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Home , Der Graf von Luxemburg, Der Zarewitsch, Endlich allein, Eve Queler, Giuditta, Gunther Schuller

Volume 18 Number L \TinterlSpring L997

Journal of the ConductorsGuild

Table of Contents

I

i COMMENTARY

A CONVERSATION \TITH by David Thomas

BOTH SIDESOF THE FENCE 13 by

FRANZ IEHAR, THE coMpLETE cosMopoLrTAN 20 by Edward Michael Gold

SCORES6. PARTS 49 Hanseland Gretelby EngelbertHumperdinck compiledby Kristi Sloniger

BOOKS IN REVIE\T 60

Erich Leinsdorf, Erich Leinsdorfon Music reviewedby John Jay Hilfiger

Edward Heath, Music.A loy For Life reviewedby Henry Bloch

'$flalter Frisch, Brahms:The Four Symphonies reviewedby Kenneth Morgan CONDUCTORS GUILD, INC. Thelma A. Robinson Award Vinners

103 South High Street,Room 6 BeatriceJona Affron Miriam Burns West Chester, PA 19382-3262 Laura Rexroth Annunziata Tomaro Tel.: 610/ 430-6010 Steven Martyn Ztke Fax: 6t0/ 430-6034 'Vinner E-mail address:[email protected] Max Rudolf Award W'ebsite:www. condudors guild.org Officers tournal of tbe ConductorsGuild President Barbara Schubert President-Elect ....'WesKenney Editor .....Jacques Voois Vice President .....Harlan D. Parker AssociateEditor .... David Daniels Secretary Mark Ettinger Treasurer Thomas Anderson Editor-at-large Jonathan Sternberg PastPresident...... Adrian Gnam

Board of Directors Contributing Editors to Vol. 18, No. 1

Lukas Foss Timothv Tull Nurhan Arman Henry Bloch'r Voois Victoria Bond Emily Freeman Brown Jacques David Lewis Crosbv Murray Gross Robert Gutter Martin Hardy JosephHenry Kenneth Kiesler Contributing Authors to Vol. 12, No. 2 Andrew Kurtz TaniaJ. Le6n Michael Luxner Frederick Morden Henry Bloch Edward Michael Gold Melinda O'Neal Brian Priestman JohnJay Hilfiger Kenneth Morgan Eve Queler Kirk E. Smith Kristi Sloniger David Thomas Jonathan Sternberg'r' Leslie Stewart Barry Tuckwell \Wagar JacquesVoois Jeannine Diane M. \flittry Tsung Yeh Burton Zipser '? ex-offi.cio Production Staff

Administrative Director J.rdy A. Voois Advisory Council Publications Coordinator HannyBleeker'White Production Linco Printing Co., Inc. Charles Ansbacher Michael Charry Sergiu Comissiona Harold Farberman The publication date of tlte present issue of the Lukas Foss SamuelJones JounNer oF THECoNoucrons GuIro is Summer, L998; Daniel Lewis Larry Newland consequentlytbe publication date and tbe issuedate do Maurice Peress Donald Portnoy not coincide. Gunther Schuller Evan \flhallon Effectiae Volume 13, rle JounNer oF THE CoNoucroRs Gurro hasbeen published semi-annually, the tuo issuesbeing numbered I and 2; the seasonal TheodoreThomas Award'V'inners referencesremain unchanged,as is tbejournal's lengtb. The ICG's editors and staff, in eoaluating mate- Leon Barzin rial acceptedfor publication, utill determine a.ppro- priate credit for sucb contributions. Margaret Hillis Library of CongressNo. 82-644733. @ Max Rudolf Copyrigbt 1998 by the Conductors Guild, Inc. Sir All rights reserved. /SSN# 0734-1032 Commentary

The year 2000, a uniquemoment in the lives of ev- to providea cogentexposition ofthe variousfeatures con- eryonewho will experienceit. On its eve, champagne tainedin theproposal. One whom I remembermostfondly corks will fly in unprecedentednumbers. If the Y2K wasBeatrice Vradenburg, then manager of the Colorado computerglitch is solvedand correctivesoftware has by SpringsSymphony. When her voice was needed,Bea thenbeen developed and widely distributed,even the supportedthe Guild's admissioninto the ASOL andcon- leadersof government,business, and communications veyed much-neededinsights to those of her board col- will join the festivities,probably with a gustobordering leagueswho wereeither undecided or opposedto the plan. on giddiness. Perhapsthe most persuasiveboard member at the Although it might not raise an eyebrow beyond the Memphisconference was the lateMorton Gould,a gentle- fields of music and ,when the calendarturns man possessedof a delightful, irresistiblewit and,when to 2000the ConductorsGuild will be in its twenty-sixth needed,an arrestingeloquence. According to all reports, yearof operationand will commencethe official celebra- Morton (he rarely allowed a fellow professionalto call tion of its silver anniversary. him 'Mr. Gould' for very long) used convincingargu- The proposalto form the Guild as a division of the mentsto facilitatethe Guild's admissioninto the League. American SymphonyOrchestra League was developed He was a genuinechampion of our cause;the CG owes andput forth by Harold Farbermanand severalother con- him andhis memoryan enormousdebt of gratitude. ductorsat the League's1974 annual conference in Mem- After theproposal passed, a hostof conductorvolun- phis, Tennessee.One year later, at the ASOL's 1975 teersworked throughout the following twelve monthsto "Conductors' conferencein San Diego, California, the producethe Guild's bylaws,identiff its mission,establish Guild of the American SymphonyOrchestra League" was its operationalstructure, and develop an organizational officially launched. philosophythat would be in placefor the SanDiego Con- The eventsat the Memphis conferenceand the orga- ferenceand the birth of the CG. nizational year leading to San Diego were far lesspro Now, back to the future. In the fall of 2000, the formathan onemight imagine.The youngermembers of Journol of the ConductorsGuildwill celebratethe twen- the CG shouldunderstand that duringthe 1970sthe pro- tiethanniversary of thepublication of Vol. l, No. 1. It is prietary atmospherethat existedin the music world was not our intention,however, to rematn"statusquo" until antitheticalto the idea of an organizationthat would unite thattime; in 1999we hopeto addnew or reinstateprevi- conductorsof seriousmusic under a singleumbrella. Upon ous featuresin the JCG. Previousfeatures? Keep in learningabout the proposal,many in the music industry mind that duringthe history of theJournal,, several topic "What asked, will this CG do for and with its member- areaswere established by memberswho, for professional "conductor's ship?" Suddenly,concepts such as a union" or personalreasons, had to discontinuethem. Serieson "national anda conductors'strike" formed in the minds suchtopics as program building and critiquing, theme, of many, some of whom were then on the board of the light classic,and pops programming, publishers' corner, ASOL and in a position to block approvalof the new and forgotten-yet-qualityliterature were among them. division. Of additionalconcern to the entireLeague board Newtopic areasnow beingconsidered include , CD wasthe fact thatthe bulk of the CG's initial membership reviews,and the styleand content of pre-concerttalks to would certainly be drawn from the existing conductor the audience.Additional ideasare welcome; a new sur- membersof the ASOL, which, if memory serves,then vey of readerpreferences is being contemplated.Natu- numberedin the 700 to 900 range. Justthe prospectof rally, for any suchexpansion to be successful,more area having many of the ASOL's conductormembers orga- andassistant editors will be needed. nized into a separatedivision mademany uneasy,despite Which bringsus to the purposeof the openingnarra- the considerablebenefits that suchan arrangementwould tive: a retrospectiveof the productivevolunteerism that producefor boththe ASOL and its conductormembers. took placein theGuild duringits afFrliationwith theLeague On the positive side was the fact that in 1974,the and in the early yearsof independence.Between 1974 ASOL boardincluded several members who werequick and 1985the Washingtonoffices ofthe ASOL processed to seetheproposal's long-term advantages; each was ready continuedon page 64

JCG Vol.18. No.I I A Conversationwith Lukas Foss

by David Thomas

you, but I am not the leastbit Thefollowing article is a compositeof an in- LF: This may surprise terviewwith Lukas,Fossconducted by David Tho- concernedabout structure. I let structuretake care masin on February 13, 1998,and of itself, an approachthat usually works for me. In three pre-concert talks by Maestro Foss,given so many words,I don't carewhether a work devel- at (Jniversityon |rlovemberI I and Decem- opsthe form of a sonataor any other form during the berB, 1997,and March 30, 1998. It is published compositionalprocess. here in an edited version with permission of the author and Mr. Foss. DT: In your opinion,what elements need to bepresent in "greatmusic?"

2k*tt?kJ

2 JCG vol.18, No. l Violino 1.

Violino 2.

Viola

Violoncello et Basso.

Example I: ,Symphony I{o. 5, Movement III, meosuresI60-173.

z-,----

tt l^lf.---5-- - tt l^lFr \-S_-- tl ?^iFi--S'-- tt r' f->

rF-F'fi-p'r-.t'fi-p' RDt f*-D'ft,F ' RF' r,*-D'ilr*F ' h-D' r -tr Example2: Ludwigvan Beethoven,Symphony No. 7, MovementIII, measures189-208, clarineis, bassoons, and horns.

JCG Vol. 18, No. I 3 Example3: Ludwig van Beethoven,Symphony No. 7, MovementIV, measuresq00-40g, strings only. The half-steppattern (E-D#) in the low strings begins at m. 389. abouthumor in music;it took placeat Bemstein'shouse. orchestraarrives at that passage,I turn to the basses I mentionedhumor in Beethoven,and Rubinsteinre- andcellos and tell them to play as loudly asthey "There can; plied, is no humorin Beethoven!"Then Lenny onceI went so far as to double the low string "Go lines said, on Lukas,show him; showhim your example with bassoons,so we could really hearit. It is fascinat- in the Fifth." (Of course,I hadpreviously shown it to ing, becausenobody but Beethovencould have written Lenny.) So I playedit for Rubinstein,and I think it it, first to usethe repeatedhalf-step interval at all, and madea dent. He seemedsomewhat convinced. thento addemphasis to it in that fashion. I think that "humorous," There are many other examplesof humor in sectionfits the description althoughthat Beethoven'sworks, althoughnot all equally obvi- descriptionupsets some people. ous. For example,in theScherzo ofthe SeventhSyrtt- Once,a long time &go,in Israel,I usedthis same phony the SecondHorn plays a repeatingsemitone example,and a teacherbecame angry, stoodup, and "I @laysExample 2 and stops at repeateddissonant said, don't seeany needto talk aboutBeethoven chord, "First "I n l9l) in termsof ajoke." of all," I replied, didn't Let me stophere for a minute. This exampleis say it was a joke, I said it demonstrateda senseof where Beethovencreated Stravinsky. You will not find humor;secondly, not only did Beethovenhave a sense amore Stravinsky-likemoment than this one. The way of humor, he also had gonorrhea."pretty bad! So, he orchestratedthe passage,putting therepeated half- all right, I got carriedaway ! At that moment I guess steps in the , is almostobscene. One definitely I .justhad to say somethingnaughty! The episode gets thefeeling that he meantit to be fi.rnny.That is why told me that many peoplehave the wrong impression it is a mistake "humor." for a conductorto reachthe D major about They think it is the oppositeof seri- sectionand play it as if the Emperor were making a ousness. It is indeed so when it is "locker-room solemn entrance. It should be more brutal and un- humor" (like the abovejoke), but when it is true hu- couth. mor, it is not. Even the works of the most tragic Beethoven's fascinationwith that half-stepinter- poetscontain humor. In my opinion, whena work of val is so great that after using it in the Scherzo,he art doesnot containsome humor, it becomessolemn thenbrings it backin theAllegro con brio, a move- rather than serious. I think it is very important to ment which structurallyhas nothing at all to do with have humor in the arts in general,and in music in a half-step QtlaysExample 3). Conductorsnever particular. pay attentionto that interval in the finale When the I alsofeel it is importantnot to labelcomposers. 4 JCG vot. 18.No. I We tendto placeeach renowned composer in a cat- DT: Whatcan you tell me aboutStravinsky? "Bach egory. We saythat is Baroque." The wonder- ful thing aboutgreat music is that it cannotbe wedged LF: Stravinskywas a big influencein my life. I met into a singleera or group. It transcendseverything. him whenI wasin Boston. I hadjust beenappointed Bach canbe romantic,which is the reasonhe did not orchestralpianist for the BostonSymphony. He ar- "out go of fashion"during the eraof Romanticism. rived to guestconduct. I was very intriguedby the Instead,his romanticside was discovered.The same way he conducted.He poundedthe rhythm andlis- "I is true of Beethoven. When Romanticism was no tened. He'd stopand say, want thestaccato more "aw' longerfashionable, he was thoughtof asa structural- like'aw!"'I couldhear all these s" goingon in ist. We canthink ofthe mastersin a variety of ways, the orchestra,as they imitated and pokedfun at him; becausegreat composers transcend all the limitations but I could hearexactly what he meantby that "aw": "category." of a given Nothing is more detrimental a kind of ponderousstaccato,, not the dry staccato "limit" to a good performancethan to a composer. you norrnallyget in balletmusic. For instance,many conductorstry to appearelegant I was intrigued. I thoughthe wasthe most inter- when conductingMozart. Then,when they conduct estingguest conductor that came to the BostonSy-- Beethoven,they're all muscle.To me,that makes no phony while I was there. But everybodyelse dis- sense,because I considerMozart to be the Shakes- agreedwith me. I think the audiencehad a particular peareof music. Eleganceis just one aspectin the problemwith Stravinsky'sconducting because he was broadspectrum of his style. the exactopposite of'the stereotypeconductor. He didn't walk onto the stageof SymphonyHall the way "Here DT: Doescomposing come easy to you? most conductorsdid: I am, the greatman of music," full of himself as it were. He walked on LF: SometimesI get composer's block. I remember stagequickly as if he were going to the bathroom! Oliver Knussenonce asking me what to do when he It's not surprisingthat he did not make it as a con- "Write developedwriter's block. I told him, a bad ductor. He was very critical of other conductors, piece!,"but when I try to follow my own advice,,it evenof LeonardBernstein. He liked conductorsto doesn't always work! I really have no recipe for be extremelyrhythmic, as if they were holding the composing,except that you must love what you do. reins. You haveto get involved and love the processand Stravinskywas kind enoughto visit my studio "dutiful" resultsof your work; never,ever just write and listen to my music, which was a greatcompli- stuff. That rs the most important conceptfor young ment. We becamefriends. At one point he asked, "Why composersto absorb. Also, neverwrite something did you give this part to the ?""Be- in a specific style,just becauseit happensto be causett soundslike a trumpettune," I replied. He "trendy" "It at the time. For one thing, anythingthat is echoed, soundslike a trumpettune? Thengive it trendyis alreadybehind . It is very impor- to theviolin!" To createa fine melodyand then give tantto rememberthat all greatcomposers were rebels it to the obviousinstrument. that was too much of a andmisfits in their own time. clichdfor him. Stravinskynever taught, never accepted students, DT: In your lifetime, I assumethat you met most of but he was very perceptivein his own way. I re- the greatcomposers of this century. memberthe night we first met. After he had visited my studio,we went out to a party. He took some LF: I usedto know them all, with the exceptionof brandyout of his pocket and begandrinking. I re- "That Ivesand Prokofiev. I havemet everyoneelse. memberthinking to myself, was a nice session

JCG Vol. 18.No. I inja--' Syncopationmeans we just had, but he didn't really say much aboutmy type of syncopationfound beat. Here, it is the music,whether he liked it or not." Then,after he had that somethingfights a steady "You unsteadyand changes. drunk a little brandy,he calledme over and said, steadybeat itself that becomes that beginsto movewhile know, Lukas, my teacherwas Rimsky-Korsakov!" It is like walking on a floor "Well' "Yes, I know that," I answered.He continued, your gait remainsregular. in the March Royale(ployt Rimsky-Korsakovnever really let me think that per- It is bestdemonstrated chordsof the first hapsI was a little different from the others'maybe a Example4);theaccompanimental the meterimmedi- little special,but I knew that he knew," andhe nudged 5/8 bar are on the beat,but since had beenon the down- me with his elbow. That liule gesturekept me going ately shiftsto 2l4,where they now suddenlyon the off-beats. And for the next threeYears. beats,they are onceagain In March,I'll be conductingL'Histoire du Soldat then, with the retum of 5/8 bars,the accents Stavinsky more at BostonUniversity, using my own translation.It is occnron the down-beats (Example 4. "static rhythm." a uniquepiece. Evenwithin Stravinsky'soeuvre, it orlessinvented that. I call it quality is found in Le is unique. If you look at Stravinsky'searly works, The samekind of static " of the Young Firebird for example,you'll find a lot of Russian Sacre du Printemps Qtlays Dances approach tradition,the legacyof Rimsky-Korsakovand of the Girls," mm. I-8, Example5). Stravinsky's of some- Frenchtradition, especially of Ravel. Even rn Les to rhythm, for example,is quite the opposite rhythm is a Noces,onecan hear the influenceof Russianpeasant one like Beethoven. With Beethoven, moves music. However, when you arrive at L'Histoire du marchtowards God, somethingdynamic that When I Soldat, it's pure Stravinsky. There are no external forward. With Stravinskythe rhythm is static. indicatethe accents.I influences,other than a little iazz. But it is so static conductStravinsky, I don't even "jazry" out that that the term no longerapplies . Latet on you just let them happenby themselves,to bring get neoclassicStravinsky and even twelve-tone static feeling. Actually, in later works Stravinsky "petrified" Stravinsky,but L'Histoire du Soldat is the most appliesthis kind of approachto harmony, "stravinsky" in the uniquely pieceof all. but a harmonythat does not move forward, ffi In order to write it, he actually abandonedwhat Symphonyof Psalms Qtlays third movement,Ex- he did so well before: orchestration. He himself ample 6). It is a slow, ponderoussort of idea. "wrote said that he for the instruments,"he did not I believe the first time I conductedL'Histoire "dressed orchestrate.By this point he no longer was in Boston,with SarahCaldwell as the narator; things up," becausehe had rejectedthe conceptof I think Del Tredici was the soldier; Michael "dressingup" any of his works. He wrote for the Steinberg,the music critic, was the devil. I well instruments,which areviolin, double ,clarinet, remember how this arrangementcame about. con- bassoon,trumpet, . In other words, two Steinberghad written a review of one of my to brass,two winds, two strings,and percussion.He certsin which he assertedthat what I had done an choseseven instruments that are so different from Mozart' s version of Handel's Messiah was "Not eachother, you cannotpossibly blend them to makea abomination. He wrote, only did Mr. Foss "creamy" beautiful, kind of sound. This type of in- not leavea singlemovement without someform of strumentaljuxtaposition will alwayscreate a kind of a cut, he didn't even realizethat one shouldn't do "naked" sound,no matter what you do with it. Of Mozart's affangement in the first place." He went ". course,that speaksin favor of the work, the way it on to say, . . . the young shouldnot be exposedto 'Histoire turned out. I is also fascinatingfrom virtu- this conductor," or somethingto that effect. I had ally every other point of view. The rhythm, for in- never met him, but I found his telephonenumber, "This stance,is typical Stravinsky. It does not have the called him and said is type-casting. We are

6 JCG vol. 1B,Irlo. I .tr mais mciDs futqu les bcis

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vv VV vvvvvv

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"Dances Example5: ,Le Sacredu Printemps, of the YoungGirls," RehearsalI3, measuresl-8.

JCG Vol. 18.No. I 7 aJ ltl rll lrlr [.au-da-te E-um in cym - ba - lis ltl ttl .PArD .ehe )e4bbtttl

o I trl b€ ne so-nan-[ bus,

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Example 6: Igor Stravinslqt,Symphony of Psalms, MovementIII, Rehearsal22, measuresl-6.

"because lookingfor someoneto be the devil rn L'Histoire du to tell you," I replied, I know you don't "Who?," Soldat." There was a moment of silence,and then like him." He asked, so I confessed,"Rich- he agreed! After he played the devil in that perfor- ard Wagner." Surprised,he asked,"What makesyou mance,we becamefriends. think I don't like him?" I tactfully pointedout, "You Therewere even stranger performances later on. wrote in your autobiographythat his music was 'movie "Well, I rememberone which I conductedwith theNew York music."' I didn't really meanthat," "I Philharmonic;the devil wasJohn Cage, the soldierwas he said, know Wagner is a great composer,and Elliot Carter,and the narrator was . very important, but I was afraid at the time that 'things.' Quitea star-studdedcombination! I alsodid onewith Wagner was dangerousfor Now I realize 'things,' Frank Zappa,the guy from Mothers of Invention. I that anything importantis dangerousfor and "I'm 'things' invited him to be the devil, and he said, sorry/, it's up to to watchout for themselves!" "Why, but I have to decline." Surprised,I asked, do It was a great statementthat I will never forget. "but you haveanother engagement?"'No," he replied, Around the turn of the century, Wagner was viewed "Why I can't alwaysbe the badguy." I then suggested, as the number-onecomposer, and everyonestarted "Oh, don't you bethe narrator?" He exclaimed, can I imitating what he was doing. Even Frenchcomposers be the narrator?AII right!" Thus he becamemy nar- like Debussyhad a Wagnerianstreak in their music, rator,and Ernest Fleishman took the role ofthe devil. whetherthey admittedit or not. All musicwritten at "You Stravinsky once said, must always steal, that time had a Wagnerian element, even Arnold but neverfrom yourself." That is a beautifulremark. Schoenberg's.It is impossibleto think ofthe twelve- Whenyou stealfrom yourself,you learnnothing. tone schoolwithout the Wagnerianinfluence on the You add nothing to your oeuvre. When you steal chromaticisminvolved in it. from others- and of courseStravinsky didn't really "make "borrow" meansteal, he meant your own" or DT: You haveseen a lot oftrends comeand go. How - thenyou enrichyour vocabulary.I think we should do you feel aboutthe stateof music today? neverlimit ourselves. I rememberonce discussing nineteenth-century LF: Our current era is not a great one for music, "Lukas, musicwith Stravinsky.He askedme, who is mostly becausethe media has comrpted us some- "I your favoritenineteenth-century composer?" hate what. Many performersseem to think that if they do 8 JCG vol.tB. No.I not appearon television, they might as well not ex- penseof all the others. ist. They'll do anythingto be on televisionor in the Is it not true that many considerchance music to newspapers.In my opinion that is not a healthyatti- be the oppositeof serialmusic? Yet when one lis- tude. Today, when an individual showstalent, the tens to a twelve-tone piece and a piece of chance prevailing sentimentis, "Oh, anothertalent, so what?" music,very often the two works will havemany simi- When I was your d5e, talent would open doors. larities. When you think about it, what doesthe se- Nowadays,succes^r opens doors. This emphasison ries achieve? It allows for surprises,because the successis not good,because success does not mean twelve-tonerow provides pitchesin a uniquejuxta- that a performeris interesting.Unfortunately, today position that can be used to composeand produce we live in a verv success-orientedsocietv. wonderful surprises.The samething happenswhen one throws dice, as Cagedid. The resultsare unan- DT: Which oftoday's up-and-comingcomposers do ticipated and unpredictable. It is no wonder, there- you like? fore, that music written in thesetwo styles actually soundsvery similar. They are not oppositesat all, LF: That is a diffrcult questionto answer,because I and thereforethere is no reasonwhy one cannotuse am alwaysafraid that I'11leave someone out. There both techniques:chance in one moment, a seriesin is no onetoday whom I like the way I like Stravinsky. the next. In my opinion, thereis no one of that staturewriting Then we have the minimalist school,which can today. Quite frequently, I may admire one pieceby a be very boring at times. It is like a drug that makes composerbut not the next. Anyway, I am not an evalu- you feel good for a few moments,but after a brief ator. I must leavethat to the critics. euphoriayou areas miserable as you werebefore. When I examinedthe minimalist idea, I wondered,"What's DT: How do you feel about the different schoolsof life like? It's minimalist! You get up in the morn- compositionthat have existed,and suchthings asthe ing, havebreakfast, work, have lunch, work, have polarity between the serialists,neoclassicists, and dinner. . . ." Yet, althougheveryday is the same,it is neoromantics? also different. So why not do a minimal piecethat is like life, the sameand different?Have it slowly move LF: I don't believein belongingto any schoolat all. towardsthe otherlife, or death,or whateveryou pre- "imitate I think we're confusing issueswhen we talk about fer to call it, and let it life," rather than be "belonging " to schools." If someoneclaims to be a "repetition se nz o development. "twelve-tone composer,"it is as if Bach said,"I am To be minimalist is to confineoneself to a small a fugue composer" and then refusedto write any- area. In music and the arts. we are fortunateto be thing but fugues. It does not make sense. We are ableto haveour cakeand eat it too, althoughSteven confusingstyle and technique. It is my opinion that Reich and Philip Glasswould probably not agree. the more techniquesa composeremploys, the richer However, I have written pieceslike that. I wrote a his or her vocabularywill be. piece called Solo Observed,or Solofor . It This is why I personallymove from moment to doesall of the forbiddenthings. It is minimal. Ev- momentbetween twelve-tone, tonal, minimalist, and ery bar seemsto be the sameas the next,but it gradu- chance. I like to use all available techniques,be- ally rnovesfrom twelve-toneto pop. causethat makesthe music adventurous.Assimilat- ing all thesetechniques is essential.Some theories DT: LukasFoss wrote pop music? ofmusic andcomposing are interesting, but oneshould not adhereexclusively to any single one at the ex- LF: It's not really pop, but it haspop overtones.It

