenuto/staccato and added slur to match other parts Oboe removed tenuto/staccato and added slur to match other parts Clarinet 2 added slur to match other parts Bassoon 1 added slur to match other parts Horn 1 added slur to match other parts Horn 2 removed tenuto/staccato and added slur to match other parts Piano added [p]

M61 Bassoon 1 added slur to match other parts

124

Bassoon 1 added p Horn 1 changed slur to match other parts Horn 2 changed slur to match other parts

M62 Flute 1 changed phrase marking to march other parts

M63 Oboe removed redundant p Clarinet 1 removed redundant p Clarinet 2 added p Piano added slur to match other parts

M64 Piano changed beat 2 Ab to G (Gédalge)

M65 Oboe added dolce grazioso, très lié (Gédalge) Oboe changed phrase mark to extend from 65-73 Horn 1 added dolce grazioso, très lié (Gédalge)

M74 Clarinet 1 added cresc.

M76 Clarinet 1 added cresc

M81 Oboe changed phrase mark to extend from 81-88 Horn 1 changed phrase mark to extend from 81-88

M84 Piano added dynamics to match other parts M85 Piano changed beat 2 F to Ab Piano added dynamics to match other parts

M89 Flute 2 added phrase mark Clarinet 1 changed phrase mark to extend from 89-96

M92 Flute 2 added phrase mark

M97 Flute 1 changed phrase mark to extend from 97-104 Flute 2 changed phrase mark to extend from 97-104 Bassoon 1 added pp Horn 1 added pp Piano added missing trill from 97-104

M105 All Parts added Tempo I

M106 Oboe changed slur to match other sections Bassoon 2 changed slur to match other sections Horn 1 changed slur to match other sections Piano changed slur to match other sections Piano changed beat 1 F to Eb

125

M107 Piano added tenuto to match other parts

M109 Piano added tenuto and staccato/slur to match other parts

M111 Clarinet 1 added cresc. to match other parts Bassoon 2 added cresc. to match other parts

M113 Clarinet 1 changed slur to match other parts Bassoon 1 changed slur to match other parts Bassoon 2 changed slur to match other parts

M115 Clarinet 1 added p to match other parts

M117 Clarinet 1 added f and decresc. to match other parts Piano added p to match other parts Piano added slur to match other parts

M120 Bassoon 1 added decresc.to match other parts Bassoon 2 added decresc.to match other parts Piano added tenuto and slur to match other parts

M121 Flute 2 changed A to A-natural Clarinet 1/2 score should read that 2nd clarinet is playing Horn 1 changed pp to p

M122 Flute 2 changed A to A-natural

M125 Horn 1 added p to match other sections

M129 Piano added tenuto, slur, and staccatos to match other parts

M130 Flute 1 changed slur to match other sections Flute 2 changed slur to match other sections Clarinet 2 changed slur to match other sections Bassoon 1 changed slur to match other sections Bassoon 2 changed slur to match other sections Horn 2 changed slur to match other sections Trumpet changed slur to match other sections Piano changed accent to tenuto to match other parts

M131 Piano added slur and staccatos to match other parts

M132 Piano added accent to match other parts

M133 Flute 1 changed accent to tenuto to match other parts

126

Flute 2 changed accent to tenuto to match other parts Clarinet 1 changed accent to tenuto to match other parts Piano added tenuto, slur, and staccatos to match other parts

M134 Flute 1 changed slur to match other sections Flute 2 changed slur to match other sections Clarinet 1 changed slur to match other sections Clarinet 2 changed slur to match other sections Horn 1 changed slur to match other sections Trumpet changed slur to match other sections Piano added slur, staccatos, and tenuto to match other parts

M135 Clarinet 1 added cresc. to match other parts Clarinet 2 added cresc. to match other parts Bassoon 1 added cresc. to match other parts Bassoon 2 added cresc. to match other parts Horn 1 added cresc. to match other parts Horn 2 added cresc. to match other parts Trumpet added cresc. to match other parts Piano added cresc. to match other parts Piano added slur and staccatos to match other parts

