A PRACTICAL GUIDE TO CHORAL CONDUCTING By Harold Rosenbaum written within the previous 50 years, Babbitt wrote most of his extensive Routledge (2017) 246pp. with roughly half of these from the vocal catalog with her in mind and her previous 25 years. The pieces from performances and recordings of it–espe- By Clara Longstreth the previous 50 years were written cially of Du, Vision and Prayer, and by 51 different composers of whom Philomel–are widely considered classic. 22 were Americans (15 native-born Some of the most interesting parts of I here can be no one better qualified and 7 immigrants). Sang the Unsingable describe how she Tto write a practical guide to con- • The Composers’ Forum (now learned and performed this music. ducting than Harold Rosenbaum, who defunct), originally a creation of the In addition to accounts of Beardslee’s has a lifetime of experience conduct- New Deal’s Works Progress Admin- private life and career, the book has ing choruses of all levels. This book, istration and revived in 1947 under its share of juicy stories of composers Rosenbaum’s first, is a practical sur- joint sponsorship of the New York and performers and their predilections, vey of many aspects of the conductor’s Public Library and Columbia Uni- behaviors, and issues. These are told with life and work, with enough humor to versity, presented a regular series of honesty and (where appropriate) com- leaven the drier aspects. It also con- concerts, each with the music of two passion. As a whole, the book depicts tains enough inspirational moments to composers who were present to take an engaging life that happens also to be give deep meaning to the practical. questions from the audience. intimately involved with–and prominently Rosenbaum is a worthy cheerleader for Bethany Beardslee fit right in with this featured in–American musical culture of his art, referring to it not as a job or culture and rapidly became known as a the second half of the Twentieth Century. even a profession, but as a “calling”. champion of new music. She got along The book is intended for conductors at well with composers. In fact, she married all levels, but will probably be most use- two of them, both brilliant men and both ful to the graduate student or one in the European: first the Frenchman Jacques early years on the job. Though daunt- Monod, a fellow Juilliard student, whom ing, it should be inspiring to read Mr. she later divorced; and later the English- Rosenbaum on the amount of prepara- man Godfrey Winham, with whom she tion needed to conduct a score. Even a had two children and who died young of pro with lots of experience already will Hodgkin’s Disease. find useful ideas here. One may say Monod was not only her husband. He “yes, of course,”, but also find sugges- was also her performing partner (on the tions one had not thought of. piano) and coach. He introduced her to “The Practical Guide” is well orga- the music of the Second Viennese School nized, with an excellent Table of –Arnold Schoenberg, Anton Webern, Contents and Index. Half of the book and Alban Berg–and demanded exten- is devoted to fifty specific pieces. They sive rehearsal and painstaking attention range from Machaut and Josquin to detail. It’s easy to understand how this through the Hallelujah Chorus from perfectionism and work ethic could offer Handel’s Messiah and on to several of musical benefits to a performer, espe- Bach’s greatest, some Beethoven, and cially a singer of challenging music–but Brahms., ending with Debussy and also could be wearing in a personal rela- Webern. tionship. In the Anthology section one finds a Beardslee became close friends with wealth of artistic ideas alongside a sin- composer Milton Babbitt and his wife gle page from each score. The intention Sylvia, who had an apartment near must be that one read with a full score Washington Square in New York City. at hand, since only a few of the sugges- It was through the Babbitts that she met tions will have the relevant measure on Godfrey Winham, whom Babbitt had the facing page. (That may be a slight encouraged to come to Princeton to work frustration for the casual reader.) with him. The Winhams settled in the Princeton area after they were married. BOOKS 30 | NEW MUSIC CONNOISSEUR BEETHOVEN’S SYMPHONIES: AN ARTISTIC VISION Some especially useful sections are Who should read this book? Lovers ones on Choosing and Learning Reper- by Lewis Lockwood 302 pp. W.W. of music whether they read music or toire, Running Rehearsals, and Choral Norton & Co. (2015) not will be rewarded and enriched; Concepts and Techniques. For the more educated musicians will lap it up. A by David Hicks advanced conductor with a talented general reader with little musical back- chorus there is an excellent discussion ground will easily sense the author’s he subtitle of Lewis Lockwood’s Bee- of complex contemporary choral music, joy and admiration in contemplating thoven’s Symphonies, an Artistic with a superb list of suggested repertoire. T this formidable body of work; but the Vision, was surely intended to refer to The few things missing are those one exhilaration that comes with making Beethoven and his imagination. For- should perhaps take for granted. I can- the connections along with him, as tuitously, it can stand for the author’s not imagine a choral conductor who has they pour seemingly spontaneously as well. In conception and execution not spent a lot of time as a choral singer from his comprehensive knowledge Lockwood has composed a person- himself, but this prerequisite is not men- of his subject, would probably elude alized and inspiring account, fit for tioned. There are few details on warm such a reader. his towering subject that deepens ups, but those are covered in many other If there is a weakness to the book, it and enlivens our relationship with the books. There was little discussion of han- is that it would have benefited greatly symphonic music of history’s greatest dling frequent meter changes, one of the from more printed musical examples. composer, whose music is as relevant biggest challenges in new music. Attentively following music-structural today as it was when he composed it. I would have appreciated some ack- descriptions requires that the reader Lockwood articulates the arc of nowledgment that there is a limit on either have the relevant score handy Beethoven’s musical vision by art- what one can learn from a book, no or access to the voluminous mental fully entwining together: 1) history matter how good the book. Perhaps the library the author possesses. More assumption is that the reader has been (general, musical, and Beethoven’s significantly still, the almost complete studying at an academic institution that personal); 2) the catalytic though omission from the printed text of the gives lots of hands-on instruction. There sometimes crude sketches that helped sketches that play such a crucial role in is no substitute for a kindly but stern cri- the composer shape whatever piece the book, sketches that inform both the tique of one’s conducting technique by was at hand; 3) recently completed symphonies and Lockwood’s insights, an experienced conductor. There are compositions, Beethoven’s own and is a notable drawback. For the reader a number of institutes, workshops and others’, to which Beethoven was to connect sketch to symphony requires, master classes available when private reacting as he began work on a new inconveniently, switching between the study is not possible. piece; 4) Lockwood’s own deep lis- book and a website devoted to that This is an invaluable guide to conduct- tening and analytical insights into the purpose. ing by a musician whose interpretations nine Beethoven symphonies and many As Herr Holz noted, every one of seem always on the mark and whose other pieces which reflect on them. the nine symphonies tells a unique reverence for music is both keen and The book begins with a story about story. There isn’t space here to dwell infectious. a communication, a year before on any of them, but a few randomly Beethoven’s death, between the com- recalled details may help illustrate poser and Karl Holz, one of his close the individuality and depth that Lock- associates. Holz wrote down his ques- wood achieves, how each symphony tions for the composer, so they are emerges, its profile sharply etched in recorded for posterity. These focus the reader’s mind. on the distinctive individuality of In the chapter on the Second Sym- each of Beethoven’s works, evident phony Lockwood points out just how to a greater degree, in Holz’s view, daring it is, nonetheless explaining than in Mozart’s music. It’s a good why from a modern perspective the observation. The intensity of Beetho- arrival of the Eroica symphony effec- ven’s personality, the view he held tively shoved the striking Second out of his place in music and history, his of the way. Lockwood marks the ear- assuredness that music could change lier symphony for its contrast with the the world, impelled him to forge con- First, as “a farewell to the preceding stantly new works. BOOKS NEW MUSIC CONNOISSEUR | 31 .