JCG Vol. 18,No. I 9 endsin a very diatonicmanner, not at all in the twelve- LF: Yes. I would sayto my fellow-performers,"Why tone techniquewith which it began. I like to treat don'tyoudothis, and youdo that.. . ."'We'd try it and each of these techniquesas scaffolds that I can tapeit. Thenwe'd try to rememberwhat wasgood and discard at any given moment. If I want to leave forget what was bad, and do it again. That's how we the row, I do so. To Webernthe row was sacrosanct; worked. Time Cyclewas not supposedto haveimpro- for him it was a greatand wonderful reflection of visationsatall. What actuallyhappened is very funny. order,a holy order. To me it's a scaffoldthat canbe Bernsteinvisited me in California. I mentioned discarded. how much I was looking forward to him doing the DT: You foundedan im- premiereofthe piece,and "Yes, provisational group at he complained, but onepoint in your career. why did you give your Impr ovi s ational Conc er to LF: That's right. I be- to Ormandy?""Well, you came interested in got Time Cycle," I said, chance long before the and he shot back, "Yes, "aleatoric" term had but that doesn'thave any penetratedthe jargon. improvisation." As a When I created that joke I answered,"Well, group at UCLA, I had we can always appear hoped to free my stu- like the clowns of dents from the tyranny commedia dell'arte and of the printed note; ac- come out between the tually, what it did was songsand improvise!" transform me into a The next dayI got aphone very avant-gardecom- call from the New York "You poser at a time when I Philharmonic: are thought I was going to invited to play with your staya neoclassicist.We group for the premiere." madea recordingof Time When I heard that, I "Ob Cyclethat Bemstein con- thoughg how terrible! ducted; it hasimprovisa- Now my piece will go tional interludes. The down the drain!" But it didn't, it worked. lnterest- is doing Time Cycle next week, with ing, how suchthings happen. conducting. Therewill be no improvisationalin- terludes,because there is no group today that can DT: I read anotherof your interviews in which you do it successfully. That group of mine was amaz- saidyou werejealous of jazzmusicianswho impro- ing. I still don't know how we did it. Whateverwe vised on a regular basis,and your envy is actually did, it worked out well. what promptedyour improvisatoryproject.

DT: Did you have a framework for eachimprovi- LF: That's exactlyright. That's how it began. For sation? years I tried to imitate neoclassicmusic in my im- 10 JCG vot. 18,No. I "music provisation,but it always soundedlike badly great composertoday?" I guessone does it through remembered."It didn't soundfresh. love. Love for music. Passion.If thereis no passion within you while you're composing,the music will be DT: Which teacherinfluenced you the most? stultified. Also, retainall the love for the extantmusic that madeone becomea musicianin the first place. LF: My first onewas terrific, JuliusHerford; he was What made youbecomea musician? my teacherin . He eventuallycame to America and becameRobert Shaw's teacher. Later on, I had DT: Berhoz. somewonderful teachers,for example, Lazar Levy in Paris,FritzReiner at Curtis Institute. LF: Berlioz! That'sinteresting. Yes, I cansee some In America, atagefifteen, I decidedthat I wanted of him in your orchestration. to studywith Hindemith; when I was seventeenI au- ditioned for him. He acceptedme into his classat DT: His Memoirsreally intriguedme. When I first . Later on I also studied with him at readthem, I was for the most part interestedonly in Yale. The unfortunatething was that just as I be- , but during the reading I reahzedthat Berlioz gan studying with him, I discoveredStravinsky. hadthe s€rmesort of recklesslycreative genius as my What timing! When my allegiance shifted to favorite jazzpersonalities.The stylistic differences Stravinsky,Hindemith ceasedbeing my God,and I betweenjazz and classicalmusic, which I had pre- becamea very rebelliousteenager in class,so rebel- viously seenas barriers,melted away as I discov- lious that he kicked me out on severaloccasions! In eredtreasures in both. fact,he went so far asto write a letterto Koussevitzky "I (which Koussevit*y later showedme), saying, can- LF: Auden onceasked me to setto musicone of his not teachLukas Foss,because he wants to know but little librettos,but I didn't do it. It was aboutthree "That's doesn'twant to follow." KoussevitzkJtold me, composerswho fell in love with the samegirl. The wonderfirl! That's what I want my studentsto do. I composerswere Berlioz, Mendelssohn, and Rossini. will make him take you back." As you can see,I was To each,the girl meantsomething different. Berlioz very lucky in thosedays! wroteher passionate love letters. Mendelssohnsaw Later on, after I had completed-y studieswith her asa sisterwhom he couldn't touch.Rossini con- Hindemith,we becamefriends. He was an interesting sideredher a greatcook, and so he married her. teacher,very dogmaticin a certainGermanic way. He To have a jazz background is perfectly fine. "Why would suggest, not write in my style while you Bernsteinalso had a jq-- background;I didn't. I be- studywith me, andfind your own self later?" Actually, cameintereste dinjazzlater in life. Recently,I haven't that is not a badmethod. When you studywith a teacher listenedto jazzthat much. At onepoint I really liked who is a sort of internationalguru, you might as well OrnetteColeman and was friends with the members enterhis world andlive in it for the duration. As I look of the Modern JazzQuartet. back,I don't think he waswrong. In a letterhe sentme hewrote,"Ateacher is like a doctor. Ifyou don't want DT: Did you evermeet Milhaud? to follow his advice, go to anotherdoctor," a recom- mendationwhich alsomakes perfect sense. LF: WhenI waseleven years old andliving in Paris, my teacher took me to the apartment of Darius DT : Thenhow doesone become a greatcomposer today? Milhaud. I showedhim my music, he was very sweet to me, and that was that. Fifteen yearslater I met him "Howdoes LF: That'squite a question! onebecome a againin Aspen. Whenhe first sawme, he exclaimed,

JCG VoL 18,No. I 11 "You're LukasFoss, I rememberyou!" I was quite flute and strings. He was a very generousperson, "You surprisedand asked, rememberthat little boy?" but at the sametime a very strongperson. He was "Yes," he answered,"I rememberwhat you said to particularlygenerous to his colleagues,which in me. After I had told you that your music was very this day and age is unusual. He was amazingly nice but sortof Schumannesque,I remarked that when prolific, composedso effortlessly,wrote over one I was your ageI wrote modernmusic. I well recall hundredfilm scores,and worked all the time. What your response:'Yes, but all that modernstuff won't is interestingabout his music is that it is not writ- "Japanese" last!"' When I heardthat, I nearly fell over! You ten exclusivelyin a style or any other just don't visit the mostfamous French composer of identifiableone; it strikesme as a mixture of French his time and speakto him llke thatl andJapanese. He is the only Japanesecomposer I know in whose music one sensesRavel and DT: I attendedthe performanceof your left-hand Debussy. Yet, in its own distinct woy, it remains piano concertolast year. Is therea recordingof that quite Asian. His music is always interesting,and planned? beautifully orchestrated. His last work was in- spiredby *y wife's paintings,or so he wrote us LF: Therestill is no recordingplanned. I'm not a in a letter. He was a true friend. networker. I don't try to makethings happen. They eitherhappen or they don't. DT: I j ust boughta recordingof your clarinetcon- certo. SinceI alreadyowned your Tashichamber DT: Which orchestrasare you now conducting? piece,I quickly reahzedthat the concertowas the samepiece fully orchestrated. LF: I occasionallyreturn to the Brooklyn and Mil- waukeeorchestras, but mostly I just guestconduct. LF: Yes. There are some longer cadenzasin the That bringsup anotherproblem in today'smusic . It's interestingthat you haveall of this world: when I am engagedas a conductor,the only informationon me. You know me too well! twentieth-centurycomposers I am askedto perform arethe successfulones who aregone: Shostakovich, DT: The first recordingof yours that I boughthad Prokofiev,Bernstein, Copland If I suggesta vocal music on it, including Mark Twain songs, composerwho might be unfamiliar to the audience,I Time Cycle. . . . amtold, "Oh no, we can't do that." Today,orchestra administratorsare so afraid they will lose thetr au- LF: The chamberversion of Time Cvcle. diences. When I was music director of my own or- chestrasand ensembles, I introduceda greatamount of DT: You certainly get a lot of interestingeffects and musicthat certainlvwas unfamiliar to mv audiences. colors out of the instrumentsthat you select for a given piece. DT: I found it exciting that the PhiladelphiaOr- chestrarecently programmed a Takemitsupiece; LF: The instrumentsand their effectsare part of the unfortunately,the conductorfell ill. music's original inspiration,not part of the orches- tration. I never ask myself, "How should that be "proper" LF: For years,Takemitsu was a good friend of orchestrated?,"and then seek the instru- mine. He died recently,and I miss him. I wrote a mentsto achievethose effects; the effectsI reachfor piece in his honor, an elegy, For Toru. It is for arepart of the composition'sinitial thoughtsand con-

12 JCG vol.18. No. I siderations. For example, in the clarinet concerto listenedto it again. It's difficult for me to talk about the clarinetistwalks over to the timpani, putsthe bell my own music. I'm not my own connoisseur.I'd of the clarineton the timpani head,and plays the pas- ratherhear Beethoven and Mozart. Bach. They were sageso as to producethat very specialsound; it is a the oneswho mademe becomea composer.Their procedureI discoveredin the improvisational ex- music is still new to me. I try to conducttheir works periments.I usedit at that moment in the concertoto as if the ink on the paperwere not yet dry, and con- producea specificsound. It is not orchestration. duct modernmusic with the respectand awe usually grantedonly to the classics. DT: To what music do you currentlv listen? DT: Well, Mr. Foss,it certainlyhas been a pleasure LF: Justthe music people send me. SometimesI listen meetingwith you today. You have beenmore than to piecesthat I have to conduct, if I haven't heard generouswith your time andknowledge, have shared themin a while. I'm not thatmuch of a listener. quite a bit of your wisdom and vastexperience, and I look forward to following your careerinto the_ DT: Do you listento your own music? twenty-first century! Thank you so much. G

LF: RecentlyI revisitedEchoi. It's oneof my major works. It's probably the onethat took me the longest David Thomasholds an M.M. degreefrom the to write. It's a half-hourpiece that was composed Peabody Conservatory of Music in Baltimore, over a spanof two-and-a-halfyears. During that pe- Maryland. He currently teachespiano and per- riod, I wentcrazy;I thoughtI wasgoing insane. When forms asjazz pianist in the aree. "Lukas, Bernsteinsaw it, he said, this looks like your Mr. Thomas was recently awarded the 1998 last will." It's for clarinet, cello, percussion,and prize for Young Composers by the Orchestral piano. I have to give a lectureon it next week, so I past spring.

Both Sidesof the Fence

by Barry Tuckwell

Thefollowing article is an edited version of on It is curiousthat when someonein industry rises addresspresented by the outhor to theAnnual Con- throughthe ranks- from sweepingthe floors to be- ference of the Conductors Guild in Washington, coming president- he or she is praised;often the DC, on Jonuary I I, 1998. It is published here experienceof leaming first-handhow things work at with the author's permission. everylevel is cited asone ofthe major reasonsthat this t(******* is the perfectperson to run the entire organization.

JCG Vol. 18.No. I 13 In musicthis doesnot apply. We now live in an tuitive musician,with a greatgift for registrationand era of specialization. Pianistsonly play the piano, improvisation.The music I heardin public consisted singersonly sing, conductorsonly conduct,and un- mostly of the popular songsof the time, but at home, questionablyorchestral musicians definitely play our music was classical. only in orchestras. My sister was a very talented violinist, and Historically, in many earlier eras,this has not through her I learnedthe basic violin repertoire. beenthe case.Beethoven began his musicallife play- Although I had always played the piano, I tried to ing the pianoand the ; he alsoconducted. Ini- follow in my sister's footstepsand becomean ac- tially, Richard Straussstarted his careeras a violin- complishedviolinist. Therewas, however,a prob- ist; later,although composing at the time, he waspub- lem: I was not very good at either instrument. Later licly perceivedas a conductoronly. It wasnot until on, when my legshad grown long enough,I studied the appearanceof Don Juan that he was recognized the organ,not only becausemy father played it, but as "a composer." Lest we forget, PierreMonteux becauseI was captivatedby the wonderful soundsit played the viola at the Opdra Comique before he couldproduce. "a became conductor." Becoming an accomplishedorganist, however, Personally,I have had a wonderful and varied alsoseemed out of the question;although I loved the life in music and look forward to continuing well organ,it frightenedthe life out of me. I wasjust not into the future. I have donejust about everything: good enough,and asthose of you who play the organ playedin symphofly,opera, and ballet orchestras,in know, you calrnotcover up mistakeson the organas chambermusic groups,in the pit for Broadwaymu- you can on the piano. I was frustrated: I could read sicals,in studiosfor movies and jingles, and of the music (in fact,I could readmusic before I could course,performed as a soloist. readwords), but could not play it. During my child- There was one unusualbut memorableevent: I hood,therefore, I neverseriously considered music spentan entireday in a studiowith Paul McCartney, as a profession. just experimentingwith different ways of presenting But a single,seemingly innocent incident changed a song. Along more traditional lines, I have been my life. My sister,by thena professionalviolinist in involved in administration,and even once was a the Sydney Symphony Orchestra,was in the musi- musiccritic! I havetaught and continue to teach,and cians' favoritecoffee house with the PrincipalOboe, for the pasttwenty-five yearsI havealso conducted. Sir CharlesMackelras, and the SecondHorn player, Without doubt I was more fortunatethan most, RichardMerewether. Of course,they were discuss- having grown up in a musical environment. My fa- ing andarguing about music. Out ofthe blue,a ques- "What ther was a pianist and organistin Australia, and his tion was raised: are we going to do about threesiblings also were extremely gifted musicians; Bany? He's musicaland must be ableto play some- "How they all had perfectpitch, which my sisterand I in- thing." Mr. Merewethersuggested, aboutthe herited. Growing up, my sisterand I had a favorite horn? I have a spareinstrument and could give him a party trick; it was to get someoneto play several few lessons."Which he did. discordantnotes on the piano for us to identify. W" At my first lesson,he explained the way brass always scored 10006,much to the wondermentof instrumentsare played - about the harmonic series, the people present. Pleasenote, however, that we how to form an embouchure,and so forth. He asked werenot geniuses.We had a gift that camenaturally me to play the concertF below middle C, the fourth to us, for which we neverreceived any training. harmonic. I did asinstructed, but produceda beauti- My father earnedhis living playing the mighty ful C, one harmonic too low. So I missedmy first Wurlitzer. He was a wonderfully instinctiveand in- note! An auspiciousstart for a horn player. But I 14 JCG vol.18. No. l madevery rapid progressand realizedthat this was andwaited. Before long, I realizedI did not havean the instrumentfor me. original idea in my headand abandonedthe experi- At first I thoughtit waseasy; the musicwas slow,, ment. This was extremely forfunate for the music I had to play only one note at a time, and therewere world, as with a bit of encouragement,I might have no chords! However, I was very concernedwhen I becomeyet anothersecond-rate composer. found I would have to transpose. Having perfect When I was fifteen, I securedmy first full-time pitch,I thoughtthis would be a majorproblem. you professionaljob as Third Horn with the Melbourne see,I could neverplay a piano that was out of tune. Symphony Orchestra. Ever since, music, particu- When I was in the choir at St. Andrew's Cathe- larly orchestralmusic, has been an obsession.I re- dral in Sydney,the regularafternoon evensongs were memberbeing surprisedto learnthat Beethovenwrote at best sparselyattended, and frequently there was more than five symphonies. I had learnedonly Num- no congregationat all. On theseoccasions, the choir- bers 1-5 from the first volume of the piano duet ar- masterwould often skip the evensongand askme to rangements.What I did not realize,was that in the play the organ. But for me he never considereda secondvolume there were four more. I discovered start on the big organ, the real one; he regularly the marvelsof Brahms'sorchestral writing. And then, pointed to the little pump organ at the side of the one day, I played Mahler's SecondSymphony with choir stalls. . "Now So, perhapsyou are thinking, what's the When I left Australia to seethe world, I was nine- problem?" Well, the problem was that the pump or- teen years old. I went first to , where I at- ganwas a half-toneflat. And when I playedthe first tendedas many concertsand operasas possible. I chord, I becametotally disoriented;the soundsthat saw Furtwiingler and Erich Kleiber conduct. I also came out were not what I had played; I could not met, for the first time, one of my idols, DennisBrain. reconcile the pitch difference betweenwhat I was Curiously enough,the programmingin London at hearing in my inner ear and what the pump organ that time was very conservative. In Sydney,under was producing. Eventually I got by, by giving the Sir EugeneGoossens, I had played Bruckner sym- pitchesfor the first chord of the hymn and letting the phonies,pieces by Busoni, , and choir singthe restof the hymn asbest it could. so forth. Works such as thesewere just not being I thought I would havethe sameproblem with the performedin the capitalofthe British Commonwealth "Beethoven horn. Fortunately,I quickly found out that the horn at that time. Instead,there were Nights," "Tchaikovsky " "MozartNights," alwaysremained in the samek.y, andthat I only had Ni ghts, etc. to learnnew clefs, so to speak.In fact, I found trans- My first professionalplaying in Englandwas with "piece position to be a of cake," the easy part of a trventy-three-membersummer orchestra in a place playing the horn. But to this duy, I cannot play a called Buxton. We had two symphony concertsa valve horn in any key other than F or B-flat. If it is week and betweenthem we played pops concerts. pitchedin E or A, forget aboutit. I am quite stumped. Most ofthe musiciansdoubled on second(and some- I will never forget the thrill of playing in an or- times third) instruments and also played in shore chestrafor the first time. It was as SecondHorn in dance bands. When I found there were only four Mozart'sOvertwe to Die Entfuhrungaus dem Serail. saxophonesin the big band, a group that played ar- Fortunatelyfor me, the horn partswere in C, sinceat rangementsscored for five, I joined in, playing the that point I had not yet learnedhow to transpose! sax part on the . It was a bit Sometime later, I felt I should compose.I sat unconventional,but I loved it. down at a table with pencil and manuscriptpaper While in Buxton, I auditioned for Sir John andwaited for the inspiration. I waited, and waited, Barbirolli and for the next two yearsplayed with the

JCG Vol. 18, No. I 15 playing for Hall6 Orchestraas Assistant First Horn. I then went This ambition often surfaceswhen one is "musician" to Glasgowto play Third Horn with the ScottishNa- a less-than-capablemaestro, a whom one tional Orchestraand ayearlater to the Bournemouth can seethrough within five minutes of the first re- justification, SymphonyOrchestra where, for the first time, I satin hearsal.It is when, with some you say "I the Principal Horn chair. to yourself; could do betterthan this." This is also Although I washaving a greattime,I truly wanted when a slew of trick questionswill be asked,all to play in London. I felt that if I could not get a intendedto catchthe maestroout. Keep in mind that position there, I might as well return to Austraha, orchestralplayers are always trying to trip you up. where the concertswere more adventurousand the It is part of the game. We, in the LSO, tried it with climate was more like SouthernCalifornia. But a the older conductors,and always failed, but would returnto Australiawas not to happen;in 1955,I was win with the lesscompetent ones. Thesewere hol- namedFirst Horn of the London SymphonyOrches- low victories,however, because when you havegot tra andI remainedthere for thirteenwonderful years. the better of the personin charge,you becomedis- While playing in the Hal16,the ScottishNational, contented,and worse still, cynical. and the Bournemouthorchestras, I was fortunateto I playedfor many conductorsthat ran the gamut play for the greatconductors of the era. Stokowski, of personalitiesand talents from tyrants to wimps; Ormandy,Szell, Schuricht,to name a few of the fa- althoughI did not play for Toscanini,whose verbal mousones. Less famous, yet equallygreat musicians, abusewould never be toleratedtoday, I did play for who are probably forgotten by now, were Argento, GeorgeSzell. He, ,and Toscaniniwere Fjelsted,Leitner, and Ludwig. I treasurehaving far and away the leadingtyrants of their time. playedand recorded with Flagstad,Szigeti, Backhaus, My first meetingwith Szell was during a record- Curzon,and William Primrose. ing sessionof the HandellHarty WaterMusic Suite- During those rehearsalsand concertsI always We got through the first movement relatively un- "Air," had the feeling I was receivingfree music lessons, scathed.Then camethe which, nearthe end, notjust from the conductors,but from the soloistsas has a five-bar section for four muted horns. Well, well. Just imagine playing the opening tutti of this was the moment for Maestro Szell to test the Brahms's SecondPiano Concerto,knowing that FirstHorn, ME! SviatoslavRichter was listeningto you. Think of He analyzed every note, the length,the dynamic, the responsibilityof beginningHIS concerto.I loved the stress,the quality, the intonation. Nothing was it, althoughI was frequentlyscared. left unexamined. I had heardabout his treatmentof "lesson" The London Symphonyis a player-ownedand First Horns,so the did not comeas a com- -operatedorchestra. We hired the manager,the con- plete surprise. Dr. Szell rehearsedthese few bars ductors,and soloists. I was soon made a director, for fifty minutes,while the rest of the orchestrasat and for my last six yearsin the orchestrawas Chair- back and enjoyedthe sport, not unlike a herd of ze- manofthe Board. It wasin thatposition that I learned bras once the lion has singled out one of them for "mu- - aboutthe seamierside of what is now calledthe dinner. In other words, they felt at leasttempo- sic business:"about the wheelingand dealing of the rarily - safe. agents;the commercialside of the recordingindus- His gazewas that of a snake. Hard, unblinking try; marketingand fund raising;ffid, of course,about eyes,magnified through thick, pebble-likelenses. managingorchestral personnel. Although not a direct quote,he would saysomething "I'm In my opinion, it is fair to saythat at somepoint to the effect, not happy aboutthe dotted C in the - - 66ps most orchestralmusicians get a yearningto conduct. first measure" pause you understandme,