M136 Horn 2 added accent to match other parts Piano added accent to match other parts

M138 Bassoon 2 removed half note F Piano changed beat 1 F to G

M141 Horn 1 added accents to match other parts Horn 2 added accents to match other parts Trumpet changed mf to f to match other brass parts

M142 Horn 1 added accents to match other parts Horn 2 added accents to match other parts

M143 All Parts added editorial Rit. Horn 1 added accents and removed tenuto to match other parts Horn 2 added accents and removed tenuto to match other parts Trumpet added accents and removed tenuto to match other parts Piano added accents to match other parts

M144 Horn 1 added accents and to match other parts Horn 2 added accents and to match other parts Trumpet added accents and removed tenuto to match other parts

M145 Piano added accents and to match other parts

127

M146 Flute 1 added text “change to piccolo”

VII. SALUTE FINAL AU DUC DE MILAN M1 Flute 1 removed tie (correct in parts) Flute 2 removed tie (correct in parts) Oboe removed tie (correct in parts) Clarinet 1 removed tie (correct in parts) Clarinet 2 removed tie (correct in parts) Bassoon 1 removed tie (correct in parts) Bassoon 2 removed tie (correct in parts) Horn 1 changed 3/6 time signature to 3/4 Horn 2 changed 3/6 time signature to 3/4 Timpani changed rhythm to match other parts (correct in part) Piano changed rhythm to match other parts

M2 Flute 1 removed accents to match other parts Flute 1 removed redundant f Flute 2 removed accents to match other parts Flute 2 removed redundant f Oboe removed redundant f Clarinet 1 removed redundant f Harp 1 removed redundant ff Harp 2 removed redundant ff Piano changed rhythm to match other parts Piano added accent and staccato to match other parts

M3 Timpani changed beat 3 rhythm to match other parts (correct in score) Piano changed beat 3 rhythm to match other parts (correct in part) Piano added accents to match other parts

M4 Piano added accents to match other parts

M5 Piano changed rhythm to match other parts

M6 Timpani added accent to match other parts Piano changed rhythm to match other parts Piano added accent to match other parts

M7 All Parts added staccatos (correct in parts) Trumpet added accent to beat three (correct in score) Timpani added articulation to match other parts Piano changed rhythm to match other parts Piano added accent and staccato to match other parts

M8 Timpani changed beat 2 rhythm to match other parts (correct in score) 128

Piano added accents to match other parts M9 Piano added accents to match other parts

M10 Piano changed rhythm to match other parts

M11 Clarinet 1 added f to match other parts Bassoon 1 added accent to match other parts Bassoon 2 changed beat 1 Bb to octave lower (wrong in part) Bassoon 2 added accent to match other parts Horn 2 added f to match other parts Trumpet added f to match other parts Triangle added f to match other parts M12 Clarinet 1 added tie to match other parts Bassoon 2 added sff to match other parts Horn 2 changed rhythm to match other parts (correct in score)

M14 Timpani added [ff]

M17 All Parts added editorial [Rit.]

129

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Barulich, Frances. "Albéniz, Isaac." Grove Music Online. Oxford Music Online. 19 Jan. 2011 .

Battisti, Frank. The Winds of Change:The evolution of the Contemporary American Wind Band/Ensemble and its Conductor. Galesville, Maryland: Meredith Music Publications, 2002.

Bendahán, Daniel. Reynaldo Hahn: su vida y su obra. Caracas, C.A: Tabacalera Nacional, 1973.

Blakeman, Edward. Taffanel: Genius of the Flute. New York: Oxford University Press, 2005.

Caddy, Davinia. "On ballet at the Opéra, 1909–14, and La fête chez Thérèse." Journal of the Royal Musical Association 133, no. 2 (2008): 220.

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“Concerts of the Week.” New York Times, December 4th, 1910.

