.l Journal "f the G6 ;)illdi:b;$ GtililIffi 5300 Glenside Dr., Suite 2207, Table of Contents Richmond, VA 23228 T: (804) 553-1378; F: (804) 553-1876 Commentary page 1 E-mail: [email protected] . Advancing the Art and Profession [email protected] Arturo Toscanini as page 2 Website: www.conductorsguild.org an Anti-Fascist Officers by Edward P. Castilano Emily Freeman Brown, President Michael Griffith, Secretary Tonu Kalam, President-Elect Harlan D. Parker, Treasurer The Common Denominator page 8 Sandra Dackow, Vice-President Harlan D. Parker, Past President by Gustav Meier Board of Directors Robert Russell Bennett page 24 Kirk Muspratt Wayne Abercrombie Lawrence J. Fried (1894-1981), Orchestrator Lyn Schenbeck Kristian Alexander Otis French* and Composer Jonathan Sternberg* James Allen Anderson Jonathan D. Green* by George J. Ferencz James Ball Earl Groner Karen P. Thomas Chelsea Tipton, II Henry Bloch* Gordon Johnson Scores & Parts page 34 Michael Votta, Jr. John Boyd Thomas Joiner Claude Debussy’s Lisa White Mark Cedel John Koshak Prélude de l’après-mmidi d’un faune Burton Zipser* Allan Dennis Anthony LaGruth by Paul Vermel Duilio Dobrin Andrew Levin *Ex-Officio Advisory Council Books in Review page 35 Charles Ansbacher Adrian Gnam Maurice Peress Michael Charry Samuel Jones Donald Portnoy Maurice Peress, Dvorák to Sergiu Comissiona Wes Kenney Barbara Schubert Duke Ellington Harold Farberman Daniel Lewis Gunther Schuller reviewed by Thomas R. Erdmann Lukas Foss Larry Newland Lesley Stephenson, Symphony Theodore Thomas Award Winners of Dreams: The Conductor and Patron Claudio Abbado Frederick Fennell Robert Shaw Paul Sacher Maurice Abravanel Margaret Hillis Leonard Slatkin reviewed by Lance Friedel Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Pierre Boulez Max Rudolf Thelma A. Robinson Award Winners Beatrice Jona Affron Miriam Burns Laura Rexroth Steven Martyn Zike Eric Bell Kevin Geraldi Annunziata Tomaro Max Rudolf Award Winners David M. Epstein Gustav Meier Otto-Werner Mueller Gunther Schuller ***** Journal of the Conductors Guild Editor Jonathan D. Green Founding Editor Jacques Voois Production Staff Executive Director R. Kevin Paul Publications Coordinator Sarabeth Gheith Administrative Assistant Amanda Burton Production Quicker Printers The publication date of the present issue of the Journal of the Conductors Guild is December, 2004. Effective Volume 13, the Journal of the Conductors Guild has been published semi-annually, the two issues being numbered 1 and 2; the seasonal referneces remain unchanged, as is its length. The Conductors Guild reserves the right to approve and edit all material submitted for publication. Publication of advertis- ing is not necessarily an endorsement and the Conductors Guild reserves the right to refuse to print any adver- tisement. Library of Congress No. 82-644733. Copyright © 2004 by Conductors Guild, Inc. All rights reserved. ISSN: 0734-1032. Commentary On this page my most over-worn mantra is that less than 10% of conducting is actually conducting. We are cultural leaders, fundraisers, musical midwives, managers, and scholars. Many of the articles in this issue celebrate the achievements of conductors off the podium. Ronald Reagan and Pope John Paul II have often been credited as the public catalysts that brought about the removal of the Berlin Wall, but many of our members would place Kurt Masur at the head of that roster. Using the power of his influ- ence as a cultural leader, his work mocked the wall and clarified its obsolescence. Likewise, as Edward Castilano explains, Toscanini exerted considerable energies in the opposition of fascism in Europe before the Second World War. George J. Ferencz provides us with an appraisal of the works of Robert Russell Bennett, a facile American composer most often remembered for his first-rate orchestrations and arrangements, which occasionally eclipse some very worthy original works. Lance Friedel has reviewed a new biography of the Swiss conductor/philanthropist, Paul Sacher, who personally supported major commissions from many of the twentieth century’s most prominent composers, and subsequently conducted their premieres. His largesse created the pre-eminent repository of modern music manuscripts in the world. Gustav Meier has combined his significant experience on the podium and a lifetime of study to produce “The Common Denominator,” which will be a chapter in a forthcoming book he is writing on conduct- ing. It is an elucidating study of the Deus ex machina of much of our repertoire, the internal temporal relationships that appear organically throughout great music. Sometimes musical interrelationships transcend works and even single composers as Maurice Peress demonstrates in his new book, Dvorák to Duke Ellington, which is deftly reviewed here by Tom Erdmann. While most of these achievements occurred off of the podium, they remained in service of great music and