16 "xcc vol. 18,I,'lo. I Mr. Tuckwell?" I would nod my acknowledgmentof goodjockey giving a horseits head. the changehe wantedand prepareto play again. But Two notable non-tyrants were he did not conduct,he just continuedto stareat me. and . Theirs was a benevolentdicta- Eventually he would rehearsethe passage again only torship. Monteux was special,and usedto get wor- to expresshis dissatisfactionabout another aspect of ried if we weretoo docile. He knew the entirerep- what I was doing. ertoire of orchestraplayers' tricks, and seemedto It is importantto rememberthat Szell was a for- enjoythem. At timeshe evenencouraged them. If a midablemusician. He was alwaysacidly polite and rehearsalwas becoming routine he would say "'What's courteous.He nevershouted, never threw a tantrum, ze mattair wis you?," fearing we were get- and he was never wrong. You might disagreewith ting bored. Then, in responseto a question,how- his opinion, but on matters of fact he was always everlegitimate, he would just say"Non!" and,with correct. a giggle,continue the rehearsal.We loved him, be- Forty-five minutesafter my first trial - andthere causehe understoodus. Yet he alwaysgot his way,, "I'm weremany more to follow - he said, not happy becausewe respectedhim. about the timbre. Would you play your part Over-correctioncan have negativeresults. An hand-stopped,without the mute?" This threw me into exampleoccurred when I played the StraussFirst a , as the valves on my horn, a wonderful old Horn Concertowith the PhiladelphiaOrchestra. Here Kruspe,leaked like a sieve,and legitimatefingerings I was,starry-eyed, playing in the Academyof Music would be very much out of tune when played where Stokowskiused to reign. And to this day I hand-stopped. However, I managedto remember make no secretof my on-going worship of his un- how to do it, and somehowsurvived my first trial by matchedmanipulation of orchestralsound. After I fire. had finished rehearsing,I sat in the auditorium lis- Another memorableencounter was during a re- tening to that incrediblestring sectionplaying the "Eroica" cordingofthe BrahmsFirst PianoConcerto with Szell beginning of the Scherzoto the in a way I and . The passageleading to the re- havenever heardbefore or since. After a minute or capitulationwas not only dissectedin front of the so, the conductor stoppedthe orchestra. What he orchestra,but during the intermission. He took me saidto them I do not know, but it neversounded any back-stageand rehearsed me alone,conducting while good afterwards,neither at any of the Philadelphia his faceremained no more than threefeet away from concerts,nor later in CarnegieHall. mine. He alsodemonstrated how he wantedit played, Personally,I nevercared whether the conductor by physically holding my elbow with one hand,and was a nice personor not. I just wantedto be one hammeringthe stresseson my upper arm with the part of an integratedinterpretation, even if it was not other. I think I still have the bruises,but after the to my taste.In the London Symphony,we playedfor ordealI understoodwhat he wanted. many young conductorswhen they were still rela- Yet, despitethe tough treatmentwe receivedfrom tively inexperienced.Many of themare now the lead- Szell, we in the LSO always welcomedhim back ing maestrosof the world. With the exceptionof wheneverpossible, because he madeus play better. IstvanKertesz and LorinMaazel, most ofthem tended Stokowskicould be tough, too, but his approach to acceptwhat we did. This was frustrating,as each wascompletely different. WhereasSzell demanded solo wind player had his own way of playing a that the concertsbe exactly like the rehearsals,per- phrase. The conductors,each one a brilliant musi- mitting no deviations,Stokowski, like Beecham,al- cian, obviously knew the music, but we were too lowed, even encouragedspontaneity. Ratherlike a much in control. There is a fine line betweenlead-

JCG Vol. 18.No. I 17 ing andfollowing an orchestra:too much leadership cians,the peoplewho haveto makethe actualsounds. can neutrahzethe style and ensembleof an orches- I remembera remark madeto me by a player during tra; too little canresult in a free-for-all. a tour ofthe United Stateswith the Northern , There is usually one player in every orchestra the oldestfull-time chamberorchestra in . "conductor-baiter."'fhis who is the chief can be a For the tour I both conductedand servedas soloist. problemfor a guestconductor, and there are various The first half of the concertwas a symphonyand the waysofdealing with difficult situations.Danny Kaye, First Horn Concertoby Haydn. As we were aboutto I understand,succeeded brilliantly when he con- go backon stageafter the intermission,the First Oboe "It's ducted the New York Philharmonicfor a Benefit saidto me, all right for you, you've finished!" Concert.Mr. Kaye was,incidentally, an outstand- It wasa brilliant remark. I did not mind the comment ing musician. After being introducedat the first in the leastsince I understoodexactly what he meant. rehearsal,he madethe usualplatitudinous remarks, He andhis colleagueswere going out to producethe "Now, raisedhis baton, and said, which one of soundsand would getthe blameifthings wentwrong. you is that s.o.b.Gomberg?" After that he didn't I once thought of startinga conductingschool havea singleproblem. where all the musicians in the orchestrawould be What works for one conductormay not work for hand-pickedtrouble makers. But I had second another.A guestconductor may be very popularon thoughtswhen Irealized that if anyonesurvived the a first visit, yet for someinexplicable reason be rather course,we would havecreated a super-monster,com- dislikedat the re-engagement.I am told that a con- bining all the worst attributes of Von Biilow, ductorwhom I know oncereceived the highestCon- Toscanini,Szell, and Fritz Reiner,probably without ductorEvaluation Rating ever given by the players any oftheir redeemingfeatures. of the New York Philharmonic.Yet, oneyear later, I haveexperienced music from all vistas:as stu- he wasthe recipientof the orchestra'slowest rating. dent,orchestral player, manager and administrator, Both werewrong. You see,orchestral musicians can and guestsoloist. During the last twenty years,I be fickle. They are,after all, very well-trainedand servedas Music Director ofthe TasmzurianSymphony experiencedplayers. For a dedicatedmusician, it Orchestrafor four years,and of the Maryland Sym- canbe very difficult to alter the way he or sheplays phonyfor thepast sixteen. a particularphrase. A technical changeshould not Which of my roles,player or conductor,has been posetoo muchof a problem,but an emotionalchange the most rewardingand exciting? I do not know, as is muchmore difficult to accomplish.One may never eachhas a uniqueset of problemsand gratifications. be ableto play the phraseto the conductor'ssatis- I do know that my experienceas Chairman of the faction. Of course,I am not talking about willful Board of the London Symphonywas certainlyre- disobedience;that is a differentmatter entirely, and warding. WhenI joined the orchestra,it wasmedio- there are many ways of displaying it. One player cre;when I left, it was world class. Similarly,when performsthe passage exactly as it wasplayed before I foundedthe Maryland Symphonyit was, as might theconductor's correction; another intentionally plays be expected,adequate. Now it is somethingto be it in a style oppositeto what was requested;yet an- proudof. other messesup the passagein such a way that the Has it everbeen easy? No, it hasnot, nor will it conductorhas no choicebut to leavethe musicians everbe. Justremember Beethoven's problems with in questionto "do it their way." publishers,Mozart's problemswith his employers, Playingin an orchestrais the only way to know, andMahler's problemswith everyone. first hand,the difficulties experiencedby the musi- The main problem confronting orchestralmusic

18 JCG vot.18. No. l today is not the tyrannical conductor,but the people irony in my caseis that one of the boardmembers, who employ conductors. Managersand boardsfre- who was responsiblefor my resignation,has admit- quently know very little aboutmusic; certainlythey ted on severaloccasions that he does not evenlike do not understandthe psychologicalproblems con- classicalmusic. Even more ironically, he was ap- fronting musicians.There are many in music admin- pointedchair of the searchcommittee for my replace- istration who are totally ignorant about music. All ment. This is a fact. too often it is assumedthat becausea boardmember Have you ever examinedthe similaritiesin the runs his own business,he will know how to run a job descriptionsfor positions of music directors? performing arts organization.If you area music di- The first requirementis usually that the applicantbe "dynamic." "musicality" rector,you may find that your opinionson marketing Rarelyare or "scholarship" or developmentwill be dismissed,because you are askedfor. Bruno Walter and PierreMonteux would a musician,and therefore, supposedly, know nothing not havemade it today. When readinga "conductor about business. This is frustrating, becausewe do wanted" ad, always rememberthat orchestraboards know aboutthe music business. areoften musically ignorant,and usually dominated Over the years,I havehad to deal with manage- by a few rich and powerful benefactorswho liter- mentsand recordingmoguls; in general,one major ally own the orchestra.I am not sayingthat they are problemhas been that they truly believethey aremore evil, it is just that they do not shareour lofty ideals. importantthan the music. For example,some years This then is the reality of the situation,and I will not ago I made a recording of songswritten by Jerome go into the tiradethat the subjectgenuinely deserves. Kern with beautiful arrangementsby Sir Richard ReadNorman Lebrechtand you will understand. RodneyBennett. Because it was neithera jazznor a For classicalmusicians in Europe the Golden classicalrecording, EMI/Angel did not know how Yearswere in the first half of this century. To some to market it. It should have been placed where it extentthey still continuein ,Amsterdam, and belonged,in the Broadway-showsection of the Berlin,cities where musicians are socially respected recordstores. But no. It was marketedas a classi- people. Elsewhere,we are seenas having a "lower- cal record,with the obvious resultthat no one could case"status in the music industry. It is not difficult locateit. Then,it was deletedfrom their list of avail- to spendtime lamenting this stateof affairs, but the ablerecords on the eve of the anniversaryof Jerome reality is that this is how it is and we haveto get on Kem's death.Not by the headsofEMl/Angel's Clas- with life as best we can. sical Division, but by some of the company'sac- Allow me, in conclusionto give you some countantswho knew nothing aboutmusic. And then, GoldenRules: Know our music, know your craft, just to rub salt into the wound, the samecompany know how to lead the musicians, and, perhaps broughtout specialJerome Kern anniversaryrecord- nowadays,know how to leadthose who hold ings. Of course,mine wasnot included. the pursestrings. G I am sure most of you will have read 's book Who Killed ?. If you have not, you should. The book examinesin great detail the extent to which our world is now Barry Tuckwell recently concludeda sixteen- controlledby peoplewho know nothingabout music yeor tenure as Music Director/Conductor of the and,worse still, do not care. Maryland Symphony. He is currently afree-lance My recent experienceswith the board of the conductor and teaches masterclassesin French Maryland Symphony are the perfect example. The Horn performance.

JCG VoL 18.No. I 19 Franz Lehir: The CompleteCosmopolitan

by EdwardMichael Gold

Thefollowing article originally appearedas a December30, 1905,little is actually known about monographpublished by the Glocken Verlag Lim- Franzleh6r in America. Strangerstill is the fact that ited,London, and is reprinted here in an editedver- Leh6r never regardedDie lustige Wtwe as his best sion with permissionof the author andpublisher. work, even while it was becoming a grand success with the public.2 He was certainly grateful for its >F >F >1. * rk {< ,k rk popularity and the luxury of the further creativeef- Introduction forts which it allowed; yet, in retrospect,it becamea springboardto evengreater efforts: loftier, more so- Much hasbeen written aboutFranzlehar andthe phisticatedworks for the musicaltheater. It reflected Vienneseoperetta. Biographies recount the life of a a craftsmanshipand style which would continueto professionalsoldier (Milimrkapellmeister), who, matureover thirty yearsof compositionalactivity. afteryears of struggleand indecision,found a place When Lehar enteredthe domain of Vienneseop- in music history with that most uniquecreation. Nu- eretta,the genrehad alreadypassed its historicaland merousessays and articles (several by the composer stylisticprime. During its heyday,underthe aegis of himself) aboundwith informationcontaining gener- JohannStrauss II, Vienneseoperettareached its ze- alities about his creativestyle or criticism of spe- nith asa concoctionof merrimentand dance. While cific works. A contemporaryof the composer,Bo- the musical essenceof the genre focusedupon the hemian-bornoperetta composer and conductor waltz, a distinctive musical hybridization was nev- EdmundNick, was both succinctand propheticin erthelessapparent. Shredsof operatic recitative his summaryof Leh6r's achievementswhen he de- mingled with melodramaticunderscoring. Occa- "created" claredthat Leharhad the modernoperetta.l sional vocal gymnasticswere as traditional as the "Created" the modern ? Certainly, to sopranosand who realizedthem. However,it maintain any standardof excellencein the arts is of was the cardboardcharactertzations, so common to itself a uniqueaccomplishment. For most musical the genre,which presenteda problem for Lehar. For artists,realizing even some manner of individuality him, their lack of emotional relief was a primary in a small portion of their chosenrepertoire, is a causefor the genre'sidentity as strictly "light enter- "the lifelong pursuit. But, to offer up new" to pro- tainment" (Unterhaltungsmusik). Lehar's concem vide somethingeasily identifiable as one's own cre- was centeredin the belief that his charactersshould be ation,that is the destinyof but a chosenfew. In the a greaterreflection of the human sentience,regardless realmofViennese operetta,the name of FranzLeh6r of genericclassification. By imbuing themwith a greater easily comesto mind, permanentlylinked to Die degreeof emotional depth and dimension,the art of lustige Witwe (), a work that is the musical stagewould be ennobled. For Lehiir, this responsiblefor a vibrant reawakeningin the world wasamatterto be addressedon a strictlymusical level. of Vienneselight musicaltheater. The musicalinnovations put forth in the scoreof And yet, in spite of the popularity of Die Die lustige Witwehelp to define its placein serious lustige Witwe,premiered at the Theateran derWien, musicalhistory. However,of greatersignificance to

20 JCG vot.t B, No.t the understandingof Franz Lehfr' s position in the her firstborn child: Franz Christian Lehir, Junior. hierarchyoftwentieth-century musical creation is the Justtwo hoursbefore midnight on April 30, 1870, knowledge that Die lustige Witwe was merely the heronly concernseemed to be her son'stiming. "The fifth in a line of twenty-three different little chap really could have waited the extra two (Leh6r's own revisionsbring the total to thirty-three hours," the mother observed,when the midwife "The differentpublished titles).3 His earliestattempt at broughther the child. first of May would al- writing for musical theater, the opera Kukuschka wayshave been such a fine birthdayfor him."a Ahead (VereinigteTheater, Leipzig, November 27 ,1896), of his time or merely a foreshadowingof an inde- shouldbe viewed only as an indicationof thingsto pendentand self-propellingnature? Throughouthis come. Although the plot is unoriginal andpoetically long and productive career, Franz Lehir traveled rough,the music is respectablefor a man of twenty- manyroads, both personal and artistic, always guided six. The melodic line doesnot yet speakof great by an inner senseof creativepurpose. While all Vienna individuality. Only in the choruses,ballet sequences, succumbedto political malaise,artistic secession, and Russiandances, does one find somesingularity world catastrophe,and Die lustige Witwe, Franz of style. An examinationof the pianovocal scoreof Lehtn remained steadfastin his musical beliefs. the revised edition, retitled Tatjana (Stadttheater Music was a manifestationof a higher order- be- Bri.inn,February 10, 1905),reveals a passionate yond noble- divine! The composerlater recalled,5 work, which, while not yet brimming with original- ity, certainlypresents an ilgument for contemporary During my childhood, a small episodeoc- "Leh6r performance.The sound"is alreadyin evi- curred which remained a memory for me dence, and the operaticelements provide ample dra- throughoutmy life. It was in Klausenberg. matic stamina.The humansentience ofthese two sister FranzLisrtwas conductinga Dome Concert. works would surfaceagain somethirfy yearslater in My father(FranzLehtr, Senior)paid hom- . Still to come were the consummate ageto this greatmusical genius by volunteer- works of his late period, i.e., (1925), Der ing as violinist in the orchestra. I was al- Zarewitsch(1927), Friederike (1928), Das Land des lowed to sit quietly in the cornerand listen. Lcichelns(1929), and the opera-likeGiuditta (1934). At the end of the concert,as Lrsrt was dis- Lehdr'screative activity comprisedthree distinct missingmy father,ffiy fatherbowed and kissed periods. The early yearswere onesof self-assess- the master'shand. This awakenedfor the ment,followed by stylisticdevelopment, and culmi- first time in my child-like soul a sensethat "the nating in the full maturity of his late works. Prior to music, essenceof all the arts,"was more Die lustige Witwein 1905,he was testinghis pow- than a simpleentertainment or livelihood,it ers. Up to the creationof Paganini (1925), he was was somethingGod-given to lift the heart,to extendinghis style organically. Finally, in the pe- enliven, to comfort, that the duty of the riod from 1925-1934,he producedsix works of lyri- musician'sprofession was part of the opti- cal characterwhich were far removed from the op- mismand joys of man.6 erettaideal of La Vie Parisienne (1866) and Die "optimism Fledermaus(787 4). However, and joys" were only part of Franz Leh6r and his art. For in the processof Part I: Background defining his personalstyle andredefining the style of the Vienneseoperetta (one must not forget that Onehundred and twenty-seven years have passed JohannStrauss, Junior had alreadydefined the clas- sinceChristine Lehdr (ndeNeubrandt) gave birth to sic Vienneseoperetta in 1874with Die Fledermaus),

JCG Vol. 18.No. I 2l he expanded his and its capabilities. The music was critical period of exploration. Following the early enrichedand the charactersennobled, and,contrary to Kukuschko and the successof his Gotd and silver acceptedtraditions, often with sadness and tragedy. W'altz (1902), Lehar now entered the world of Vienneseoperetta- sad,tragic? Offenbach,Von viennese operetta. Here his strengthsappeared to Suppd,Millocker, Johann Strauss,Junior; Orpheus lie with the local colors of ll'iener Frauen (Theater in der unterwelt, Die schc)neGalathee, Der Bettel- an der wien, November 21, 1902) andDer Rastel- student,Die Fledermaus;pillars of establishedtra- binder (Carltheater,December 20, lg02). These ditions- traditionsof lighthearted merriment,one- compositionsprovided an opportunity to draw upon dimensionalfrac and, of course,the waltz. musicalreseryes stored away during formativeyears whether frivolously happy,or momentarily stymied of travelingthroughout the HabsburgEmpire as both by the complicationsof a never-too-serious tryst, the the child of a military bandmasterand as one him- waltz was the universalpanacea. But again,to this self. ultimately, this early blend of cosmopolitan- Pantheon,F ranz Lehar brought a somewhat different ism, professionalexperience, and steadfastsense of point of view. In an essayappearing in the Berliner purpose,evoked a style which lacked one essential Ta gb I at t, Lehir declared, ingredient: uniformity. This he found with Die lustige llttwe. Experienceas an orchestramusi- Art cannot be pressedinto rigid formulas; cian, years of training as a Habsburg Mititcir- forms and artistic methodsare in a process kapellmeister,the explorationsof his early theater of continualdevelopment, subject to lasting pieces,now in a grand metamorphosis,crystall ized, changes. Othersffi€ly, if they wish, see the into a distinctive treatmentof musical elements,so salvationof operettain its simplification; I much so,that the soundsstreaming forth from the stage seeit as an enrichment,accessible to an op_ and out of the orchestrapit could be identified as erettacomposer through the technical process somethingnew, somethingunique, something written of music in generaland operain particular.T by Franzlehar! of further significanceand germane "Opera to one's understandingof Leh6r the artist was a style in particular," a peculiar phrase for one that would continueto grow in substanceand magni- describedby authoritativesources as a composer of tude. For this reason,although Die lustige witwe operettas;the operettacomposer who broughtabout standsas a singularphenomenon in the international a resurgenceof interestin the form, creatingwhat is world "The ofmusical theater,it was only part of a grander referredto as SilverAge." on second thought, plan. Leh6r himself, in his privately pubrished perhapsthe comment signified an appropriate de- Bekenntnis(Memoirs),8 referred to the work as "an flection ofthought from one who presentsmore than experiment." his shareof ambiguities. The proud Hungarian, The erotic nature of the story of Die lustige whosespirit remainedrooted in the mountainsof his Witwe formedthe uniquebasis of a new genre. psy- native Komorn despitehis ascendancyin the world chologicaldepth now took precedenceover simplic- of viennesemusical theaterand society;an artist, ity, while sexualpassion upstaged false naivet6. Most who, within the scopeof his chosensecond career, of all, it was Lehiir's handlingof the musicalcompo- was as much a reflection of his time as was his mu- nentsofthe scorewhich marked the work as a unique sic - an artistic and humanpasticcio. creation. Leh6r presentedall manner of tonal de- Frarulehar found a placein musicalhistory with vices. orchestraltimbres previously exclusiveto Die lustige witwe. Earlier compositions, having the works of ,Mahler, and Debussy garneredvarying degreesof success,found their sig- now emanatedfrom the operettaorchestra pit. Divisi nificance by providing the young composer with a strings offering four-, six-, and eight-voice chord 22 JCG vot.t 8. No.l structuressoared into rangespreviously unexplored experiencesin Viennaallowed him the luxury of see- in the geffe. Woodwindsnow assumedleadership ing andhearing the latestin operettaofferings. From roles with idiomatic writing of a uniquely expres- this musical environment, Lehir could pick and sive nature. The harp, customarily relegatedto choosethose extant elementswith which to nurture "Oom-pa-pa" status,was revealedas a genuine his own personalstyle. sourceof enrichmentto the soundpalette. Brassin- Lehitr begins early in his operettacareer to dis- "numbers" strumentswere no longer restrictedto powerful cli- tancehimself from the typical of the op- maxes,but found expressionin soft,textured harmo- eretta vocal book. The ,!pielszeneund Tanzduett nies. Together,the handlingofthese soundelements (play sceneand dance duet) of Die lustige Witwe imbuedLeh6r's scorewith a uniqueoverall timbre Q.{o.10) presents a greaterdegree of integratedmu- new soundstyle: the Lehar sound. The operetta sic and text than customarily found in a simple duet had comealive, gainedmusical and dramatic sophis- format. Peter und Paul reisen im Schlaraffenland tication,and the public respondedenthusiastically. (Theateran der Wien, January12,1906) offers scenes ratherthan adhereto the useof actsexclusively. The Part II: The Stvle j uxtaposition of standar dizedformats (L i ed, duet, fi - nale) with structuresoffering even greaterdramatic The musical road traveledby FranzLeh6r from flexibility (melodrama,scene) appears more fre- his pre-Die lustige Witwe days to his final quently. Zigeunerliebe(Carltheater, January 8, 1910) (Staatsoper,Vienna, January 20,1934) reveals a presentsa sceneand Lied Qlio. 6), while Eva (The- steadyand progressivemusical growth. From the ateran der Wien,October 24, 1911) offersa combi- beginning,his vision was to vttalize the human na- nationof melodramaand duet (Nos. 10and I 3), both ture of his subjectsand to achievea style of verismo structuralcreations that dramatically extendthe po- similarto that of his friend Puccini. Being the least tential of characterand plot development. ln Die "Viennese" of his operettacontemporaries, Leh6r's ideale Gattin (Theateran der Wien, October I 1, musicalcosmopolitanism offered up a broad spec- 1913),the simple duet format is enrichedwith a scene trum of soundelements and techniqueswith which to andduet (Itlo. 3). With an eyeto Romanticand oper- achievehis goals. In essence,it was this cosmo- atic trends, Wo die Lerche singt (Budapest,Kiraly- politanismwhich becamethe foundationofhis great- Szinhaz,January 1 , 1918; Viennesepremiere, Theater est successes.Der Rastelbinderprovides early an der Wien, March 27, 1918)dispenses with acts glimpsesofthose compositionalmarkings which ap- entirely, and is divided into four Bilder (pictures). pear throughout his operettas,while Das Land des Lehar evengoes so far as to give someof the subdivi- Lachelns(Metropol Theater,Berlin, October 10, sionstitles (for example,No. 15:Scdne pittoresque). 1929)offers the developmentand expansionof these traits. Both works arehybrids that displaythe juxta- A. SoundElements positionof the essentialelement of Vienneseoper- efra,the waltz, andpresent the specific stylistic de- From the beginning,the sopranoand voices mandsofthe ethnicand exotrc milieux. WhereLehar dominate,with the dramatic focus occurring in the surpasseshis predecessorsis in the skillful applica- solo presentations.Each is presentedindividually, tion of his musical treatmentsto the charactersand or together,in a variety of genericclassifications. situationsat hand. Lehitr's early soundpalette was The practiceis evident in the finales as well. The groundedin the formal traits acquiredduring his years buffo voice first appearsin its traditionally light and at the PragueConservatory (1882-88) and is tinted comical form, but ultimately evolvesinto a crossover with the Hungarianroots of his birth. Early theater classificationapplicable to both tenor and baritone.