Elson, Louis C. “The Longy Club Concert,” Boston Advertiser, January 17, 1907.

Gavoty, Bernard. Reynaldo Hahn, le musicien de la Belle Époque. Paris: Buchet/Chastel, 1976.

Guest, Ivor. The Paris Opéra Ballet. Hampshire: Dance Books Ltd, 2006.

H. T. P., “Reynaldo Hahn and Beatrice d’Este,” Boston Transcript, January 17, 1907.

Hahn, Reynaldo. Composer, conductor, singer and accompanist: recordings, 1908-35. Reynaldo Hahn, dir. Le Bal de Béatrice d’Este. French Gramophone Chamber Orchestra. Pearl 727031000327. CD. 1997.

______. Notes: journal d’un musicien. Paris: Plan, 1933.

______. Le bal de Béatrice d'Este; arr. Paris: Heugel, 1897.

______. Le Bal de Béatrice d’Este. Suite pour instruments á vent, deux harpes 130

et un piano. Paris: Heugel, 1906.

______. Le Bal de Béatrice d’Este. Suite pour instruments á vent, deux harpes et un piano. Paris: Heugel, 1911.

______. Le Bal de Béatrice d’Este. Suite pour instruments á vent, deux harpes et un piano. Arranged for 2 pianos by André Gédalge. Paris: Heugel, 1911.

______. Le Bal de Béatrice d’Este: Suite pour instruments á vent, deux harpes et un piano. Miami: E.F. Kalmus, 1986.

______. On Singers and Singing. Transcribed by Leopold Simoneau. Portland: Amadeus Press, 1990.

______. Romanesque: for flute, viola, and piano. Edited by Robert Cavally. San Antonio: Southern Music, 1988.

______. Romanesque: for flute, viola, and piano. Boca Raton: Masters Music Publications, 2002.

______. Romanesque: for violin, viola, and piano. Edited by Robert Cavally. San Antonio: Southern Music, 1988.

______. Romanesque: pour flute, alto et piano. Paris: Heugel and Cie, 1910.

Hansen, Richard K. The American Wind Band: A Cultural History. Chicago: GIA Publications, 2005

Kennedy, Michael ed. "Romanesca (It.), Romanesque (Fr.)." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Oxford Music Online. 19 Jan. 2011 .

Kolb, Philip. Marcel Proust: Selected Letters Volume 2 1904-1909. New York: Oxford University Press, 1989.

______. Marcel Proust: Selected Letters 1880-1903. New York: Doubleday and Company, 1983.

Moulton-Gertig, Suzanne L. "A musical anachronism: Reynaldo Hahn and his music." Ars musica Denver 1, no. 2 (March 1989): 1-13.

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O’Connor, Patrick. "Hahn, Reynaldo." Grove Music Online. Oxford Music Online. 19 Jan. 2011 .

Prestwich, P.F., and Marie Nordlinger. The translation of memories: Recollections of the young Proust. London: Owen London, 1999.

Proust, Marcel. Lettres á Reynaldo Hahn, 3rd ed. Paris: Gallimard, 1956.

Macdonald, Hugh. "Massenet, Jules." Grove Music Online. Oxford Music Online. 19 Jan. 2011 .

“Reynaldo Hahn, a New Suite and the Longy Club,” Boston Transcript, January 14, 1907.

Reynaldo Hahn Official Website. http://reynaldo-hahn.net/ [Accessed 4 August 2010].

Rosengarten, Frank. The Writings of the Young Marcel Proust (1885-1900): An Ideological Critique. New York: Peter Lang Publishing, 2001.

Toff, Nancy. Monarch of the flute: the life of Georges Barrére. New York: Oxford University Press, 2005.

Whitwell, David. Concise History of the Wind Band. Northridge, California: Winds Publishing, 1985. Wood, Elizabeth. “Sapphonics.” In Queering the Pitch; the new gay and lesbian musicology, edited by Philip Brett, Elizabeth Wood, Gary C. Thomas. New York: Routledge, 2006.

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