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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 by 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 Copyright 2011, Jared G. Chase iv 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. v 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 vi 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 1 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.

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