JCG Vol. 18.No. I 23 divisi string fabric One does not think of Gustav tn Das Land des the vocal line within the dense (Example5, Lachelnsas a comic figure. The writing for chorus placesa greaterdemand upon the singer tendsto follow ethnicnecessities - Der Rastelbinder bar 178, andExamPles I 1-1 3). "townfolk," instrumenta dis- hasits Das Land desLcichelns is popu- Treatmentofthe harp allows the frame. Its lated with Oriental courtiers. tinctive profile within the Leh6r sound entirely If JohannStrauss II is saidto haveperfected the merepresence, however, cannot be deemed "Dance operetta"(Tanzoperette), then Franz Leh6r innovative. JohannStrauss II had alreadyemployed "Song purveyorof prima- certainly presentsa strong argumentfor the the instrumentintermittently as a "Oom-pa-pa" "Oom-pa-oom-pa")rhythms. operetta" (Liedoperette). Das Land des Lcichelns rily (or con- is conceivedaround four characters,with the rest of Die Ftedermaus(1874) exhibits four numbers the castand chorus reduced to atmosphere.Waltzes, taining harp material, while Der Zigeunerbaron 103 formerly danced,are now enrichedwith a variety of (1885)offers six, for a grandtotal of 143 and prima- musicaltreatments and transformedinto vehiclesof barsrespectively.e Stylistically, both exhibit "Wer with Der intenseemotional portrayal Q'{o. 8: hat die rily block- and broken-chord structures, Liebe uns ins Herz gesenkt?"). Das Land des Zigeunerbaronproviding additional scatteringsof Lcichelnsis a chamber-operetta;chamber in the sense harmonicarpeggiation. In Leh6r'smusic, the harp's in of intimacy,not size.This intimacy reflectsthe greater increasedsignificance is now reflectednot only depthof characterand emotion revealedby Leh6r. the sheerfrequency of its application (Der Rastel- The full orchestraserves as the primary source binderprovides ten musicalnumbers with a total of of instrumentalsound elements. It is from this late 337bars), but with a veritableplethora of traditional, nineteenth-centurysound pool that Leh6r drawshis new, andhybrid compositionaltreatments including spectrumof colorsand expressive devices (Examples expandedharmoni c arpeg g iation, melodi c imitation 9 and 11). Masteryof full orchestralsonority is ri- (both full and fragmentary),andcadenzas. With the valed only by the delicate handling of transparent maturestyle of Das Land desLcichelns, the harpcon- chambertextures(Examples 7,8, and 10). tinues to appearwith greaterfrequency and adorns The stringwriting of Der Rastelbinderis regu- the scorewith a myriad of expansionsand hybrids of larly punctuatedby a highly idiomatic handlingof previouslycited examples. In the (a rare divisi strings. Examplesrun the gamut from simple instanceof Leh6r providing a substantialsynoptic divisi first violins, providing primary melodic lines prelude),one finds eight-voiceblock texturesrein- in octaves,to stringfabrics displaying an extraordi- forcing principal melodic material. This particular nary variety of musical means(Example 1). Das exampleis further developedinto a hybrid atbar 47, Land desLachelns offersnot only an increasedfre- a block-chordaltreatment of the melody with quencyof this treatment,but a greatervariety of so- arpeggiation.Similar block chordsalso assume bro- phisticationin the applicationas well (Examples2- ken-chordconfigurations, often reinforcing the pri- 3,5-9,and10-14). Similarly, both Der Rastelbinder mary melodic line. Lisa's grand entrancewaltz andDas Land des Lcichelnsdisplay a great deal of (No. 1, beginningbar 172)is introducedby the el- high-rangeactivity in the strings. This particularas- egantjuxtaposition of an arpeggiatedharp glissando pectof Leh6r'swriting is often complementedwith sounding in concert with the solo violin, both em- similar attentionto the high rangesof the principal bracedby hushedstrings and sustainedclarinets (Ex- vocal elements.Phrase apices often occurwith these ample l2). Even simple scalematerial is imbued two soundtreatments in concertwith oneanother re- with color and function by the addition of the harp's sulting in further articulationto phrasestructure and distinctivetimbre. Whether employedas a single emotionalintensity. At the sametime, placementof voice or in block-chordstructures, this treatmentcan

24 JCG vol. 18,No. I enrich existing harmonicstructures (Example 13) as Debussyor Schoenberg,a Boston Waltz or a jazz well asheighten anticipation of the vocal entrance(Ex- saxophone,all receivedserious and sympatheticcon- ample 14). While adding to instrumentalcoloration, sideration. Die blaue Mazur (Theateran der Wien, these examples also seryeas articulativemarkers, pro- May 28, 1920)presents material for the xylophone 't idingintensification ofboth textureand interest. (Act II, Scene3), while the OvertureIo Cloclo The glockenspielalso finds a regularhome within (Biirgertheater,Vienna, March 8,1924)employs both Leh6r orchestrations. Treatmentssimilar to those vibraphoneand tenor saxophone(Act III). The great observedin the harp material are evident (Example Der Zarewitsch(1927), with its Russiansetting, calls 3). Likewise,the celestaemerges as a frequentand upon the tenor saxophonefor mellownessoftone (Act effectiveinstrumental addition. Appearingmost of- I) and the banjo for its unique timbre (Acts II and ten with the harp, it mirrors the writing of both the III). The reducedorchestration of Frilhling (Kabarct harpand glockenspiel (Examples 8 and 14).to "Die H61le," Vienna,January 29, 1922)presents a Sensitiveattention to the brass and woodwind practical opportunity for extended use of the writing is also evident. Lehitr' s orchestralpalette is harmoniuffi,r5while its appearancern Friederike now regularly enriched in the lower octave by the (Metropol Theater,Berlin, October4, 1928)serves "musical additionofthe tuba asan extensionto harmonicstruc- to embellishthe (andspiritual) atmosphere" tures.lI Furtherdistinction is affordedbrass colora- of the vicaragein the idyllic country village of tionsby theirjuxtapositionto specificdynamic modi- Sesenheimwhich Goethevisited rn 177| . Das Land fiers. Frequentapplication of thepiano dynamic al- des Lcichelnspresents a plethora of oriental drums lows for uncommonlydelicate treatment ofbrass fam- andgongs which needoffer no apologiesto Puccini's ily timbres(Examples 7, 9, I I, 13,and 14). At times, Turandot(1926). Lehitr' s penultimatework, Schan the warm timbre of the horns area discreteaddition istdie Welt(Metropol Theater, Berlin, December3, to the full stringchoir (Examples7, 13,and 14). Like- 1930),which was a revisionof ; The- wise, writing for the woodwinds is idiomatic and ateran der Wien, January30, 1914),,offers instruc- expressive.(Examples 2, 3,12, 13,and l4). Com- tionsfor an on-stage"accordion player" (Act I: No. 7). plete attentionto suchtonal shadings,accompanied This is, however, more suggestiveof the dramatic by a keen understandingof the voice, is evident in veritd ratherthan any permanentaddition to the Leh6r "Dein Sou-Chong'saria ist mein ganzesHerz"(No. soundpalette. Even the final Giuditta finds the mas- I 1) at the first vocal apex(Example I 1). ter in a stateof tonal exploration. The instrumental Leh6r also shows a deft handling of soundele- soundpalettel6 is now enrichednot merely in num- ments that do not lie within the anticipatedsound bersof instruments,but in its tonal spectrumas well. spectrum.Like his friend Puccini, Leh6r welcomed Along with a third flute, the woodwinds take on a any occasiontoexplore and exploitthe musicaltrap- fuller, richer resonancewith the addition of the En- pings of an exotic locale, i.e., Die lustige Witwe, glish horn, bassclarinet, and contrabassoon.These with its on-stage tambourizza ensembl";" instrumentalsupplements find their raison d'Atre not Zigeunerliebe and Wo die Lerche singt, throbbing only as enrichmentsof harmonic structures,but in with their cimbalom13and tinogato;lathe Spanish idiomaticmelodic applications as well. A third trum- settingsof Die ideale Gattin (1913) and Die pet now joins the brass,allowing for expandedhar- Tangokc;nigin(Apollo Theater,Vienna, September monie and melodic opportunities. And to all this, 9, 1921; a revision of D ie idealeGattin), tinted with Leh6r,almost expectedly, includes many ofhis tradi- mandolins,castanets, and tambourines. Similarly, tional instrumentalaccouterments, i.e., glockenspiel, Lehiir remainedcritically alert to all mannerof seri- mandolin,celesta, and tam tam. All areapplied with ous contemporarymusical developments.Whether the sensitivetouch of a mastertone painter.

JCG Vol. 18.No. I 25 B. Elementsof Harmony and flats applied as needed,now appearstogether "modal" with a treatmentof recitative and melodic Lehfr's harmonic virtuosity is all the more sig- material to establishone tonal area,while the key nificant becauseof its applicationto a genreprevi- signaturereflects another. The harmonicvocabulary ously accustomedto little more than simplevariants is regularly enrichedto include augmentedand di- of thetonic-dominant relationship. His predecessor' minishedninth- andeleventh-chord structures. These JohannStrauss II, seldomventured beyond a harmonic chord structures,found aboveextended pedal points, paletteof three or four diatonically relatedchord areeffective in hiding the harmonicdissonance which structures.Leh6r, in his results in added emo- attempt to go beyond tional intensity (Ex- hackmusical represen- amplel5). Evidenceof tationsof his characters pentatonicscale activity andtheir predicaments, is alsoprevalent, butthis createsan ingenious treatmentmust be con- application of chord sidered more a reflec- structuresand harmonic tion of the Oriental mi- devicesthat realize the lieu (Example6). ebb and flow of deeper The significanceof emotionalstress and re- theseinnovations under- lease,a fresh,new har- scores Lehin's crafts- monic engagementof manlike handling of the the senses. medium ratherthan long- The simple direct range contributions to modulationsof Der the genre. Whetherma- Rastelbinderwith its nipulatingthe harmonic Hungarian folk roots elementsof provincial arejoined by extended Europeanfolk music,or diatonicism, and a the harmonic founda- chord vocabulary re- tions of the exotic Far flecting a most contem- East, Leh6r faithfully porary structure and shows his keen ear and treatment. Extended masterfulhand. pedal points with superimposedchord C. Treatmentof Melody structuresprovide vary- ing degreesof structural There is no question dissonance(Example 4, bars 53 and 55). Of par- that FranzLehfr was a gifted melodist. Is therean- ticular significanceis the imaginativeuse of disso- otherelement of musicalcomposition more elusive nancein the melodicmaterial of waltzes(Example to its creator? How does one describea tender 1). With Das Land des Lcichelns,harmonic treat- melody? A melody of fond expression?A melody mentsare expanded. The juxtaposition of key signa- of great sentiment? One of great exultation? This turesderives from both diatonic and chromaticrela- most evanescentof the musical elementsdoes not "Chromatic tionships. migranttonaiity," i.e. sharps defy description in its realized form, only in the

26 JcG vol.18, No. I manner in which it is born. The history of music which returnsas a theme of ecstaticcontentment in "'Wer displaysthe manipulationsand dressingsof melody. the instrumentalintroduction to Act II, No. 8, Whether it be seamless,unaccompanied, purifying hat die Liebe uns ins Herz gesenkt?"- realizedrn chants,or stentoriandeclamations buried within the the delicateimpressionistic timbres of the soloflute, denseorchestral textures of the late-nineteenthcen- hurp,and sustaineddivisi strings(Example l0). This tury, it is almost entirely our emotional responseto melody also servesas the emotionalapex of Finale the tune that determinesits successor failure. The I, whereboth Sou-Chongand Lisa revealthe inten- mystery of Franz Lehitr' s melodieslies not only in sity of their feelingsin the climactic unison state- their naturalbeauty but in their treatmentand appli- ment of this theme(Exampl e 17). cation as well. One moment the melodic material may be characterizedby a lyrical cantabile-style D. Treatmentof Rhythm writing (Examples5, 7,15 at rehearsalfigure 1, and 16),while suddenly,at momentsof greatemotional In Leh6r'sworks, primary tempo indicatorsap- intensity, it may reflect a churning angularity (Ex- pearin Italian and German. Leh6r's cosmopolitan- ample2). For purposesof effecting structuraldisso- ism is reflectedin suchpolyglottal markings as Alle- nance,the melody line may comprise certain gretto ("in leichtemTon"), while attentionto the most chromaticismswhich, whenjuxtaposed with the har- currenttrends in musical fashion is evident in indi- monicaccompaniment and extendedpedal points, pro- catorssuch as ValseBoston. Significantto Lehrir's videadded intensity (Examples l, 5,7,15, and 16). maturestyle is the absenceof specificearly Viennese In Leh6r's compositionselements of operatic songand dance formats, i.e., Couplet and Quadrille. recitative and melodrama arefamiliar occuffences. Primary tempo indicators are often linked with ge- Recitative may find companionshipin simple sus- neric formats, creating such hybrids as Tempo di tainedchord structures(ExampIe 4), or, at times,ap- Polka, Tempodi Marcia, Marcia moderato,Tempo pearas solitary statements (Example 15, bars 6, ll- di Mazurka, Tempo di Valse, Landlertempo, and l2). Fluctuationsbetween an expressivecantabile Valselento. At other times, a simplified marking, and light conversationalparlando producea mixed suchas Marcia and Valse,is used. Tempo hereis un- style (stilo misto) often found in the company of derstoodto be the traditionalcontemporary rendering. highly sophisticated divisl stringtextures (Example 6). Performers,therefore, must be familiar with historical Melodrama,while providing dramaticand emotional andinterpretative elements associated with theseforms. "melodic stimuli,often provides reminders"of char- A high degreeof tempomodification is alsoevi- acter and predicamentas well. Melodic modules dent. A comparisonof the tempo markingsfound in andleitmotfs representingparticular moods, senti- Das Land des Lachelns with ihose provided in the ments,or situations,are likewise at work exercising scoresof Leh6r's predecessors,indicates a greater control over unity. Recurrentuse of melodic mod- attentionto the relationshipof text (andits emotional ules is seenas a particularlystrong controlling ele- content)and the movementofthe musicalline. Strauss ment in the finalesof Acts I and II. At times, apar- II offers numerousprimary markings,but is lessin- ticular melodic module,initially sung,may reappear clined to makefrequent pacing changes between each. as the instrumentalaccompanirnent to a completely This is suggestiveof a more formalized "dance" different parcel of vocal melody suggestinga par- structure. Lehftr, in his concern for a closer align- ticular character,or an emotionassociated with him. mentofmusic andcharacterization, requires a greater "role-changing" Suchmelodic is manifestwith Sou- rhythmic suppleness.Meter signatures,too, suggest "Ein Chong'spersonal expression of love, Lied werd' an increasedattention to detail. Both Zigeunerliebe ich von heiBer Sehnsuchtsingen" (Example 16), and Eva offer examplesof concurrent,contrasting

JCG Vol. 18. No. I 27 time signatures.In ZigeunerliebeOIo. 1).the vocal cult one to answer. We know that certaincomposi- line is afforded greaterrhythmic independence tional traits that are so prominentin Leh6r's music throughits 9/8 meterthat appearsagainst an orches- were alreadyin use prior to his entry into the field. tral accompanimentof 3/4. Furtherinstrumental re- The harp and glockenspielwere not unknown to lief is achievedwhen the 9/8 signatureis given to Lehir' s predecessors.The demandsof a high vocal the Frenchhorn. Similarly. in bars 52-53of the over- range,an occasionaldivided string part, or the itin- ture to Eva, the cantilenaof the stringsis placedin erantappearance of an expandedharmonic structure greaterrelief to the sustainedchords of the low brass to spicethe melodic accompaniment,was not un- (commontime) via the useof a l2l8 time signature heardof. In seekingto articulatethe essenceof that practicewhich appearsthroughout the score. which setsapart FranzLehfr' s writings from those While suchoccurences of polymeterare not foundwith ofhis predecessors,one must look beyondthe simple greatfrequency, their presence is seenas a - manipulationof musicalelements and seekout those tionofleh6r's constantquest for artisticrefinement. momentsof deepestemotion and greatestintensity. Theseinstances may not alwaysbe the greatclimaxes, Part III: Synthesis but rather,,critical moments,which, when identified and understood,offer insight into the creativeper- Havingsurveyed the idiomatictreatment of tim- sonalityof the composer. bre, the masteryof harmonic devices,and the so- Der Rastelbinderis a hybrid. Folk elementsof phisticatedplasticity of distinctivemelodies, it re- Leh6r'snative find companionshipwith so- mains to statethat the gift which setsLehtr' s work phisticatedclassical treatments. It is a primordial apartfrom predecessorsand contemporariesin the soup of stylistic gatheringsfrom which the Leh6r "sound" field is his ability as musicalalchemist to combine emerges.With a penchantfor the solovoice, all of thesecharacteristics into a stylethat is imme- anda composer'ssense of musicalsynthesis, the fol- "by diatelydiscernible as FranzLehir." Das Land lowing exampleis revealing:Der Rastelbinder,Act desLcichelns represents this fully maturedstyle. If, 1,No. 5, Introduction(Example 1). "found" asthe composer himself claimed, he his style Theprinted key scheme,G-D-G-D-g, offlers broad with Die lustige Witwe, then the great canvasesof articulationto the shapeand unity of the movement. "Slow his lateperiod - Paganini,Zarewitsch, Friederike, With the entranceof the Waltz" (Valselento, Das Land des Lachelns, and the final Giuditta - m. 62), a moment of great tendernessis reached. areits summation.It shouldnot be overlooked,how- Leh6r discardsthe provincial outerwearof his char- ever,that the pathto theseworks is filled with other acters,and opts to realizetheir innermostsentiments "Ninety-three notablecreations. The greattrilogy of within theframework ofthe genre'smost familiar form: Days!"(from October 7,1909, to January8, 1910), thewaltz. The significancehere lies with Lehar's frur- Das Filrstenkind (JohannStrauss Theater, October damentalbelief in the waltz as a medium of tenderex- 7, 1909), (Theateran der pression.Generically, this is awaltz in miniature- Wien, November 12, 1909) and Zigeunerliebe not necessarilyone to be danced,but rather,one to be (CarltheaIer,January 8, 1910);the gentleEva, and heardand savored. Lehar embracesyoung Mrzzi's following the First World War, the lyric al Wo die passionswith a uniquesynthesis of elements. Lerche singt, Die blaue Mazur, and the fiery Homophonic style is evident throughout,with Frasquita(, May 12,1922) are primary melodic material concuffentin the soprano all importantreflections of the Leh6rstyle. and solo violin. During the first two phrases(mm. The questionof what truly distinguishesthe body 62-69), the principal melody is deftly thrown into of Leh6r'sworks for the stageis, however,a difn- relief by its appearancein a plethora of secondary 28 JCG vot.IB, No.I materialin the secondviolins, ,violoncellos, hutp, provides a dissonanceagainst the harmonlc double basses,and harp (five different surface structurewhich servesas an articulative marker to rhythmsappear simultaneously). This rhythmic di- phrasestructuring. The addedmajor-seventh chord versity servesto reducethe trite "one-two-three" toneon the downbeatofthe first phraseofthe melody ostinatoof the waltz. Additional articulationto the line (m. 63) provides the ear with a tonic major- phraseis producedby the applicationof pizzicati tn seventhsonority 1I7;. In the secondphrase (m. 67), the violoncellosand doublebasses, complemented the melodyline singsin dissonanceto the harmony by the harp. In the secondtwo phrases(mm .70-78), with anaugmented fourth (G#). In both instances,the the variety of surfacerhyhms (individual rhy.thmpat- noteof dissonance(m. 63lf#,m. 67lg#)is sustained terns of each instrument) in the strings is reduced, rhythmically (half-note)and further enhancedby the allowing for the heighteningof attentionto the rising removalof the first violins, secondviolins, andviolas. vocal line in concertwith the soloviolin. The high- The augmentedsecond (A#) at m. 71 is supportedby estphrase of thevocal line (mm.72,74) is enhanced theaddition of the first violins anda new triplet sur- by a momentaryreduction in instrumentaltimbre, i.e., facerhythm in the harp. The sectionis balancedwith removal of the viola, violoncello, and upper-harp a diatonicF# in themelody at m.7 5. Laterin themove- texturesat the crest(m.7219", m. 7419"),which are ment,Lehar reprisesthis material in the form of a immediatelyreinserted when the melody descends. miniature duet betweenthe sopranoand tenor(mm. Placementofthe voicewithin the extendedstring fab- 105-148).Melody linesare in unisonexcept for the ric imposesa greaterdemand upon the singer.Con- final resolution(m. 135). Lehdr'suse of recitative current surface rhythms and surface articulations material(mm. 101-104)to introducethe tenorinto (arco) in the accompanyinglower strings(m. 70) what hasnow evolvedinto a waltz-duetis significant. underscorethe growing tensionbetween the melody With Das Land des Lacheln^s.,one observesin andits accompaniment.Continuing surface articula- virtually everyrespect an expansionofmusical means. tions with melodiesin contrary motion appearing Vital to the make-upof the work is Leh6.r'sjuxtaposi- betweenthe violas and violoncellos(mm. 72-73) tion of elementsof Vienneseoperetta with thoseof serveto generatepropulsion in the phrase.The subtle grandopera. The song-likeglamour of the Viennese revertingto thepizzicati of the violas,violoncellos, operettais now enrichedby an orchestraof sym- and doublebasses (m^. 75-78)is supportiveof the phonic fullness instrumentalapparatus akin to melodicdenouement. thoseof Puccini and Richard Strauss- yet, often, The vocal line is joined throughoutby the sur- whenintimacy of emotionis calledfor, oneexhibit- facearticulation of the glockenspiel,which not only ing a lightnessof texturereminiscent of the musical providessecondary coloration, but primarymelodic tapestriesof Debussy.Leh6r's sensitivity to the me- fragmentationas well (m-. 76-77). The contourof lodic writing for both voice andorchestra displays a the melodicline is shapedby varyingthe rangepeaks broadspectrum of emotionalexpression. consistent which occurfirst in the tutti first violins (m. 72) and with his determinationto give his charactersgreater laterin the soloviolin (m.74). The melodicfabric depthof expression. is fuither reinforced on the third phrase(m. 70) by Lehitr's interest in the exotic was not new. In doubling the voice line in the secondviolin. The Der Zarewitsch,the backdropwas Russian(one is harp presentsa variety of examplesincluding a hy- reminded of Kukuschka). Paganinl offered an brtdization of block-chordsand arpeggiation(mm. Italianatetapestry, while the Slovakianfolk ambi- 63-69). The chord vocabulary is modest. The F- anceof Der Rastelbinderwas reprisedin Friederike, sharpof the solo violin andvoice occurringover the this time in a Germanfolk idiom. In Das Land des establishedG-major tonality of the lorverstrings and Lachelns,the composerturned his attentionto the