the people who listen. For this we should be forever thankful. Happy Reading, Jonathan D. Green JCG Vol. 25, No. 2 1 Arturo Toscanini as an Anti-Fascist By Edward P. Castilano In 1915, the world famous maestro, Arturo effort. The first of such activities was a concert Toscanini, abruptly and without official notice, mounting a chorus of 1,500 with multiple orches- left the Metropolitan Opera Company where he tras at Milan’s outdoor arena on 26 July 1915. His was principal conductor for seven years. He decid- other no-fee projects included a limited opera sea- ed to return in haste to his native land of Italy as it son at Milan’s second opera house, Teatro Dal was poised to enter World War I. Even though the Verne, securing the services of the leading Italian position he vacated included a star-status salary, singers of the time: Enrico Caruso, Claudia the world’s best singers to work with, and an Muzio, Rosina Storchio and others. The funds established first-rate orchestra to conduct, his from the season were personally distributed by intense loyalty to Italy made his departure him to unemployed Milanese musicians.3 absolutely necessary. This article will investigate the origin of his patriotism and what political, However, Toscanini’s character would not allow career, and life decisions he made because of it. himself to be excluded from the war action. He Also to be explored is how Toscanini’s promi- formed a military band, rehearsed it, and brought nence as the most respected musician of the era it to the front lines in 1917 to inspire his fighting propelled him into being the moral leader of the countrymen. At the age of fifty, he was decorated opposition to Fascism. for bravery under fire and continued to organize benefit concerts throughout the war. He had Arturo Toscanini had developed his patriotic and offered so much of his energy and resources to the political views early in life. His father, a tailor, had cause that it necessitated the selling of his house to joined Garibaldi’s army as a young man to fight support his family. He rented the house from its for the “Risorgimento,” the reunification and inde- new owner until he was again receiving payment pendence of Italy. He instilled in his son the for his conducting and was able to buy the house importance of reunification, nationalistic ideals, back.4 These fervent wartime efforts exhibited the and of having a critical view of the Church and the profound sense of patriotism at the core of monarchy.1 Thus, with Italy on the brink of enter- Toscanini’s soul. The same fervor would enable ing World War I, Toscanini was in full agreement him to stand tall in the face of Italy’s next major with the approaching attempt to stem Germanic challenge, Benito Mussolini and Fascism. expansion.2 Therefore, Toscanini’s first signifi- cant career and political decisions were to break By the end of the war in late 1918, the stresses of from the Met, and to suspend all professional the conflict had forced Italy into a state of social engagements in order to return to Italy. However, and economic depression. Toscanini and many he did not stop conducting. He used his notoriety others were convinced that political reforms were to organize numerous benefit concerts in Italy, absolutely necessary. His beliefs about politics as mainly for musicians who had suffered either well as music were always clearly delineated and physically or monetarily as a result of the war upheld with enthusiasm. Thus, he was attracted to 2 JCG Vol. 25, No. 2 the demanding reforms presented by Benito adopted a “wait and see” attitude.9 The new gov- Mussolini, a renegade journalist with political ernment leader visited Milan shortly after the elec- ambitions. Early in 1919, Toscanini attended a tion and was photographed with the entire opera meeting in Milan at which Mussolini advocated company including even Toscanini. It was soon radical, socialistic, Bolshevik-style reforms. In the after this that a dispute over the required playing parliamentary elections later that fall, Mussolini of the Fascists’ party hymn, Giovinezza (Youth), at submitted a slate of candidates which included the the beginning of public performances, and name of Arturo Toscanini. A friend and fellow sup- Toscanini’s refusal to do so, began. In addition to porter of the party convinced Toscanini that even other occasions deemed significant by the though there was no chance of winning the elec- Fascists, sometimes no more than a mob, tion, which they did not, the famous conductor’s Mussolini declared in 1925 that every 21 April, the name would serve to lend credence to the “Fasci di official birth-date of Rome, Giovinezza was to be 5 combattimento” party. played before every public performance of any kind of entertainment.10 In that year, the holiday During the war, Italy’s most prestigious opera fell on a La Scala performance date which house, Teatro alla Scala, was silent.