JCG Vol. 18,No. t 29 exoticismof the Far East. Puccini had introduced reahzethe natural inflection of the text with added the world to his Orienttn MadamaButterfly (1904). freedom of movement stimulated by the marking This would be further exploredin his final Turandot Temporubato. The instrumental accompaniment, (1926). Pentatonicphrases, recurrent melodic mod- featuring expandedstring chords of perfect fourths ules, ostinato rhythms, chords of fourths and fifths and fifths and the chordal richnessof the harp, con- - all embracedby a masterfulorchestration - gave tribute to the oriental musical milieu. Furtheratten- the music its distinctivestamp. Lehar,acting as a tion to detail is evident in the subtle dynamic nu- spokesmanfor Vienneseoperetta, now soughtto in- ancesbetween harp @iano) and stringsQtianissimo). corporatethese elements into his own style. The Delicate dynamic strokesapplied to the transparent contrastbetween the Viennesesociety depicted by divisi stringtextures (plus harp),help provide a cham- Lisa andthe exoticworld of Sou-Chongoffered him ber-likemusical quality reflectingthe gentleOrien- sucha challenge.Elements culled from both the world tal characterof Sou-Chong'soutertemperament (Ori- of operaand operetta became his tools. The follow- entalfacade) as perceived by late nineteenth-century ing examplesare revealing. WesternEuropeans. Immediatelyupon Lisa's entrance(No. 1), With the formal beginning of the arra,,Lehiir re- Leh6r'scanvas is a rich one. After a whirlwind in- veals his musical pedigreewith a masterfultreat- troductionof ensembleand soloist,Lisa settlesinto ment of chamber-likeinstrumentation (Exampl e 7). her entrancewaltz (Example5). The stringsblos- The simple,folk-style melody is accompaniedby u som; the scoringis pure Leh6r. The vocal line is modestdivisi in the strings(plus harp). To this, Lehir now embracedby a rich four-voicetexture of divisi addsthe plaintive soundof the solo oboein unisonat first violins (plusflutes and clarinets),which rhyth- the octave,and in the m€rnnerofthe true tonepainter, mically reinforcethe gracefulsway of the melodic he deftly addsthe muted Frenchhorn in duet on the syncopationwith their uniform surfacerhythm. The secondpart of the phrase(m. 2l) inretrogrademo- upper voice of the divisi violoncellosprovides a tion. Thepassage is furtherdistinguished, when, on cantabilecounterpoint with only the lightestof sound the final phrase(m.23), the solo clarinet(plus first on the downbeatof the waltz (,remain- violin) is added to realize the woodwind chamber ing violoncellos,and the left handstroke of the hurp- trio. Careful attention to the natural rhythm of the "Liicheln ist). which subtly reducesthe dangerof rhythmic text is apparenton the phrase trotzWeh und "heavy-handedness." "duple" The gentlysyncopated melody tausendSchmerzen," with the applicationof a "Weh line in the company of the gentle afterbeatsof the markingover und tausend." secondviolins andviolas find addedcoloration with The opening of Sou-Chong'ssong, "Von the full strokesof the hu.p. The entire passageis Apfelbliiten einenlkarz" (No. 5), continuesthe pro- carefully shadedin piano, with further direction to cessof musicalhybridrzation (Example 8). Divisi the first violins (plus flutes and clarinets)to play strings(con sordino) provide a delicateunderscor- "most tenderly"(sehr zart). In grandoperatic fash- ing to a variety of solo instrumentaltimbres (flute, ion, Lisa completesher first phraseon the high a"', oboe, and clarinets;ad lib. in the clarinet part) in which mustproject through the expandedstring tex- concertwith the vocal line, and embellishedwith ture at the apexof the crescendo(m. 178). brush strokesof both the harp and celesta. Lehir Sou-Chong'sEntrance Q.{o. 3) beginsin operatic affords the clarinetsadditional pliancy with the ap- fashion with a recitativo, the vocal line closely plication of a contrastingl2l8 meter. The relative aligned to the accompanyingchord structuresand lack of leadingtone activity weakensthe tonal cen- characterizedbya light conversationalor parlando tering,while the 1218signature and non troppomodi- style(Example 6). Rhythmically,the line attemptsto fier add to the exotic chant-like freedom of the

30 .jr'{-} vot. 18.No. I melody. While the passageis stronglycharacterized Friederike. Des Land desLachelns is in that grand by its melodic nature,the sustainedmuted string ac- and tragic tradition, a tradition of plenty, a tradition companimentsupports the notionof aparlando style. of many levels,a tradition aimedtowards the future. It is a declarationin both speechand song. Further The greatresignations and tragic separationsof ambiguity, supportedby the lack of tonal centering, Das Filrstenkind, Die gelbe Jacke (1923, later re- is associatedwith the characterof Sou-Chong. A vised as Das Land des Lcichelnsrn 1929), the so- final melismatictouch is addedto the vocal phrase cially consciousEva, the experimentalEndlich allein at m. 4, which receivesalmost immediately(m. 5) (1914)with its through-composedsecond act, the the benefitof both celestaand harp in a rich but deli- bittersweet relationships of Paganini, Der cateunison chordal accompaniment. Meticulous at- Zarewitsch, Friederike, and Giuditta, would soon tention to detail is againapparent in the dynamic gra- find reflection on the American stagein such cre- dationsof the celestaQtianissimo) andha.p (piano). ations as JeromeKern's Showboat(1927) and Lestone be left with the impressionthat Leh6r's Rodgersand Hammerstein'sCarousel (1945). The greatestmusical moments are distinctive only for their impermeableracial and social barriersof Zigeuner- delicatetransparencies of color, the Act II Duet (No. liebe, Der Zarewitsch, Friederike, and Das Land "Wer 8), hat die Liebe uns ins Herzgesenkt?,"easily des Lachelns ftnd their American musings in such dispelsthe notion (Example9). Mm. 68-71provide classicsas Gershwin's Porg,,and Bess (1935), Rodgers the full-fledgedLeh6r orchestration with Sou-Chong andHammerstein's South Pacific (1949)andThe King "O reachingthe apexof his phrase(m. 69), Geliebte," andI (1951), and Bernstein's (1957). with full symphonic support. Lehir further articu- Musicallyspeaking, it was a very modernnotion latesthe vocal entrance(m. 68) with a three-voice for musicaltheater to delegatesuch dramatic and emo- divisi in the first violins supportedby mutedbrass. tional responsibilitiesto its musical accouterments. Melodically, the entranceis intensifiedby an almost Today,Lehitr' s orchestralcanvases find companyin immediatemovement to the vocal climax (ffi'fermata), the greatAmerican instrumentaltapestries of Porg,, simultaneouslyunderscored by the full strings,Flute I, and Bess,Robert Russell Bennett's orchestrations for and Oboe I. The sophisticationand magnitude of Rodgersand Hammerstein,for example,Oklahoma Leh6r's orchestrationplaces demands on the voice (1943),South Pacific (1949), TheKing and I, andThe far beyondthe vocal writings of his predecessors. Soundof Music ( I 959), Lernerand Loew e' s My Fair Leh6r'sVienna perceived the Far Eastas a world Lady (l956,Robert RussellBennett and Phil J.Lang), of mystery,one moment burlesque and puppet-like, and LeonardBernstein's WestSide Story. the next,grotesque and melancholy. Conjoiningthis And finally, castingaside concems ofthe libretti,, atmosphereto the rigid structuresof Viennesehigh or the musical accoutermentsfound therein. one is society was an alien notion to both worlds. Leh6r left to considerthe magnitude of what is expected addressesthese cultural incongruitieswith the fer- from the genre. Just as Mascagni's Cavalleria vor of both a coloristand psychologist, juxtaposing Rusticano(1889) and Leoncavallo'sPagliacci waltzesand exotic sequences,i.e., operetta lightness, (1892)had askedtheir audiencesto becomepart of againstthe pomp and rigidity of feudalChina. Even a granderemotional palette, Leh6r's late works de- the endingofthe operettais significant.Sou-Chong's mand more from both their audiencesand their per- resignationis indicative of a depth of characterun- formers. More than any other aspectof their exist- commonto the genre,one of greatunderstanding, of ence,it is this heighteningof expectationthat serves humanfrailty. Vienneseoperetta, once light-hearted to easilydistinguish them from their predecessors andfrivolous, now breakstradition with the unhappy and to imbue them with a sometimesindefinable endings of Der Zarewitsch, Paganini, and identity of their own.

JCG Vol. IB, No. I 31 Part fV: Conclusion thanhad been previously found in the geffe. His aim was to achievethis through the deft handling of the The questionwhich remainstoday is to what ex- relationship betweenthe musical elements. If the tent is it possibleto homogenizethe elementsof op- charactersand situationswere to be more complex, era and operetta?Lehfr defendedhis stylistic mix- of deeperemotional make-up,a richer, more refined ing with the belief that he was a composerwho uti- treatmentwas effected. Similar to Puccini, Leh6r ex- hzedhis skills to bring addeddimension to the char- plored all mannerof orchestraldevices. An innategift actersthat walked upon his stage. of melody, guided by years of apprenticeship,study, However,is therea limit to the amountof stylis- and hard work, provided the rest. Perhaps,being the tic diversity a musical dramacan containbefore the leastViennese of his contemporaries,Lehar's cosmo- fine lines of balanceand the proportionsof stylistic politanismwas, in essence, partof his contributionto definition areinversely affected? By layeringtreat- the genre. Although Leh6r believed that he had mentupon treatment, a certainsimplicity is lost. Sty- reachedhis maturestyle with Die lustige Witwe,this listically speaking,what can one say aboutthe pro- prototype never becamea rigid cast. In retrospect, vincial charactersMizzi and Janku (Der Rastel- the critical contribution was his ever-changingre- binder)expressing their simplehuman desires over finementsof stylistic expression.Lehitr was a com- a waltz-like accompanimentrealized by divided poserwho engenderedan original style, one with its stringsand harp? A similar concerncan be raised own soundvocabulary and instrumentalwardrobe. with the castingof the great Germanpoet-philoso- Lehfr adopted,adapted, and modified the Viennese pher Goetheas the centralcharacter of Leh6r's later operettaforms which he inherited. With this inherit- masterpiece Friederike. But, is Goethetruly the epi- ance,he createdillusions of the societiesin which centerofthe work? Or rather,has Leh6r cloakedthe his characterswere real. The high degreeof emo- greatthemeof renunciationwithin a glorious musi- tional truth that he realized must be viewed as the cal and nationalisticcanvas? attribute that has brought him international More often than not, an operetta'sarias, duets, successin the operettagenre. and coupletscarry the narrative forward. There is explanation.In Leh6r's later operatic-styleworks, ratherthan merely carryingthe actionalong, the songs Dr. Edward Michael Gold is AssociateArtistic serveto intensify it dramatically. In contrastto the Director of the International Rockland Summer simplestrophes of StraussII's couplets,orthe highly Institute of Orchestral and ChamberMusic Studies regularrhythms of his largerensembles, Leh6r adds (RSD and its professional ensemble,the RSISym- greatervariety to his elementscoupled with a musi- phony. He is also the Founder and Artistic Direc- cal ebband flow. The beginningof most Leh6rarias tor ofthe Rockland YouthPhilharmonic of New York. relatesin somefashion to the situationat hand. An exampleto considerwould be No. 8 in Das Land :l€:&r!rFrf**r|< "'Wer des Lcichelns, hat die Liebe uns ins Herz gesenkt?,"which openswith an expositionof the re- Endnotes "Love cwrent Theme"of Sou-Chongby the soloflute "Der (Example 10). All recurrencesof this particular 1 Nick, E., Schopferder modernenOperette" themeare associated with Sou-Chong'soriginal emo- ("The Creator of the Modern Operetta"), Musico, tional predicament. February1949, pp. 57-59. Lehar'sphilosophy of operettacomposition was to representindividuals of greateremotional depth 2 The publication Franz Lehdr - Music Theatre

32 JCG vot.18. No. l Handbook (published in associationwith Glocken his orchestra.The tuba first appearsin the Prologue, Verlag,Ltd., 1991)lists the following publishedlan- No. 1 of Das Filrstenkind, premieredat Vienna's guageeditions of TheMerry Widow:Bulgarian,Czech JohannStrauss Theater on October 7. 1909. and Slovakian,Danish, Dutch, English,French, Finn- ish, German,Greek, Hungarian, Italian, Norwegian, 12 Tambotri 77aot Tambour de Provence;a special PolistuPortuguese, Swedistu Serbo-Croat, and Spanish. regionaldrum bestremembered for its ostinatorhythm in the "Farandole"of GeorgeBizet's L'Arlesienne. 3 Threeunpublished Lehar works havingroots in light musical theater predate his first published operetta 13 A modernform of the dulcimer, found chiefly in Wiener Frauen (Vienna, 1902): Frciulein Leutnant Hungarian gypsy orchestraswhere it is played in (Vienna, l90l), a one-actSingspiel with a libretto by improvisatorystyle with greatvirruosity. It is gener- Kolhapp,exists in manuscriptform ody; Arabella, die ally of trapezordalshape, laid flat, with its metal Kubanerin (incomplete,1901), with a libretto by stringsbeing struck in various ways with mallets of GustavSchmidt; and the incompletemanuscript Das wood or leather. Someinstruments are equipped with Club-Baby(1901), with a librettoby Victor L6on. a damperpedal device. Outsideits native environmentthe cimbalom is a 4 GruL B.,GoldandSilver:ru LrfeandTimes of Fraru rareinstrument, mentioned here because of a few in- Inhm Q\ewYork DavidMcKay Company,1970),p.280. stancesof its useby important composerswho have soughtto introduceits highly individual timbre and s Rll translationsfrom the original Germanare pro- idiom into orchestralmusic. The following are some vided by the author. modernworks employingthe cimbalom: Bartok First Rhapsodyfor Violin and Orchestra; Kodirly, Hdry "Musik 6 Lehar,F., - mein Leben," NeuesWiener JdnosSuite; and Stravinsky,Renard andRag-Time. Tagblatt,September 23, 1944,p. 2. 14An ancientinstrument ofHungarian origins. Origi- 7 "Die Leher,F., Operette,wie ich siemir vorstelle," nally a wooden cornet having only natural tones,it Berliner Tagblatt,February 4, 1926,p. 35. was usedfor soundingmilitary signalssuch as those in the well-known Rdkoczy March. The modern 8 JeanFrey AG, Zflrich; privateprinting (1946),p.3. tfnogato,built by W. J. Schunda,is a wooden saxo- phonewith a clarinetmouthpiece possessing a some- e Von Supp6'soriginal Das Pensionnt,consideredby what darkertimbre than the standardsaxophone. manye>cperts to be the very first Vienneseoperetla (The- ateran der Wien, I 860),Die schc;neGalathee (Meysel's 15A keyboardinstrument sounding by meansof thin Theater,Berhn, 1865), and Millocker's Der Benelstufunt metal tongues(functioning as free reeds)set in vi- Gheateran der Wien, 1882)offer no harpmaterial. bration by a steadycurrent of air providedby a pair of pedal-operatedbellows. Long considereda popular 10 The celestafirst appearsin Der Graf von Luxem- substitutefor the organ, its sharedcharacteristics in- burg, premieredat Vienna's Theateran der Wien on clude: a wind supply, keyboard ad libitun sustained November 12, 1909. The initial threeappearances tones,and stopsthat provide a wide variety of timbre. in Act I are in concertwith the glockenspiel. 162 flutes (plus piccolo), 2 oboes,2 clannets,2 bas- 1r This was not, however, the first time Lehfr soons,4 homs,2 , 3 ,tuba, tim- looked to the tuba to extendthe bottom registerof pani, violins,violas, violoncellos, and double basses.

JCG VoL 18.No. I 33 Valse lrnto 62 rit. a terrpo

Glockerxpid

Violir I

Violn tI

Viola

Violoncello

f)oublc Bts

70

Glock. "i1

ExampleI. Franz Lehdr Der Rastelbinder, No. 5, mm. 62-78; glockenspiel,harp, soprano,and strings.

34 JCG vot. 18.No. I Solo Clannct in Bb PP

Lrsa:

Du hast mich cin - ge-lulJt mit sd-Bcn Wor - ten spon - ncn iu crn Lii - gen - mir chcnl

Violoncello

Doublc Bas

Examplez f ouofrl. Franz Lehdr Das Land des Lflchelns,No. I3, mm. 73-74;clarinet I, soprano,and strings.

Example3 (left). Franz Lehdr Das Land des Lflchelns,No. 7, mm. l7-18; woodwinds, glockenspiel,harp, and strings.

JCG Vol. 18.No.1 35 Tempo I @abuschka:) (zuJanku) Pfefferkom: (fur nch)

- - - d: darf rch rux mehr l-a-ch'nl Jctzc, 5u zin ku, sprich, rvas l)u muBt es mir nach-ma cncnl Jetzt werd dre --- Homs

Example4. Franz Lehdr Der Rastelbinder. 1/o 4, mm.49-56 ; piano-conductorscore

Valse

r--..,.----

flir - ten- kann man zehrr - mal auf je - dem

:^_------\ ^t

Example5. Franz Lehdr Das Land des Lflchelns,No. I, mm. 172-179;harp, soprano,and strings.

36 JCG vot. 18.No. I Sou-Chong;

Das ist dcr hci -mct, li ge Raum, in dem sic at in dcm sre lebt. :ic, mei - ne Son- ne, mein Tmum! O. r----:-----.

VioLn I

Violin II

Viole

Violoncello

Doublc Bas EP

Example6. Franz Lehdr Das Land des Ldchelns, No. 3 mm. 9-12; harp, teno4and strings.

Solo u--.

p3

Sou-Chong: //

- irrr urcr zu frie-dcn, wre's irn mulrch liigt, li-chcineouWeh und tau- send Schmer-zen. Dochwie's de

Violoncello

Double Bass " ,----_

Example5. Franz Lehdr Das Land des Lflchelns, No.3, mm. 19-24; oboe,clarinet, horn, fi, ,rnorand strings.

JCG Vol. 18,No. I 37 Nlegretto (non troppo)

"----- Sou-Chong: -----

Von ap-fel-b1ii-ten ei -nen Kranz,

Example8. Franz Lehdr Das Land des Lflchelns,No. 5, mm. I -6; full score.

38 JCG vot. 18.No. l --:

"*iI

Example9. Franz Lehdr Das Land des Lilchelns, No.8, mm. 68-7t ; fuil score.

JCG Vol. 18,No. I 39 ,"f :-

Vrolin I

Violin II

Viola

Violoocello

P

Example10. FranzLehdr Das Land des Lflchelns,No. 8, mm. I-a;full score

Licd wi.lbt du von Se - Lrg- kei - tcn sin gen und dei - nc

willsc du von Se - lig - kei - ten

A

Example I7 (out of numerical order). Franz Lehdr Das Land des Lichelns, No. 6, Finale I, mm. 135-137;piano-vocal score.

40 JCG vot. IB. No.I _

Allegrctto moderato, ma non troppo

2 Obocs

2 Clennerr in Bb

2 Bassoons f

86t

4 Homs inF

'--= =:: P* = _,o-_- --- _--_€__---.--

Timpmi -

Sou-Chong:

3 Dein ist mcin schiin - stes Licd, weil es al rus der Lic - be er-bliiht. Srg' mir noch ein - - md, mcin ..--\

\- /-f

ExamplelI. FranzLehdr Das Land desLdchelns, No. II, mm. 12-16;full score.

JCG Vol. I B, No. I 4l 2 Clarinets inA

Schiinl Flir - ten,- bi3 - cheo Oir - ten.- kenn men

- Srr..,fl + J

Violin I (di".)

Violoncello (div.)

Example12. Franz Lehdr Das Land des Lilchelns, No. I, mm. 170-175;full score.

42 JCG vot. IB, No.I Allegretto moderato, ma non troppo

2 Flutcs

2 Oboes

2 Clarines in Bb

2 Basoons p*

4 Homs inF

(Sou-Chong:)

Stim -mc , ist es Dein rst mein gen - zes Herzl Wo du nicht

Solo a-.-\

Violonccllo (div.)

Example13. Franz Lehdr Das Land des Lf,chelns, No.II, mm. 36-40;fult score.

JCG VoL 18,No. I 43 Moderato

2 Flutes

2 Clarinets in Bb

U ot-=o pp

2 Horns inF

Example14. Franz Lehdr Das Land des Lilchelns , Overture,ffiffi. 202-205;full score.

44 JCG vot. 18.No. I Moderato (sehr rut und lcire)

(Sou-Chong irt rut l-rr rllern zunickgcblrcben; Lrse:

.'--Z-y

--n=-j.' Vlc./BD/ '---=---/ ,P=---- Tuba V? l------'

f,rsr: Sorr-Cirong: (uucLtdre Arh*lns) Andante O

wer- den dic an- dcrn rucht bci - se scrn? Was geht unsdes an? Son-der-bar! Wr -urr son-der-bar? lch 6n-de die u-dem schr ba-nal

Clt. 1

Allegretto

-=- - Noch nic hab'ich Sie in die - scr Stim-mung gc-seh'n!- ich mcich

P

tr Allegretto modcrato

gem lh-nen et Licd- cs ver-folgt mich Tag ud

Example l5 (continuedon page 46). Franz Lefuir Das Land des Lf,chelns, No. 6, Finale I, mm. I -27; piano-vocal score.

JCG VoL lB. No.I 45 sic het mrch um die Ruh'ge-bracht und ich ver- gess' sie

r' a ternpo

Exampters{continuedf!l:,:,r;:,,:;:;:"1::T:;,,:anddesLscherns,

" c:------/

Example16. Franz Lehdr Das Land des Lflchelns,No. 5, mm. I2-l5; piano-vocalscore.

46 JCG vot. 18.No. I Appendix A Operettasof FranzLehhr 19. Der Sterngucker [The Stargazer]: (3, F. Ldhner-Beda, A. M. Willner); January14,1916; Vienna, Theater in der Title [Englishtranslation]: (number of acts, Josefstadt. 20. librettist);date of premiere;city, theater. Wo die Lerche singt lWhere the Lark SingslA Pacsirta): (3, A. M. Willner, H. Reichert,after F. Martos);January L Frdulein Leutnant [Miss Lieutenanf]:(1, Kolhapp); 1, 1918;Budapest, Kiraly-Szinhaz; Viennese premiere: (Manuscript);I 90I ; Vienna. March 27, l9l8; Vienna,Theater an der Wien. 2. Arabella, die Kubanerin fArabella, the Cuban Girl]: 21. Die blaue Mazur Blue Mazurkaf: (2, L. Stein, (G. Schmidt);l90l; (Incomplete). lThe B. Jenbach);May 28,1920;Vienna, Theater an der Wien. 3. Das Club-Baby:(Y. Leon); 1901;(lncomplete). 22. Die Tangokr;nigin[The Tango Queen]: (revision of Der 4. WienerFrauen fVienneseWomenf: (3, O. Tann-Bergler, Gdttergatte;3,J. Brammer,A Grtinwald);September 9, E. Norini); November21, 1902,Vienna, Theater an der l92l; Vienna,Apollo Theater. Wien. 23. La danza della libellule (Libellentanz; Die drei 5. Der RastelbinderlThe Tinkerl: (Prelude,2, V. Leon); Grazien) of the Dragonfly (Italian); The Three December20, 1902;Vienna, Carltheater. lDance Graces(German)]: (revision of Der Sterngucker;3, 6. Der GcittergattefThe Husband Godf: (Prelude,2, Y. C. Lombardo,A. M. Willner); May 3, 1922;, Lirico; Leon, L. Stein);January 20,1904; Vienna,Carltheater. Viennesepremiere: March 31, 1923;Vienna, Stadttheater. 7. Die Juxheirat [The Mock Marriagef: (3, J. Bauer); 24. Frasquita:(3, A. M. Willner,H. Reichert);May 12,1922; December22,1904; Vienna,Theater an der Wien. Vienna,Theater an der Wien. 8. Die lustige Witwe lThe Merry Widowl: (3, V. Leon, 25. Die gelbeJacke lThe YellowJacket): (3, V. Leon); L. Stein,after H. Meilhac: L'attachd d'ambassadelThe February9,1923; Vienna,Theater an der Wien. EmbassyAttachd)); December 30, 1905;Vienna, 26. Cloclo (3, B. Jenbach);March Theateran der Wien. fLolottel: B, 1924;Vienna, BUrgertheater. 9. Der Schlilsselzum Paradies [The Key to paradise]: 27 . Paganini:(3, P. Knepler,B. Jenbach);October 30, 1925; (revisionof WienerFrauen;3, E. Norini, J. Horst); Vienna,Johann Strauss Theater. October20, 1906;Leipzig, Stadttheater. 28. Gigolette: (revision of Der Sterngucker and La danza 10. Peter und Paul reisen im Schloraffenland lpeter and della libellule;3, C. Lombardo, G. Forzano);October Paul Traveling in Schlaraffenlanfl: (1, F. GrUnbaum, 30, 1926; Milan, Lirico. R. Bodanzky);December I, 1906;Vienna, Theater an der 29. Der ZarewitschlThe Czarevitch]:(3, Wien. B. Jenbach, H. Reichert,after Zapolska-Scharlitt); February 21, 1927; ll. Mitislaw der Moderne lMitislaw the Modernf: (1, Berlin, DeutschesKtinstlertheater; Viennese premiere: F. Griinbaum,R. Bodanzky);January 5,1907;Vienna, Die May 18,1928;Vienna, Hdlle. JohannSffauss Theater. 30. Friederike [Fredericaf: (3, L. Herzer,F. Laner); October 12. Der Mann mit den drei Frauen lThe Man with Three 4, 1928;Berlin, Metropol Theater;Viennese premiere: [Vives):(3, J. Bauer);January 21, 1908 Vienna,Theater February15,1929; Vienna, an der Wien. JohannStrauss Theater. 31. Das Land des Lachelns []: (revision 13. Das Filrstenkind lThe Child Princef: (Prelude,2, of Die gelbeJacke;3,L.Herzer, F. Lohner);October V. Leon, afterAbour); October7, 1909;Vienna, Johann 10, 1929;Berlin, Metropol StraussTheater. Theater;Viennese premiere: September26, 1930;Vienna, Theateran der Wien. 14. Der Graf von Luxemburg lThe Count of Luxembourgf: 32. Frilhlingsmddel Maiden): (revision of Der (3, A. M. Willner,R. Bodanzky);November12,1909; lSpring Sterngucker and Frilhling;3, R. Eger); Vienna. Theateran der Wien. May 29, 1930; Berlin, Theaterdes Westens. 15. Zigeunerliebe[Gypsy Lovef: (3, A. M. Willner, 33. Schan ist die lhelt Lovely the Worlfl: (revision of R. Bodanzky);January 8, 1910;Vienna, Carltheater. lHow Endlich allein; 3, L. Herzer, F. Uhner); December30, 16. Eva: Das Fabriksmridel lEva: The Factory Girll: (3, 1930; Berlin, Metropol Theater;Viennese premiere: A. M. Willner, R. Bodanzky,E. Spero);November24, December21, 1931;Vienna, Theateran der 191l; Vienna,Theater an derWien. Wien. 34. Der Filrst der Berge lThe Mountain Princef: (revision 17. Die ideale Gattin lThe ldeal Spousel: (revision of Der of Das Filrstenkind;Prelude,2,Y.Leon); September23, Gottergatte;3,J. Brammer,A. Grtinwald);October I I, 1932;Berlin, Theateram Nollendorfplatz. 1913;Vienna, JohannStrauss Theater. 35. Giuditta: (5, P. Knepler,F. Lohner); January20, 1934; 18. Endlich allein fAlone at Lastf: (3, A. M. Willner, R. Vienna,Staatsoper. Bodanzky);January 30, 1914;Vienna, Theater an der Wien.

JCG VoL 18.No. I 47 36. Garaboncids Didk (revision of Zigeunerliebe in the N. Potter,Inc., 1980. Hungarianlanguage, new text by Ernd-InnocentVincze); Lamb, A. "FranzLehdr," in S. Sadie(Ed.), New GroveDictio- February20, 1943;Budapest, Kdnigliche Oper. nary of Music and Musicians, Vol. 10, pp. 619-622. London: MacmillanPublishers Ltd.. 1980. Appendix B SuggestedReading . "Operetta," in S. Sadie (Ed.), New Grove Dictio- nary of Music and Musicians, Vol. 13, pp. 648-652. Lon- don: MacmillanPublishers Ltd., 1980. Carrier,M. Puccini: A Critical Biograpfty. New York: Alfred "Vom A. Knopf, 1959. Leh6r, F. Schreibtischund aus dem Atelier. Bis zur 'Lustigen Witwe"'["From the Writing Desk and the Studio. The lilaltz. New York: ChanticleerPress, 1948. Up to 'The Merry Widow"'] . Velhagenund KlasingsMonats- Of Men and Music: Collected Essays Articles and hefte lMonthlyl, 191 1- 1912, xxvi, pp. 212-216. (2nd ed.). London: JosephWilliams Ltd., 1944. . Bekenntnis Available from Jean Frey "The fMemoirsf. . Exotic Element in Puccini." in The Music AG, Zurich, Switzerland,private printing, 1946. Quarterly,xxii, 1936, pp. 45-67. Das Geheimnis meines Erfolges lThe Secret of My Castle,C. & Tauber,D. N. This WasRichard Tauber. Lon- Successf.Neue FreiePresse [New FreePress], July 19,1928, don:W. H. Allen, 1971. p.13. Czech,S. Das Operettenbuch[The OperettaBook] (4th ed.). Lehar(Franz). Catalogue of Works. London:Glocken Verlag Stuttgart:Muth' scheVerlagsbuchhandlun g, I 960. Ltd., January1986. Schc;n ist die LTelt: Franz Lehdrs Leben und llrerk Lehdr(Franz). Catalogue of Works. London:Glocken Verlag lHow Lovely the World: Franz Lehdr's Life and Work]. Ber- Ltd., 1984. lin: Argon, 1957. MacQueen-Pope,W. & Murray, D. L. Fortune's Fqvourite: Franz Lehdr: sein Weg und sein l4terk lFranz The Life and Times of Franz Lehdr. London: Hutchinson Lehdr: Hk Wayand His Workl. Vienna:Verlagsbuchhandlung and CompanyLtd., 1953. FranzPerneder,1948. "Der Schdpferder modernen Operette" ["The Cre- Decsey,E. Franz Lehdr. Munich/Berlin: Drei MaskenVerlag, ator of the Modern Operetta"], in Musica, February 1949, l 930. pp. 57-59. Gainham, S. The Habsburg Twilight: Tales From Vienna. Morton, F. Thunder at Twilight: Vienna I9l3/1914. New New York: Atheneum,1979. York: CharlesScribner' Sons, Macmillan PublishingCom- Gold, E. M. On the Significance of Franz Lehdr's Operet- pany,1989. tas: A Musical-Analytical Study. New York University , 1993. Peteani,M. Franz Lehdr: Seine Musik- Sein LebenlFranz [Order No. 9317665 from University Microfilms Interna- Lehdr: His Music - His Lfel. Vienna/London: Glocken tional, 300 North Zeeb Road, Ann Arbor, Michigan 48106- Verlag,1950. 1346,USA, Tel: (3 I3)761-4700,(800)52 l-06001. PleasantsIII, H. (ed. & trans.), Eduard Hanslick. Vienna's Grun, B. Gold and Silver, TheLift and Timesof Franz Lehdr. Golden Yearsof Music: 1850-1900. New York: Simon and New York: David McKay Company,L970. Schuster,1950. Hanslick, E. Aus dem Konzert-Saal: Kritiken und Schneidereit,0. Franz Lehdr: Eine Biographie in Zitaten Schilderungen aus 20 Jahren des Wiener Musiklebens {Franz Lehdr: A Biography in Quotationsl. Berlin: Lied (1848-1868) lFrom the Concert Hall; Criticisms and der Zeit Musikverlag, 1984. Sketchesof 20 Years of VienneseMusical Lif"l. Vienna and Schonherr, M. Franz Lehdr: Bibliographie zu Leben und Leipzig: Wilhelm Braumtiller, 1897. WerklFranz Lehdr: Bibliography of Lrfe and l|rorkf. Vienna: Hofrnann, P. The Viennese: Splendor, Twilight and Exile. OsterreichischeMusikzeitschrift [Austrian Music Journal], New York: Anchor Press,Doubleday, 1988. r970. Hughes,G. Composersof Operettas. New York: Macmillan Tauber, D. N. . New York: Da Capo Press, and Company Ltd., 1962. I 980. Janik, A. & Toulmin, S. Wittgenstein'sVienna. New York: My Heart and I. London: Evans, 1959. Simon and Schuster,1973. Traubner, R. Operetta: A Theatrical History. New York: Johnston,W. The GoldenAge of Vienna. New York: Clarkson Doubledayand Company, Inc., 1983.

48 JCG vot. t8, No. I Scores& Parts

Hanseland Gretelby Englebert Humperdinck

compiledby Kristi Sloniger

The following enatalist for the completeorches- F+13 Ob: s/r Ob2, not Ob I tration of Hansel and Gretel was derived from K+6/4 ...... Vln l: note s/r B-flat N+9...... F1l&2: + p Kalmus's orchestralmaterials, which area reprint N+7 and 8 ...... DB: + decresc.hairpin sign, as in Vc of the original Schottedition. Subsequently,the er- P+3 and4 ...... Tbn l: + 2-6* rlut rata list was proofed againsta Dover score,also a P+512 ...... DB:+ fp P+7and 8...... gqre-6ar Schott reprint. Finally, for additional reference. Tbn l: + slur P+10 Fl 1+2: * slur to lst 2 notes Schott'svocal scorewas used. I - 1I ...... Cl 2: lastnote s/r B The erratalist is presentedin the standard JCG 9+4 ...... Hn 2: 4thnote s/r q.n.;+ e.n.rest: format, in accordancewith the abbreviationskey regu- del. tie (as in rest of winds) 9+5 ...... Hn 2: del.note larly usedin this publication (seep. 5 l Most of the ). I2+3 Vln l: last note s/r F entries are labelled according to measurenumbers l6-6 and5...... Hn 2: + 6a's-6arslur either before or after the nearestrehearsal number; l8/l ...... Bsn 2; * accent "two 25-312 ...... Vln + e.g.,"25+2" reads measuresafter Rehearsal#25,' l&2: stacc.dot "26-4" 26-812+ .....Bsn I&2: + and reads "four fp measuresbefore Rehearsal 28-3 ...... Vln 2: lastnote s/r B-flat #26." Beatnumbers, when given, appearafter a slash 28+10 ...... Hn2: * decresc.sign andp that follows the rehearsalnumber and bar indicators. 33+5 Vla: + cresc. sign for entire bar 36-2ll ...... Vln I&2: + stacc.d,ot The JCG is indebtedto Kristi Sloniger, who re_ 40-ll2 ...... Vln 2: + tr to lst note tired in May 1998 from her position as Music Li- 46-2ll ...... Vln l: + asssr1 brarianof the Houston Grand opera, to her succes- 46+614 ...... Tbn l&2: + slur into lst noteof 46+7 sor, Tim Tull, for his assistancein proofreadingthe 47-I/4 ...... DB: * accenr JCG's versionof the list, and to Clinton F. Nieweg 47+8 Hn 3: all notes s/r articulatedas of the 'sMusic Library for inHn I 49-3/l + bringing the existenceof this list to the attentionof ...... Fl 2: stacc.dot 51-5 ...... Tbn 3: notes/r G nat. the JCG staff. 5l-4/2 ...... Vln 2: lastnote s/r G-flat ******** 56-4...... C12:note s/r F# 57+2 Hn 3: * e.n. G at end of bar with ScoreCorrections p dolce, and slur into 57+3 57+3 Hn 3: *notes C-G-G (upan octave from Hn 4 in 57+4) Inst:correction 58- l ...... Vc, Hn l&2: * decresc.sign for entire bar D rPt: +f 62-8 ...... C1l&2: 3rd note for both s/r F E+7 ...... Vln 2: del.p 62+5/4 ...... Tbn 3: * accent F-7 Tbn l&Z: + f anddecresc. sign on 62+7 Tbn l: E continueson beat 3 for an beats 3 and 4 e.n.;+ e.n.rest after that

JCG Vol. 18.No. I 62+8 Tbn l: C nat. continueson beat I for 166+4 ...... Ob l: lst notes/r D nat. an e.n.;+ e.n.rest afterthat 168+3 ...... Vla: 3rdnote s/r A 64-2...... Tpt2: + p 171+5-7 ....All Str: + accenton 3rd note 64ll ...... Ob l: + 7p I74+9 ...... Fl l+2: + stacc.dot on lastnote 6413...... Ob )1 + gracenote as in previous 175+212 ....Hn 3: * accent figure 175+612 ....Tbn 3: * accent 66-4ll and 2 notes s/r A 175+8 ...... Tbn 3: notes/r G-flat 68+t 0 ...... Fl l&2: last2 notess/r evene.n. 178-4 ...... Vla: * cresc.sign for entirebar 75-5 ...... Hn 3: * cresc.-decresc.hairpin for 3 185+3 ...... Cl l: lastnote s/r C nat.,not flat bars as in Bsn 2 187-1ll...... DB: + missinge.n. rest 79-313 ...... Bsn 1: notes/r A-flat 190-2 ...... Vla: + accenton lastnote 79-5 and4...... Hn l&2: continueB andG through 190-I ...... Cl 1: * stacc.dots to last2 notes beat 3 n 79-4 191+5 ...... Hn l&2: + decresc.sign for entirebar 79-4 ...... Hn l&2: addfp on beat 1 followedby 193-7 ...... Vln 2: * stacc.dot decresc. sign through beat 3 194-413 .....Picc: note s/r E "Becken" 80-2 ...... Bsn 2: * cresc.sign for entirebar 193+5 ...... Tuba: mislabeled as 83 Tmp: del.3' 193+7ll ...... Vla:+ F underA to chord 84-3 ...... Fl l: * slurto 4th and5th notes 197 ...... Bsn l&2: + f 87-2 ...... Bsn 1: + augmentationdot to lst note 203+1 1 ...... Tpt l&2: * "cresc." 88-l/3 ...... Vln 2: del.loweroctave 206 ...... Hn l&2: p s/r on beat2,not 4 88+7/l ...... Hn l&2: + mfp 210-8ll ...... Tbn3, Tuba: * accent 90-5 ...... Harp: l2th notes/r A nat. 210-I ...... Tbn 3, Tuba:+ accent " 90+4ll ...... Harp: + missing (L.H.) 212+413 ....Vln l&2: + stacc. 94-2 ...... Bsn l&2: + cresc.sign for entirebar I 1I +5 ...... Hn l&2: + ff 120-414 .....Hn 3: * decresc.sign Parts Corrections l2l-3/l-3 ...... Bsn l&2: + decresc.sign + l2l-314 .....Bsn l&2 cresc.sign corTectlon l2l-4 ...... + p anddecresc. sign for entirebar l2l-2ll .....Vln 2: lowernote s/r D, not E 122-l ...... F11:note s/r D# Violin I 123-l ...... Bsn l: * cresc.sign for entirebar 127+4 ...... Hn 3&4: * cresc.sign for entirebar M. M+2/l .-r stacc. dot + 128+9 ...... Bsn l&2: + cresc.sign for entirebar M+5/l ...... stacc.dot "dim." 129-7 ...... Ob l: * l2+3 last note s/r F 129-312 .....Fl l&2: lst note s/r F 18+4 last note slr stacc. * 129 ...... Ft t&2: + p 28 stacc. dot 129+3 ...... Cl l&2: + slur to last2 notesinto 32-l ...... slr f, notff 39-ll3 ...... s/r sf, notff 129+4 "Reh. 132-4 ...... Vln 1: lastnote s/r B-flat 44+7 s/r 45" 136-l ...... Vla: s/r e.n. 46-314 ...... + tr on lst note 55-4ll+2 ...... articulations/r - l4l+511...... Hn 4: +fp 144 ...... Yla:+ p 57-411...... * stacc.dot 146 ...... Hn l&2: + p 58-3 ...... del. f 150-7 ...... Fl I: * decresc.sign for entirebar 58-2...... +mf 150-2 ...... Ob l: lastnote s/r G nat. 64 ...... +fp I 5 1+l4 ...... s/r"Reh. #I52" 64+8 * slur from last note of beat 3 to lst 153+612 ....DB: notes/r E nat. note of beat 4 't 154-1 ...... Fl 2: * stacc.to all but lst note 65+5 decresc.hairpin sign over A 155-3 ...... B Cl & Hn l&2: + decresc.sien for 78+3 entire bar 9r-7 upper divisi: del. bottom octave for 158 ...... Fl 2: + pp J bars 160-4 ...... Bsn l&2: + cresc.sign for entirebar 92-7 slr p, not pp 160+4 ...... Vc: notes/r dottedq.n. 95-1 ...... + tie into lst noteof Reh.#95 166-3 ...... Vln 1: notes/r B nat.not # 109-4 ...... +dim. 1l3- l3 ...... s/r"Reh. I 12"

50 JCG vot. 18.No. I Abbreviations Key

IxsrRucrroxs Viola:Va nvneurcs = dyn Shouldread: s/r Cello:Vc crescendo= cresc. (+; Add: DoubleBass: DB decrescendo = decresc. Delete = (-) diminuendo: dim. Bar number: Bar Bnlss = Br espressivo = espress. measure(s):m. (mm.) FrenchHorn: Hn staccato = stacc. Trumpet:Tpt subito: sub. Norns Trombone= Tbn : eighth note/rest e.n./r. Tuba: Tu Prncussrox: Perc quarternote/rest = q.n./r. BassDrum:BD : half note/rest h.n./r. Wooowrxns=Ww Cymbal =Cy : whole note/rest wh.n./r Flute: Fl SnareDrum: SD : natural nat. Piccolo= Picc Tambourine:Tamb Clarinet=Cl Timpani-Tmp Sconp: Sc PiccoloClarinet: P Cl Triangle:Tri CES = critical edition score BassClarinet: B Cl Xylophone: Xy CEP: critical edition pars Oboe = Ob EnglishHom:EH Pr,lxo: Pno = Srnncs Str Bassoon: Bsn Violin:Vln ContraBassoon=CBsn H,lnp=Hp

129-7 ...... 41hnote s/r G for both divisi 42-2 * *f 132-4 ...... last note s/r B-flat 45 darken articulation and staff lines for l3 5-9 ...... del. decresc. hairpin sign 3 systems 135+4 ...... +dim. 5 I -4 ...... last note of beat2 s/r G-flat 137+3 ...... + stacc.dot 54+3 * stacc. dot(2x) 148+5 ...... + cresc. 54+6 * stacc. dot (2x) 156-1 ...... +cresc. 54+7 del.stacc. dot (3x) 158 ...... * restsunder cue notes 54+8 * stacc.dot (2x) 162+6 ...... + cresc.hairpin sign over last 3 notes 55-ll3 ...... + stacc.dot 168-2 ...... l6th notebeam should be on 3rd 57-4ll ...... + stacc.dot note. not 2nd note 88-l ...... * stacc.dot (2x) 176-4ll .....+ stacc.dot 92-7 ...... slr p, notpp 182-l ...... Iastnote s/r stacc.dot 110-l ...... + piil p 192-lll * ...... fermata 127+7 ...... +fp 203+6 ...... 2ndnote s/r A, not F 137+5 ...... + stacc.dot 212+213 ....* stacc. dot 140+2 ...... + "stacc." 212+413 ....* stacc.dot l4l-7 ...... + "stacc." 145+4 ...... + stacc.dots (5x) after Violin2 l5l+7 ...... topnote of last chords/r G 152 ...... boffom note s/r E-flat E+l I last note s/r G nat. 1s6...... +f H- 1 ...... * decresc.sign overbar 17| ...... * accenton 3rd note M/l ...... + stacc.dot 175-6 ...... + accenton lst note M+1/ * stacc. dot 201 ...... +pp N-3/l ...... + stacc.dot 212+213 ....* stacc. dot P+5/l ...... + p 212+413 ....+ stacc.dot 4-6 slr sf, not sfp 5-3 * slur over 3rd and 4th notes Viola 7 del. stacc. dot 9-5 del. note; s/r bar of rest ld-zlr * stacc. dot 2l-l ...... last note s/r stacc.dot 0-213 ...... continue slur into O-l/1 28-3 ...... last note s/r B-flat 4-6 slr sf, not sfp 281| * stacc. dot 7+7...... *"cresc." 7+9/t ...... +p

JCG VoL 18, No. l 51 17 ...... +p 77+5 del. Bsn 2 cue 25-2ll ...... continueslur from 25-3 83 ...... +p 25+212 ...... bottom note s/r C 9l del. Bsn 2 cue for 9 bars ,,pizz.,, 3 0 + 92-7 ...... slr p, notpp 49 ...... +f 92-4 del. Hn 3 cue 49+312 ...... bottom divisi notess/r A-flat and 106 ...... del. "dim." B-flat (refer to score) 110...... +pp 49+314 ...... bottom divisi notess/r A-flat and 1l0+6 ...... + cresc.hairpin sign over bar B-flat (refer to score) 124 ...... +p 5l-5/l ...... +p 125-5 ...... del. Bsn 2 cue 5l+5 lst 3 notesslr stacc. 128-3 ...... + "cresc." 59+4 ...... +pp 139...... +ffpon2ndnote 6s-2...... +ff 143-2 ...... del. Bsn 2 cue 73-l12 ...... notes s/r B-flat-D-B-flat 145+2ll ....-tstacc. dot 78+6 ...... +pp 153+4 ...... s/r 3-barrest 88t2...... +p 156-I ...... + cresc.hairpin sign 92-7...... del. pp 156+8 ...... del. cues for I I bars "dim." 109-4 ...... + 163+4ll ....+p andstacc. dot lll ...... +f 16613 ...... bottom divisi: + p "cresc." 1l3+9 ...... + 172-6 ...... + accenton 3rd note 122-3 ...... +pp 172-5 ...... + accenton 3rd note 136+412 ....topdivisi s/r dottedquarter note 172-4 ...... + accenton 3rd note 165-6 ...... 3rdnote s/r stacc. dot 186-3 ...... del. Bsn 2 cue 178-3 ...... +p 187+3 ...... del. B Cl cue 179-212 .....+mf 203+l I ...... * stacc.dots on last2 notes 186+4 ...... + cresc.hairpin sign on 2nd half of bar 20s13 ...... +ff 204-l ...... + stacc.dot (2x) 205+lll ...... del.f 20613 ...... del. stacc.: s/r slur on 5th and 6th notes Cello DoubleBass D-7ll+2 ...... + decresc.hairpin sign Kll notes/r A-flat M ...... + "poco ff K+9...... + cresc." I l-4 ...... +p L-2...... *"cresc." 27 + decresc.hairpin sign Lll notes/r C belowthe staff 29-I ...... 2ndnote s/r stacc. dot Q-2tr +p 46+3 + fp on lst note 4+811...... + pp 52 del. cresc.hairpin sign 12+6 ...... +p 55-l ...... +pp 15+5and 6...... * cresc.hairpin sign over 2 bars 57-2 ...... slr f, not mf 17-2 ...... slr f, notp 64 last note slr stacc. dot 50-4ll ...... +f 65-7ll ...... + f 52+2 del. cresc. hairpin sign 65-3 ...... 2nd note s/r stacc.dot 54-3 ...... del. Tbn cue 65-2 ...... 2nd note s/r stacc.dot 57-3 ...... * cresc.hairpin sign on 3rd & 4th notes 78+4 extend cresc. hairpin back to start on 58+lI ...... +p 78+313 "Reh. 58+13...... s/r #59" 85-l ...... last note s/r stacc.dot "Reh. 62-14 ...... s/r #61" 86+3 del. cresc. hairpin sign (s/r only in 62-4 ...... + F [an octavehigher, i.e., F below 86+4) middle Cl 92-7 ...... +p 64ll ...... * stacc.dot (2x) 95 del. Bsn 2 cue 64 bottom divisi A's s/r stacc. dot (2x; 97-2 ...... del. Bsn 2 cuefor 2 bars i.e., on 2nd and 3rd notes) 98 del. Bsn 2 cue for 4 bars 70-5 ...... * harmonicto lst and2nd notes I l8-4 ...... +pp 70-2ll ...... +f I24-l ...... s/r cresc.hairpin sign,not decresc. 7 5-l ...... del. Hn cue 139 ...... +ffp on 2nd note

52 JCG vot. 18,No, I 149+10 ...... + p 88-3...... +pp 155...... +ff 92-9 ...... * decresc.hairpin sign for entirebar 161 ...... del. B Cl cue 122-3 ...... +pp 172-6 ...... + accenton 3rd note for 3 bars 128 ...... +f 185+3 ...... del. Bsn 2 cuefor 2 bars 129-4 ...... + cresc.hairpin sign for entirebar 188 ...... * stacc.dot on 5th note 152-l ...... +p 205+2ll ....+ ff 155-5 ...... +pp 208+5 ...... +ff 155-2 ...... +pp 212+10 ...... del.stacc. dot 167-2 ...... + tie to lst and2nd notes 173-l ...... + slur into lst note from 173-2 Flute 1 178 ...... lst notes/r stacc.dot 181-2 ...... +f M+2/3 ...... + stacc.dot I 87+5 ...... + p Q-9/l ...... continue slur from Q-10 l9l-2 ...... 5th note s/r stacc. 20-l ...... all notesslr stacc.dot (4x) 206-2 ...... lst 2 notess/r s/acc.dots 2l-l ...... * stacc.dot 2ll-6 ...... + decresc.hairpin sign for 2 beats 29-7 ...... all notesslr stacc. dots for 4 bars(l6x) 4l * cresc.hairpin sign on beat one andf Piccolo on beat 2 48-4ll ...... +p dolce 83-1 ...... last note s/r E-flat 49-l ...... +p 162-2 ...... + cresc.hairpin sign for 2 bars 59-4...... +f 169+1 ...... del. accenton lst note; slrstacc. dot 66-8 ...... * stacc.dot on lastnote 174-4 ...... 3rdnote s/r tenuto dash 68+713 ...... +atempo 189+2 ...... last 2 notes slr stacc. dot 68+1014.....,.... s/reven 8th notes 192+9I 1 ...... + p 69-2 ...... last 3 notess/r s/acc.dots 207-8 ...... +pp 76+5 ...... +p 212+r0 12 ...... + ff 88-3...... +pp 92-7 ...... 3 barsare missing Oboe 1 128-613 .....+ qesc. hairpin sign to beat3 128-513 .....del. cresc. hairpin sign I+4 ...... +p 122-3 ...... +pp K+6ll ...... s/r B-flat 140-5 ...... +pp 4-6/2 slr sf, notfp 14l+6ll * .... accent 8-8 ...... + p 180-2 ...... + p l2l2 ...... decresc. sign startshere 190-6 ...... s/r p, notf l4-2 ...... * decresc.sign for entirebar 190-5I 1 ...... + accent 20 + decresc.sign on last 2 notes 191-l 11...... * stacc. 38+3 last note s/r C 40+312 ...... + accent Flute2 4l - 1 ...... 3rd note s/r accent,not dim. 45+3 del. slur into lst note P+ l0 * slur to lst 2 notes 47+6 + pp 1-5 del. accent 4914...... + accent 25-812 ...... + accent 56+8 slur continuesinto this bar 36-3 ...... * ... notesfor vocal cue 59-4...... + f 46+3 * accentson beats2 and4 6413...... note s/r G#, not G nat. 46+4 * accentson beats2 and4 64+2 +"cresc." 4914...... + accent 82-ll2 ...... + dim. hairpin sign for 3 beats 53+4 * stacc. dot on 3rd note 119- I ...... + cresc.sign for entirebar 58-2...... +p 129-5ll .....+p 59+8 * cresc. hairpin sign for entire bar 136-5 ...... + cresc.-descresc.signs 62+5 ...... +ff 149 ...... +f 68+10...... * stacc.dots on last3 notes l5A-2 ...... last note s/r G nat. 75+5 +lst notes/r F 174+9ll ....* accent 82+3 ...... + p I 8 1-2 ...... mark cue as "F1."

JCG VoL 18,No. I 53 190 ...... * accenton lastnote 64-6 ...... del. q.n.rest; + h.n. restinstead 196...... +p 65+6 * augmentationdot to 7th note; 202+8 ...... +mf triplet slr 32nd notes, not l6th notes 210-8 ...... +f 67-2 + slur from 2nd notethrough 67-l 210+414 ....+ dolce 67+2 del. dim.; move to 67+3 210+714 ....continueslur to 210+9 70-5 ...... lastnote s/r D 87-2 ...... * cresc.sign for entirebar Oboe 2 9t ...... +pp 92-7 del.pp c ...... +p l0l+3 ...... del. cue notes; + Cl 2 cues E+9 ...... * decresc.sign on beats3 & 4 101+4 ...... + ff "Reh. H-2 ...... cresc. only on beats| & 2; decresc. 105+10...... s/r #106" startson beats3 & 4 andcontinues into H-ll3 111+6 ...... + slurto last2 beats N+2/3 ...... + stacc.dot lll+7 ...... + slur to last2 beats Q+8...... del. cresc. hairpin sign I 1I +8 ...... + slur to last2 beats ...del. dim. hairpin sign l17-10 ...... piupshould appear in I l7-11 Q+9...... "cresc." 8+10 ...... +p 118-3 ...... + 27-7 ...... +p ll8+413 ....* decresc.sign for 2 beats 43+5 ...... +p I I 8+5/l ....+ p 49-l ...... +p 120+214 ....r cresc.sign in parentheses 5l-3 ...... * decresc.sign for entirebar 120+3/l ....+fp 74-3/4 ...... + cresc.sign l2l-3ll .....+ accent 79+213and4 *cresc. l2l-lll ...... + accent 82-1...... + dim.hairpin sign for entirebar r2r ...... + f 82+3 ...... +p 122-4 ...... slur continues into 122-3 92-7...... +p 122-3 ...... wrong notesfor 3 bars 210-lll .....+ accent 125+7 *"cresc." 128+8 ...... del. cresc.sign for entirebar (s/r only Clarinet I in 128+9) 133...... +f + D-2...... *"dim." 133+7 ...... augmentationdot L+11 del.decresc. sign 139+2 ...... +ffp on 2nd note + l-7 * stacc.dots to 2nd and3rd notes t42-10...... p 154+3 ...... + stacc.dot to 2nd note 4-6 slr sf, notfp 6-2 t cresc.hairpin sign for entirebar 161 ...... tie lst 2 notes;del. augmentation dot on 3rd note 6-l * decresc. hairpin sign for entire bar 16614 ...... + f; also+ stacc.dots to last3 notes 8-3 triplet slrff, not f 178-6 ...... s/r tacet for I I bars (only Cl 2 plays) 8+9 ...... + slurto lst 3 notes 184+2 ...... last 2 beats:* cresc. 9-6 lst note s/r D sign to 5th and 6th notes; * decresc.sign to 7th note 10+6 ...... +fp 189 ...... + cresc.sign 13-812 ...... +f 190-2 ...... + "cresc."on 3rd note l8-2 ...... * slurto lst 2 notesonlv 196-10...... * cresc.sign for entirebar 24+912 ...... + accent 203-7ll .....+ stacc.dot 26-7 ...... 2ndnote s/r E nat. 28-9ll ...... + accent 47 -ll3 ...... + dim.hairpin sign for 2 beats Clarinet 2 4914...... * accent 50-3/l ...... +p G-3 ...... + eighthnote flag to lastnote 53+3 del. cresc.sign M last notes s/r D and E 56-6...... +p 8-5 * stacc.dots to C and B 56-3 ...... p sh on lst beat,not 2nd beat 8+9 ...... * slurto lst 3 notes 56+14 ...... * augmentationdot to lst beat 2l+4 slur continuesfrom 2l+3 62-8ll ...... + accent 24+9 + accent 62+3 3rd note s/r B-flat, not C 30- I ...... + missingaugmentation dot 63-3 ...... del.cresc. sign 32-l ...... s/r f, notp

54 JCG vol. 18,No. l "dim."; 32+2 del. move to 32+3 BassClarinet 45+3 * stacc. dot to E-flat 48-5 ...... * stacc.dot to nextto lastnote 149-2 ...... + "dim." 4914...... * accent 154-2 ...... + cresc.on last3 notes 49+412 ...... + accent 154+4 ...... + ffp 52-3...... +p I 5 5 ...... + anddecresc. sign s2-2ll...... + ffp f 188-l ...... descresc.starts in this bar 57-9...... 2ndnote s/r G 189+2 ...... + accent 57+6 last note s/r articulated,not in slur l9l+312 and 3 slr marcalo accents.not staccs. 59-5 ...... *"cresc." 62-8...... +p BassoonI 62+5 ...... + ff 63-5 ...... * stacc.dot to 2nd note 63+3 * stacc. dot to 2nd note H-812 ...... + stacc. 64 + p to 2nd note H-612 ...... + stacc. 6- 1 65+5 ...... + ff 2nd and 3rd notess/r stacc. 65+8 next to last note s/r D 9-3 slur through lst note of beat 2 72 * cresc.-decresc.hairpin sign 9 slur through lst note of beat 2 72+5 * cresc.-decresc.hairpin sign l7+2 ...... +p 76-212 ...... + accent 19 ...... +f 76-2 ...... + triplet sign on lastbeat 23+612 ...... + p andstacc. dot 101+6 ...... tie continues 29-712 ...... +p "cresc." 103-5 ...... s/r p, notf 40- I ...... * 45-2 r03-4fi .....+f ...... +p I07+14 .....,..... * cresc.sign over whole bar 45+312 ...... + accent 108+5 ...... + "cresc." 48+313 ...... s/r accenton lst note, not stacc. 109-l ...... + "cresc." 4913...... del. accent;s/r all stacc. 1l l+ 7 ...... slur last2 beatstogether 5l-2ll ...... + p I l1+ 8 ...... slur last2 beatstoeether 52-3 ...... *"cresc." ll2+513&4...... * stacc. 57-l8 ...... + stacc.on 4th note 12112 ...... s/r all stacc. 57-17 ...... + stacc.on all notes 125-4 ...... +p 62-2 ...... * stacc.on last2 notes 128+l0 ...... 6th notes/r D. not C 62+7 2nd note slr stacc. 133+5 ...... + p 63-4 ...... lst note s/r stacc.:del, stacc. from 136-2 ...... + pp andcresc. sign 2nd note 136-1 ...... + decresc.sign for entirebar 66-3 ...... * cresc.hairpin sign for entirebar 66-2 + 137-8 ...... +fp ...... f 139+2 ...... + 66 ...... -rp ffp "cresc." l4l-2 ...... + gracenote E-flat 70+412 ...... + 14l-l ...... +grace note E-flat 75-213and 4 + cresc. sign 143-4 ...... + "dim." 75-l ...... * decresc.sign 145+2 ...... last note s/r stacc. 80-1/l ...... +f 148-4 ...... + missingaugmentation dot 87-2 ...... -r cresc.sign for entirebar 87+4ll + 154+4 ...... +ffp ...... p 155-2 ...... +pp 88+5 ...... +p 156 ...... * decresc.sign l02ll ...... +p "cresc." 169-4 ...... + stacc.dot to 3rd note 107+3 ...... + "cresc." 169-3 ...... + stacc.dots to lst and 3rd notes 109-5 ...... + l8l-8 ...... +p ll8+413 and 4 * decresc.sign 194+2 ...... last note s/r G I l9- 1 ...... + cresc.sign for entirebar 19613 ...... + stacc. l2l-l ...... del. decresc.sign "dim." 196+2and3 *stacc. 134+2 ...... + 198+3ll ....note s/r B r37-2 ...... +f r43t3 ...... +p 145+4ll ....+ f

JCG Vol. 18,No. I 55 146-7 ...... + slur on lastbeat into lst beatof 160-3 ...... + triplet symbol for 3 bars(6x) 146-6 16113 ...... + decresc.sign 149-7l1 ...... + p 167+3 ...... s/r decresc.sign, not accent 152+5 ...... slur starts on 2nd note.not lst 168-412 .....+ accent 155...... +ffp 174-4 ...... s/r all stacc. 168-5 ...... triplet slur should continue into I st 178-5 ...... + accent noteof 168-4 184 ...... * cresc.sign on beatZ and+ decresc. I 85+3 -rp sign on beat 3 190 ...... 3rdnote s/r stacc. 184 ...... 2ndnote s/r C-flat l9l+12 ...... tripletslur shouldcontinue into lst 196-8 ...... +p noteof 191+13 203+214 ....+p 197 ...... last note s/r stacc. 212-413 .....+ cresc.sign through 212-3 197+I ...... last note s/r stacc. 203+214 ....+p Horn I 206-2 ...... + f 208-12 ...... + f L+l I del. decresc.sign 2ll-6ll .....+ cresc.hairpin sign to 2ll-614 9+7 and8 ...... + cresc. sign through the F# 2ll-614 .....+ decresc.sign into 2ll-512 20+3 ...... +p 2l+6 * slur from 2nd note through lst note Bassoon2 of 2l+7 25-812 ...... +f anddecresc. sign L-ll4 * stacc. 32-4 ...... * stacc.to 2nd note L+3ll ...... +fp 34-l5ll .....+ accent L+lll ...... +fp 50+5 ...... +p L+l I ...... +fp 52-5 ...... note s/r D, not C 9-3 slur from lst beat should continue to 54+4 * cresc. sign for entire bar lst note of2nd beat 60+2 ...... +ff l4+3ll ...... + accent 66-314 ...... + cresc.sign 16+3ll ...... + f, also,2nd note s/r stqcc. 7r-313 ...... +f "Reh. 26+l I ...... s/r #27" 73+314 ...... + cresc.sign 3l-3ll ...... + missingaugmentation dot 74+l and2 ...... del. cresc.-decresc.hairpin sign "Reh. 44+7 s/r"Reh. #45": del. #45" 4bars 75-l ...... + dolce;also + decresc.sign on later 3rd and 4th beats 5l-3 ...... * decresc.sign for entire bar 77 + dim. sign for 3 beats 52 * decresc. sign for entire bar 78+5 + fp and decresc. sign for 3 beats 54 ...... +pp 82-3...... +pp 57-7...... * accentto lastnote 92-7 ...... 5 barsare missins notes 59-4...... * cresc.hairpin sign to lst beat. 100+5 ...... + p 60 * slur to l st 2 notes 102-l/4 ...... + p 66-3 * cresc. hairpin sign or entire bar tlsfi ...... +p 70 * cresc. sign for entire bar 138+7 ...... + "cresc." 79+4 * decresc.sign for entire bar l4l ...... 3rdnote s/r G# 80-l/3 ...... note s/r A-flat 143+8 ...... s/r "Reh. #144" 9l+13...... del.pp 148+6 ...... slurcontinues from 148+5into lst 104-4 ...... + marcatoaccent note 104-3 ...... + marcatoaccent 164+p 120 ...... * decresc.sign on D 174-112...... * stacc.dot 124 ...... lst note s/r dottedh.n. 175-7 ...... accent s/r on 3rdnote, not 2nd 126-7ll .....+ accent I7s-2 ...... +fp 126-5 ...... + decresc.sign for 3 bars 179+3 ...... del. accent 128+9 ...... + cresc.sign for entirebar 183+5 ...... del. augmentation dot "dim." 134+2 t 193-812 .....+f 137+4 ...... slur continues from 137+3 208-l ...... * stacc.dot I 54+8 ...... s/r f, notff 209-414 .....+ stacc.dot 155/l +ffp

56 JCG vot, 18,No. I Horn 2 64-512 ...... + cresc.sign for 3 beats 6s-6...... ,..+f M-6ll ...... slur shouldcontinue from M-7 66-513 ...... +sf 20+3 * accentto 4th note 67 * accentson beats I and 3 25-3 ...... * stacc.dot 68-8...... +pp 27-s...... +f 73+3 del.fp 29-412 ...... del. slur 77-613 ...... +mfp 3 1+3 * stacc. dot 77 ...... + tie 3l+4 * stacc. dot 95+5 ...... +p 32-412 ...... + stacc.dot 98+5ll ...... + mf 46-13 ...... + tie to lst 2 notes 99 del. accents 54+3 + pp 99+l del. accents 62-5 ...... * stacc.dot 104-5 ...... +ff "Reh. 62+4ll ...... + accent l12+14 ...... s/r #113" 64-5 ...... accent s/r on 8th note,not 7th 126-2 ...... + accent 67 * decresc.sign to last 2 notes 129-8 ...... +"f and decresc.sign for entirebar 77-1...... +"dim." 159...... +p 84-3...... *"dim." 169-3 ...... + stacc.on 1stand 3rd notes 98+6 *"cresc." 174-l ...... lst beats/r slur withoutstacc. 100...... + f 188-I ...... + accenton 2nd note 103-4 ...... + f 190-3 ...... + accenton 4th note 126-412 .....+ ff andstacc. I 90+3 +ff 129+412 ....+ augmentationdot to 3rd note 191-1 ...... + accenton 5thnote 135 ...... + s/and decresc.sign for 2 beats 191+l3 ...... + f 143+8 ...... s/r "Reh.#144" 192-6 ...... + stacc.dot 148+7I 1 ...... + p 20313 ...... + accent 157 ...... tienotes in bar andalso in 157+1 206+8 ...... + decresc.sign for entirebar 164+413 ....del. augmentationdot on 2nd note 210-4 ...... + stacc.on all notesafter lst note t75-4 +fp 184 ...... * cresc.sign on beat2 and+ decresc. Horn 4 sign on beat 3 184+2 ...... del. decresc.sign Q-4/l ...... s/r q.n.followed by a q.n.rest 190-2ll .....rhythmslr / f,J 2-3 * decresc.sign through lst beat to p 190+4ll ....stacc. dot on 2nd beat;del. from 2-2 192+9 ...... +p"cresc." 50-31I ...... + p 204-s ...... +ff 63+812 ...... + cresc.sign through rest of bar 206 ...... moveptobeat2 65-7ll ...... + fp 209+9 ...... +fp 66lI ...... +p 210+9 ...... + missingdot to h.n. 67+3 *"dim." 75-2 ...... * cresc.sign for entirebar Horn 3 88+5 del.cresc. sign 90+513 ...... + fermata sign Gl3 ...... * stacc.dot 102+6 ...... +p G+2ll ...... + stacc.dot 127-5lL.... s/rq.n. 1-14..... + pp. 139+3 ...... +pp rs4+4 ...... +ffp 155 ...... del. augmentationdots for 4 bars 156 ...... del. augmentationdots for 2 bars 16113 ...... + cresc.sign on beat2 and+ decresc. sign on beat 3 168-3 ...... del. cresc. sign 190+2ll ....s/r q.n.and e.n. rest 196-10/1...... + p 196-8 ...... del. cresc. sign 206 ...... * decresc.sign for entirebar

JCG Vol. 18,No. I 57 Trumpet I Trumpet2

46+3ll ...... + fp E+4 t stacc. dot (4x) 47-512 ...... del. accent E+5 ]- stacc.dots to all except 1stnote 4g+3 ...... +pp 49+4 * stacc.dot on lst 2 beats(4x) 46*3...... :...... * 106*) "cresc." 5 I s/r:h.n. rest- e.n.rest - e.n.- q.n.rest 47-414 ...... + 62-ll ...... + stacc.dot 47+7 + tie to I st 2 notes 62-10 ...... 2ndnote s/r stacc.dot 49+4 + accentson beatsI and 3. * stacc. 62-l ...... * stacc.dot dots on beats2 and a @x) 62 ...... + tie 49+5 + accentson beatsI and 3:-t stacc. 63-612and 4 * stacc. dot (4x) dots on beats2 and 4 (4x) 63-5 ...... all s/rstacc. dot exceptlst beat 49+6 * accentson beatsI and 3; * stacc. 63-4 ...,...... + stacc.dot dots on beats2 and 4 (4x) 63-3 ...... * stacc.dot 55-2ll and 3 del. accents;replace with tenutos 63-2 ...... * accentson beatsI and 3; *stacc. 55-l/l and 3 -t tenutoswith accents dots on beats2 and a @x) 60-5 ...... del. stacc. on lst note 63-l ...... * accentson beatsI and3:* stacc. 60-2 ...... -tstacc. dot dots on beats2 and a (3x) 62 ...... + tie 64-514 ...... + stacc.dot (2x) 64-2 ...... + p andslur into 64-111 64-411...... + tie; alsoslur last note into lst beat 64+5 ...... + f of 64-3 65-413 ...... + accent 64-3 ...... * accentson beatsI and 3; alsoslur 65-213 ...... + accent last note into lst beat of 64-2 67-l ...... + slurover 3 notes 64-2 ...... * accentson beatsI and 3; alsoslur 137-2 ...... + decresc.sign for entirebar last note into I st beat of 64-l 138+9 ...... + stqcc.dot 64-I ...... + accentson beatsI and3 138+lI 64 * stacc. dot 172-3tl + accent 65-4 ...... * stacc.on lst notefor 3 bars 174-412 .....+ accent 65+3 * slur for 2 bars 175-3 I I ...... + accent 79-l ...... s/r Tpt 2 cueonly 175-111...... * accent 102-s ...... +f 17s...... +f 102+5 ...... +mf 176 ...... bar linemissing at endof bar 107+5 ...... + stacc.dot 190+2 ...... + accenton 4th note;* stacc.dots on 107+6 ...... 2ndnote s/r stacc.dot; 3rd & 4th 5th and 6th notes notes s/r slurred: 5th note slr stacc. dot 191-l ...... + cresc.sign 107+7 ...... 2ndnote s/r stacc.dot; 3rd &.4th 203-6 ...... + stacc.dots for 5 bars(15x) notes s/r slurred; 5th note slr stacc. dot 206-l ...... + stacc.dots to all exceptlst note(3x) 120 ...... ,.. ..+ tie 206 ...... * stacc.dots to beatsI and2 (3x); 139-6 ...... + stacc.dot * decresc.sign to beats3 and 4 139-3 ...... + tie 209-5 ...... + stacc.dots for 4 bars(13x) 154+3 ...... 2ndnote s/r stacc.dot 190+2 ...... + slur to lst 2 notes;also * cresc. sign under notes4-6 TromboneI 191 ...... continue slur from l9l-l into this bar l9l+2 ...... + espr.;also* slur for 2 bars 26+2 -r stacc. dot 191+4 ...... + slurfor 2 bars 27-5...... + tie 194-7 ...... + slur through3rd note;* stacc.to 28-ll12...... + slurinto 28-10 4th note 28-1012 .....+ slur into 28-9; also+ cresc.sign 198+4 ...... + slur 28-9 * accent 202+5 ...... + stacc.dot (4x) 29 * stacc.dot (3x) 202+6 ...... + stacc.dots to all exceptlst note(5x) 32 * stacc.dot (3x) 202+7 ...... + stacc.dot (4x) 46_113 ...... + rit. 206-2 ...... + f 46ll ...... * a tempo

58 JCG vot. 18.No. I 47-5 ...... * stacc.dots on beatsI and 3(ax); * accentson beats2 and 4

other notes 66-7ll ...... + decresc.sign 47-3 ...... * stacc. 79+3 slur starts in this bar "Reh. 49 * staccs.to all except beat 4 82+7 s/r #83" 49+413 ...... + accentto lst note 84-6 ...... * slur from beat2 to end of bar 50-2 ...... * staccs.to all exceptlst note 84-5 ...... * slurfor 2 bars 50-2 ...... s/r h.n. restat startof bar 85-l ...... * stacc.to beat2: + slurto beats 53 ..rrr.r...... r s/r4 barsrest 3and4 59+9 s/r 4 bars rest 99+3 ...... + ff 6214...... * accent 134-3 ...... + stacc. dots to last 2 notes 62+3 * accentsto all notes I4l+7 ...... s/r no cresc.in this bar; it appears 62+412 ...... + accent in l4l+8 only 64 s/r 4 bars rest r42-2lr .....+f 65+3 *"cresc." 149-3ll .....+pp 77-lL...... pp s/ron beat I 149-2 ...... del. dim. 99-2...... +mf 154+6 ...... s/r p, notpp 99 ...... +ff 154+9 ...... s/r p, notpp 100+2 ...... + "dim." 159...... +pp 103-3ll .....+p 168 ...... s/r 8 barsof rest,not 7 112-6 ...... +p 194-2 ...... del. cresc. sign 122 ...... + geddmpft 205+214 ....+p 134-4 ...... * slur 205+3 ...... + slurto beatsI and2: * stacc.dots 139 ...... s/r Tbn 2 & 3 only to beats3 and4 154+9 ...... +p 205+4 ...... + slurto beatsI and2 162-8 ...... + tie to lst & 2nd notes 208+414 ....+f 172-4 ...... + stacc.dot 208+5 ...... del. f 172-312 .....+ stacc.dot 212+l0 ...... +ff 72-2 ...... * stacc.dots for 2 bars(4x) 174+7 ...... + stacc.dot Tuba 174+812 ....-t stacc.:same articulation for next 6 bars 26+2 + s/and stacc. dot 205+7 ...... s/r 5 barsrest 65+313 ...... + "cresc." 67 + sfp Trombone2 99+3 ...... + ff

28-lll2 .....+slur into beat I of 28-10 Harp 50-213 ...... + accent 53-8 ...... s/r f, not sf 125+412 ....* cresc.sign for entirebar 63-6lland3 *accents 12612 ...... + roll symbol (arpeg.) 63-5ll ...... + accent 127-4/l .....+p 63-l ...... * stacc.on lst 2 notes;* augmen- tation dot to 3rd note; * slur to 5th and 6th notes; +/ to beat 3 64+5 and 6 * stacc. dot - accent - stacc. dot 64+l I and 12...... *stacc. dot - accent- stacc.dot 65+3 + "cresc." 66-15 ...... s/r "Reh. #65" 134-4 ...... + slur 155-l4 ...... +p 190-2 ...... + accentto lastnote 190+3 ...... + slurto lst 2 notes

JCG Vol. 18,No. I 59 Books in Review

Erich Leinsdorf, Erich Leinsdorf on Music (Port- rector of the ,the Rochester land, Oregon: AmadeusPress, 1997), 330 pp., Philharmonic, the , and the $34.95;ISBN r -57467-028-X. Boston Symphonyas well as regularappearances at the Metropolitan Operaand the New York Philhar- Reviewed by John Jay Hilfiger monic, andguest appearances with many of the other greatorchestras and operacompanies of the world. Quite often,noted musicians are moved by a sense Although he justifiably writes with confidenceand of obligation to passon their accumulatedmusical conviction,his tone throughoutthe book neverap- wisdom to thosewho aspireto follow in their foot- proachesboastful" steps. Usually, this urge is fulfilled by teaching, Leinsdorf has agreatdealto sayaboutthe present either privately or in a college or conservatory. stateof the musicalworld. Sincehis observations Sometimes,however, a renownedmusician will werewritten in the late 1980'sand early 1990's,his chooseinstead to write aboutwhat he or sheknows, book includesconcerns about many ofthe hazardsto therebypotentially reachinga much wider audience the future of music in the symphonic and operaes- than doesthe teacher. For this reason,the publica- tablishmentswe are seeingtoday. He writes of the tion of a book of musicalinsights by an acclaimed musicalilliteracy of audiences,composers who can- conductoris an important event. The recently re- not compose andlor do not try to understandtheir leasedErich Leinsdorfon Music makesthe wit, wis- audiences,managers who pushyoung conductorsinto dom, and vital musical knowledge of one of this the limelight before they are ready, stagedirectors century's venerablemaestros available to those of who mutilatethe greatoperas in a misguidedattempt "innovative," us who were not fortunate enoughto study with him to be absenteemusic directors,and personally. otherequally lamentabledevelopments in the music The book is a collectionof essays,grouped into industry. His commentsare not bitter harangues,how- ten chapters;it coversa wide range of topics, in- ever; they are thoughtful, informed analyses. The cluding adviceto young conductors,musical inter- readeris lesslikely to feel outragedby an intoler- pretation,composers, musical criticism, the crises able situationin concertlife than to cometo the real- in classicalmusic today, globe-trotting conductors, tzatronthathe now understandshow that circumstance the power and perils of recordedmusic, and much aroseand what the consequencesmight be. Leinsdorf more. The volume beginswith an autobiographical also assuresthe readerthat certainpredicaments are "There chapterwhich establishesthe contextofthe author's inevitable. He assertsthat: will never be a observationsand his authority to make them. shortageof such crises as long as there are opera Leinsdorfwas born to a Jewishfamily in Vienna but singers"(p. 258). cameto America as a young man on the eve of the The author also addressessome of the serious Anschluss.Although he hadconducted in public only crises now facing American orchestrasand offers once in his life, he was offered a position as an as- somecommon-sense solutions. For example,he rec- sistant conductor at the . He ommendsthat the repertoirebe broadenedto include "always writes, with greathumility, that he felt infi- baroquemusic performedby small subsetsof the or- nitely grateful for that lucky break" (p. 26). From chestrato give orchestralmusicians some much- that not-too-humblebeginning he went on to a re- neededtime off and to give audiencesa break from markablecareer which included terms as music di- the standar d, large -orche s tr a farc. Another sugge s - 60 JCG vol. 18,No. I tion is that orchestraboards should not settle for Edward Heath, Music. A Joy For Life (London: part-time,globe-trotting music directorswho really Pavilion Books, 1997; Distributor: Trafalgar seryethemselves rather than the orchestra and the Square,N. Pomfret,VT 05053),234 pp; ISBN l_ community to which it belongs.while a summaryof 86-220s-0902. his ideasmay soundsimplistic, Leinsdorf s ideasare so well argued as to convince the reader that the Reviewedby Henry Bloch maestro'splan is not only the right thing to do but also might actuallywork quite well! In Edward Heath's musical autobiography,the Thosefamiliar with Leinsdorf s excellent previ- subjectmatter that professionalconductors will find ousbook , Thecomposer's Advocate; A Radical or- mostinteresting is found in the revelationofhis genu- thodoxyfor Musicians, will probably expect more ine passionfor musicand its placein the life of civi- insights on musical interpretation;they will not be hzed society. of course,Heath distinguished him- disappointed. There is a chapter that includes his self foremostas a leaderin British society,first asa thoughtson critical editions, cuts,and tempo and the Member of Parliamentfor the conservative party, metronome,together with thoughtsabout interpreta- then as Prime Minister. It is all the more remark- tion sprinkledliberally throughoutthe book. How- able, therefore,that his devotion to music was life- ever, interpretationis not the volume's main theme long, and that he achieveda level of excellenceas but a counter subjectto a view of humaninteractions both conductorand pianist. in the musicalworld. Even so, Leinsdorf doesnot Many citizens of Great Britain who do not pur_ neglectthe opportunity to reiteratethe thesis of the suemusic professionally attachgreatimportance to earlier book: the performer's first obligation is to the role it plays in their lives. one of them, Edward the composer. "a Heath,found music to be joy for life.,, He per_ Erich Leinsdorf on Music makesfor fascinating ceivedthe sharingof music's joy with the general reading. The author is a fine wordsmith in his sec- population,in small communitiesas well ascosmo- ond languageand produces a prose that flows politan cities,to be one of the primary responsibili- smoothly and naturally. He also usesmany anec- ties of the conductor'smission. Heath was intro- dotesfrom his personalexperiences on the podium duced to the orchestralrepertoire at London's fa- to illustratehis pointseffectively and colorfully. He mous Promenadeconcerts, which were foundedby namesnames when he hassomething good to say and, the pioneeringHenry wood and later conductedby beinga gentleman,usually makes the offendersin his (see Journal of the conductors storiesanonymous, although this reviewerthought he Guild,Vol. 15,No.2, Summer/Falllgg4,pp. 127- could sometimesidentifo the unnamedculprit. Read- 129, for a review of , Henry J. Wood, ersofthis journal will likely find Leinsdorf s essays Maker of ). variously provocative or affirming but always en- rn 1939,Heath paid a political visit to the United gaging and pertinent. Erich Leinsdorf on Music is Statesto debatethe objectivesof British policies. an unusuallyworthwhile book. on that occasion,he attendedconcerts by American :1.*rkrk*rf** orchestrasand their conductors;this experiencemade a deep impressionon him. After his return to En- Dr. John Jay Hiffiger is Associate Dean of gland, during the early yearsof the wff, he attended General Education and Associate professor of someof Myra Hess'sfamous lunch-time concerts, Music at Saint Francis College (pA) which were presentedin air-raid sheltersin London "unwelcome" so as to avoid intemrptions! These **t(*?k*tr* concertsgave agreatboostto the moraleofthe brave

JCG Vol. 18, No. I 6l Britons during the brutal bombardmentsof their GeorgeB. Stauffer,this is the first full-length En- country. glish-languagestudy of Brahms's symphoniessince After the war, in devastatedGerman opera the- 's Brahms and his Four Symphonies aters and at Glyndebournein England, Heath was waspublished in 1939. Walter Frisch,Professor of introducedto the operasof Mozart, Rossini,Richard Music at Columbia University, is the author of Strauss,and many others. Brahms and the Principle of Developing Voriation The authorwrites abouthis adventuresin music (Universityof CaliforniaPress, 1984) and the editor with greatenthusiasm. He clearly conveyedhis joy of Brahmsand His World (PrincetonUniversity Press, to all who camein contactwith him socially or pro- 1990);he is, therefore,eminently qualified to write fessionally.Even at number 10 Downing Street,mu- this book. Music studentsand conductorswill find sic remainedimportant to Heath,not only in his pri- Brohms: The Four Symphoniesa succinct, illumi- vate life - he practiced regularly on his personal nating study of a major symphonic composer,one Steinway and a clavichord - but also during the that not only paysattention to the structureand style executionof his professionalduties. During many of the scoresbut also provides sufficient contextual official functions,the prime minister presentedcham- informati on about the ni neteenth-century symphony ber or othertasteful music to his guests. to broadenthe discussion. In London and elsewhere,Heath conducted sev- The first two chapterssurvey symphoniccompo- eral orchestraswith someof the world's finest solo- sition during Brahms'slifetime andthe directiontaken ists. He rememberswith specialfondness the found- by Brahmsas a composerbefore his First Symphony ing of the EuropeanCommunity Youth Orchestrain was performed. Frisch demonstratesthe difficulty the 1970s,a project with which he was involved. that composersexperienced while writing organic, The book offers nothing of a technicalnature as large-scalesymphonies inthe shadowof Beethoven's regardsconducting, nor arethere any in-depthrefer- Ninth. Indeed,he identifies a crisis that developed encesto interpretationsof the music. The profes- by the mid-nineteenthcentury, during which only sional conductormay well find this book entertain- Schumann'ssymphonies carried forth the mantle. A ing, if not revelatoryin a professionalsense. large number of contemporaryAustro-Gerrnan com- poserswrote symphoniesin the period 185l-77 (a list appearsin Table l-1, pp. 7-I0), but thesehad insufficient quality in their treatmentof themesand Henry Bloch is Artistic Director of the Over- structureto make a lasting impact. Many composers look Lyric Theater,a chamber opero company in turned to programmaticmusic, satisffing their cre- Woodstock,New York. ative impulse by writing ,serenades, and orchestralsuites. Brahms well knew that any attempt on his part to composesymphonies would occurin a very critical atmosphere.In this context,it is all the WalterFrisch, Brahms: The Four Symphonies (New more remarkablethat he managedto composefour York: SchirmerBooks, 1996), xiv * 226 pp.,$35; symphoniesthat haveremained staples of the reper- ISBN:0-02-870765-6. toire ever since their premieres. Though his First Symphony was not performed until 1876, when Reviewedby Kenneth Morgan Brahmswas forty-three,Frisch showshow many of his earliercompositions displayed symphonic skills "Monuments Published in a series entitled of - for instance,the Piano ConcertoNo. I in D mi- Western Music" under the general editorship of nor, the Variationson the St.Anthony Chorale, ffid

62 JCG vot. 18.No. I the SerenadeNo. I in D major. EvenBrahms's cham- ics suchas HermannKretschmar and Max Kalbeck, bermusic displayed elements of symphonic style. who attemptedto provide extra-musicalscenarios This contextualmaterial illuminated the musical for Brahms's symphonies.Modern critics such as environmentin which the young Brahmslabored to SusanMcclary are also cited. Ms. Mcclary is the composesymphonies worthy of the Beethoven tradi- researcherwho identified masculine and feminine tion andindicates how his apprenticeshipwas a long themesin Brahms'smusic that can be relatedto is- and fruitful evolution partly devoted to adopting a suesof gender,as, for instance,in the A-flat/A-natu- symphonicstyle and structurein his other composi- ral dichotomy at the openingofthe Third Symphony. tions. The centralfour chapterstreat each symphony The discussionof perforrnancetraditions looks in turn to sustainedmusical analysis. Frisch is clear at strict and free interpretationsof Brahms from the and insightful ashe guidesthe readerthrough the key time of and Hans von Biilow to the plans, motivic-thematic development,sonata form present.It is good to seebooks in this seriestaking structure,ffid harmonicprocesses at work in the sym- performancehistory seriously,rather than as some- phonies. He carefully analyzeseach movement and thing that shouldbe confinedto journalism. Frisch, providessufficient examples from the scoreto illus- in fact, leavesthe readerwith two major aspectsof tratehis points. He is extremelyperceptive on ele- performancethat need further research. one is the mentsof metrical stability and instability in the mu_ questionof whether theportamenti and tempo flex- sic, ambiguitiesof key and harmony,and unifying ibility displayedin earlyrecordings ofBrahms's sym- devicesused by Brahms;he also is able to convey phoniesmade by conductorssuch as wilhelm the distinctivenessof eachwork asa musicalentity. Furtwiingler, Oskar Fried, Otto Klemperer, and By making more extendeduse ofNorrnan Del Mar,s Hermann Abendroth exemprify a spirit of perfor- book conductingBrahms (oxford: clarendonpress, mancethat had beencarried on sincethe composer,s 1993)' he perhapscould have enlarged the discus- day, andwhether Brahms advocated this performance sion on orchestration,thereby demonstratinghow tradition. Secondly,Frisch detectsa notableslow- structural and stylistic problems in the scoresare ing of the timings in recorded performancesof the r ealizedin performance.Nonetheless, many readers symphoniessince the 1930s.This finding maybe of will be grateful for the clarity of the analysespro- limited importancedue to his small vided. samplingof the availablerecordings. But if it is true, scholarsneed The book is cappedwith two final chaptersdeal- to explain the aestheticand performing reasonsfor ing with patternsof eachsymphony's reception and adoptingslower tempi over time. Thus Brahms; traditionsof performance.Frisch's account of the The Four Symphoniesconcludes in an open-ended publicresponse to Brahms's symphoniescontains fashionthat surely will stimulate even further a seriesof discussionsthat considerhow this researchinto the performing traditions of composer'ssymphonies compare with those of thesesymphonic masterworks. Beethoven;whether they arereally large-scalecham- ber music; and whetherthey are overly intellectual ******** - in their thematic and contrapuntaltechniqu ratherthan sensuousand expressive.The answerto Kenneth Morgan is professor of History at the latterold chestnutis, ofcourse areclas- ,thatthey Brunel University. His recentpublications include sically well structuredbut containan emotionalrange a survey of the recordings of the conductor Artur rarely found in the classical symphony, works in Rodzinski in the rnternational classical Record which the heartand mind areinextricably intertwined. collector, and an article on the career of the tenor Interestingdiscussion occurs that is devotedto crit- GeorgesThill inThe Opera euarterly.

JCG Vol. 18,No. I 63 Commentary (continuedfrom page I) memberswork a total of 30-35 hoursper week, the equiva- lent ofonly oneadditional full-time worker. Ifvolunteerism all membershipapplications and renewalsand provided continuesto declinewhile the CG attemptsto increase virtually all of the formaffing,printing, publication,and servicesand membership,the organization'sability to distributionfor the Guild's publicationsand member com- maintain existing and offer new programsand resources munications.Nevertheless, during this eraCG volunteers at a professionallevel will be sorely challengedas the worked on the preparationand presentationof conductor millennium arrives. Together,let us reversethis trend training workshopsand conferences,prepared position which, if continued,will seriouslycompromise the Guild's papers,the newsletter, journal, andreports, attended board future. This organizationhassurvived serious challenges meetings,etc. When independencearrived in the fall of in the past, and I am confident that, with a significant 1985,the late Paul Fran, a former NEA staff member, increasein membershipcommitment, it cando soagain. attemptedto assumethe membershipand production ser- One of my gradeschool teachers often reiterated "A vicespreviously rendered by the League.Despite volun- the aphorism, word to the wise is sufficient." I teer support,without a computer,database software, and genuinelyhope so. standardsecretarial equipment, Paul soonrealized that he was incapableof fulfilling hisjob descriptionand Guild expectations.In the summerof 1986,money to purchase computerequipment was securedfrom a privatesource, The presentissue ofthe JCG hasas its generaltheme "office" "Lives the was moved from Paul's apartmentin New in Music." The lead article is an interview be- York City to West Chester,PA, and JudyVoois became tween Lukas Foss and David Thomas, a young com- the CG's new part-timesecretary. Then-president Sam poserin the Philadelphiaregion. The recollections,opin- Jonesand this editor- both on academicsabbaticals - ions,and insights provided by MaestroFoss are fascinat- workedwith Judythroughout the fall of 1986to put the ing and,in effect,the article constitutesa transcriptionof organizationback on its feet, eventhough those feet re- severalimportant Foss oral-historytapes. The second mainedsmall. Thankfully, many othervolunteers were articlecontains personal and professional reminiscences actively involved, and togetherwe were ableto reor- by hornist and conductorBarry Tuckwell; it was origi- ganizethe Guild and watch the membershipgradually nally presentedas an addressto this year's Annual Con- resumeits upwardgrowth aftera declineto about300. ferencefor Conductorsin Washington,DC. This reader's Thosewho assistedthis effort and expendedtheir en- interestwas capturedand held by a chronologicalnarra- ergycan be justifiably proud;since achieving indepen- tive of the step-by-stepprofessional advancement made dencethe Guild hasgrown 600Yo.As they say,the rest by Mr. Tuckwell and by the author's light and breezy is history. prosestyle. '80s, But nothing is forever. In the late the Guild The final article is one of the longestever published office was movedfrom the Voois hometo its presentsite, in the Journal. It featuresa detailed survey of the musi- and an offrce assistantwas hired; more recently a finan- cal careerand an in-depthanalysis of the compositions cial secretaryand publicationscoordinator have joined and musicalstyle of FranzLehhr, the pioneercomposer the staff. What has not risen in proportion to the mem- of quality light opera.In its original form it servedas the "productive bershipis the numberof volunteers."In my doctoraldissertation of Edward Michael Gold at NYU opinion,the causefor this disturbingdevelopment is the andlaterwas published as amonogaph by GlockenVerlag, erroneousperception by a largesegment ofthe Guild that Ltd., London. "Scores the currentstaff is of a sufficient sizeto handleall or most The & Parts" erratalist of Humper- of the organization'sdaily needs. Those serving on the dinck's Hanseland Gretel is also lengthy,and therefore Executive Committee and CG Board, togetherwith the quitevaluable. We assumethis list will assistmany ofthe currentcadre of volunteers,know better. JCG readers,given the number of completeand partial Unquestionablythe presentstaff is most efficient and performancesthis masterwork receiveseach year. The managesto keepour shipof stateon course.It shouldbe issueconcludes with three excellentreviews by regular remembered,however, that the administrativedirector is JCG contributorsJohn Jay Hilfiger, Henry Bloch, _ the only full-time employee;the three remaining staff and Kenneth Morg an.Ed. G

64 JCG vot. t L No.I Call for Proposalsor Articles for the fournal of the ConductorsGuild

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We may suggesta We may suggesta We sendit to a We add photos, different emphasis different emphasis copy editor graphs,musical or direction or direction for revisions examples,etc.

We may suggesta We may suggest We sendit to We sendyoupage different proposal changesin you for approval proofs for or article phrasing,language, and revisions checking or organization

The Editorial & ResearchBoard of theJournal of the ConductorsGuild hason ongoingneed for articlesand proposals germane to the arl scienceand history ofconducting. You may submitan article or proposalat any time. Write for readerswho haveexpertise in diverseareas ofmusic and conducting,and are interestedin broadeningtheir knowledgeofcurrent researchand writing in the field. Write in a readable,lucid style; avoidjargonand try wheneverpossible to avoid technicalterms not understandableto infonned musi- cians. Ifyou must usetechnical terms, carefirlly define each at the point in the text wherethe term is first used. In general,articles should be betweenfifteen andtwenty double-spaced,typed pagesin length. For stylequestions and citation formats,consult the ModemLanguage Association (MLA) stylemanual. All questionsregarding the appropriatenessof a proposalor article shouldbe sentto the addressbelow. A proposalfor an article shouldinclude a one-pagesummary ofthe article and a statementofits sigrrificance.Two copiesof either a proposalor an article shouldbe submitted. Articles can alsobe submittedas an ASCII text documentor in an IBM-compatibleword-processed version on 3.5" diskette, but a hardcopy ofthe article shouldaccompany the diskette. Sendarticles and proposalsto: Journal of the ConductorsGuild Editorial and ResearchBoard 103South High Street,Room 6 WestChester,PA19382-3262

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