CODA

JOURNAL

The Online Journal of the College Orchestra Directors Association

Volume X June, 2017

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Editorial Staff

Jon Ceander Mitchell Professor Emeritus

University of Massachusetts Boston Editor

Leonard Atherton Professor Emeritus

Ball State University Chair, CODA Journal Peer Review Committee

Joel Neves

Michigan Technological University Assistant Editor

David Kozamchak

University of Northwestern – St. Paul Assistant Editor

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Mission Statement

The College Orchestra Directors Association is dedicated to the promotion and advancement of college and university orchestra programs through the collaborative assistance, insights, knowledge, creativity, resources and shared vision of its members.

CODA champions the art of teaching and performing orchestral music and strives to encourage and support the artistic, professional and personal growth of college orchestra directors and their students.

The association serves as an advocate for the crucial dual roles of the orchestra in the higher education community; namely, providing an essential component in the development of educated students of all majors, and refining the vocational and personal skills required of those preparing for various careers in music and other disciplines.

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CODA Journal Vol. X

TABLE OF CONTENTS

NATIONAL OFFICERS………….…………….…………..…..………...…...6 MESSAGES…………..………………………..….............................................8

President Elect Editor “Unearthing America’s Musical Treasures” BOOK REVIEW

Haruki Murakami with Seiji Ozawa, trans. Jay Rubin: Absolutely on Music: Conversations…………………………...…14

ARTICLES Carolyn Watson, Texas State University: Carlos Kleiber: A Study in Perfection……………………………16 Mitchell Arnold, West Virginia University: Holding Back: Tempo Modification and Expression at the Point

of Return…………...………………….………………..…38 Luis A. Viquez, University of South Dakota:

Musical Elements as Dramatic Sources in Richard Strauss’ Elektra …………………………………………66

Tobin Stewart, Montana State University: Effectively Eliciting Sound: Conducting with Balance, Freedom,

Ease and Efficiency…………………………………..……73 Chaowen Ting, Georgia Technological University: College Orchestra Programming: Repertoire Diversity………..…84

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Jaemi Blair Loeb, Grinnell College: Being Present Online: The Embedded Internet for College Orchestras and Their Directors.……………………...……97

Index to CODA Journal, Vols. I-X……….…………………………………109 Guidelines for Contributors………………………………………………...113

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National Officers:

President – Kory Katseanes Brigham Young University, Provo, UT

President elect – Joel Neves Michigan Technological University, Houghton, Michigan

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Immediate Past President – Kevin Bartram University of Mary Washington, Fredericksburg, VA

Vice President – Jeffrey Bell-Hanson Pacific Lutheran University

Treasurer – Dan Dominick Austin College, Sherman, Texas

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Messages: President Elect:

Dear CODA Colleagues,

It is my pleasure to introduce Volume X of the CODA Journal! Launched in 2007, the Journal has grown into the leading peer-reviewed publication geared toward college orchestra conductors. This is no small feat. The Journal’s success is really a microcosm of CODA’s increasing reach and relevancy in the academic world of orchestra conducting, where more and more of our colleagues are discovering that CODA is essential to their careers. Our editor, Jon Mitchell—often unheralded, always remarkable—has played an important role in this success story, and he has put together another impeccable volume filled with rigorous research by our members. I hope you will read it.

By the way, our next national conference will take place on February 1-3, 2018 in Los Angeles, California, hosted at UC Irvine’s beautiful campus. One of the highlights includes a concert by the LA Philharmonic with Gustavo Dudamel conducting. It promises to be another informative and inspiring conference – mark it on your calendars…and tell your friends!

All the very best,

Joel Neves

President-Elect, CODA

Editor: Greetings, CODA Members! Vol. X is a milestone for us all and cause for celebration! The fact that we have arrived at this point is a tribute to the enthusiasm, dedication and scholarly work of the entire CODA membership. The following is from my very first message as editor:

Just a little over a year ago, on September 24, 2006, the National Board of the College Orchestra Directors Association set as one of its goals the creation of “an online, peer-reviewed journal.” The board then asked Leonard Atherton to serve as Chair of the new CODA Peer Review

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Committee and President Stephen Heyde sent forth a call for volunteers to serve on it.

Leonard was then at the heart of things from the very start. Having had some previous editing experience, I volunteered and signed on as editor and, before he retired, Wayne Bennett took up the role of assistant editor. Patricia Sparti and James Waddelow also helped out for a while along the way and, since the time of the national conference in Evanston, IL at Northwestern University, Joel Neves has been actively involved as an assistant editor. And, starting with the current volume, we enthusiastically welcome David Kozamchak to our ranks as an additional assistant editor. The reviewing process has been interesting. At times we have begged for articles; at other times we have had an embarrassment of riches. Occasionally we have found it necessary to “bank” an article for a later volume and there have also been the very few difficult moments when we have had to reject articles. Throughout the years we have published forty-four articles by thirty-one different conductor/authors—a wealth of material. While most of these mark the sole CODA Journal entry by their contributors, over the course of the years some authors have contributed multiple articles. Thus far the greatest number of articles attributed to a single individual is four—by a former CODA president. The current volume is one of our largest. It begins with a brief look at the CODA Library of Congress project, “Unearthing America’s Music Treasures,” initiated and headed by former CODA president Kevin Bartram. Following this is a review of the Murakami/Ozawa book, Absolutely on Music: Conversations. In this tome there is a brief discussion of Carlos Kleiber, so it appeared quite fitting that Carolyn Watson’s study concerning this enigmatic conductor serve as the first of the peer-reviewed articles.

Many CODA members who attended the wonderful Washington DC conference will recall the eyebrow-raising rehearsal at the Kennedy Center for the Performing Arts on Beethoven’s Eighth Symphony by Christoph Eschenbach and the National Symphony Orchestra. Mitchell Arnold’s article on holding back before recapitulations provides further insight into what could be described as a controversial practice. Many works are cited here. A single work, Richard Strauss’ Elektra, provides the basis for Luis Viquez’ article exploring some of its musical elements as dramatic sources.

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Tobin Stewart’s article, “Effectively Eliciting Sound,” discusses applications of the Alexander technique to various facets found in effective conducting. Chaowen Ting addresses repertoire diversity and presents brief, though detailed, studies of three such works fitting that criterion. Last, but certainly not least, is CODA Digital Projects Manager Jaemi Loeb’s article on using social media, quite valuable for the world in which we live, work, and communicate. Following the articles is the Index to Volumes I through X, a valuable resource in itself, and Guidelines to Contributors.

Finally, I’d like to thank the CODA membership as a whole for supporting

the CODA Journal over the past decade. After all, it is your journal. Due to your efforts, what started out as a dream has become a firmly-established publication. The editorial staff, however, will always continue to solicit scholarly research. Articles are the keystone to any journal’s continued success. While other journals have fallen way behind or have even folded, ours has survived. There may be some sort of tongue-in-cheek parallel with Toward Castle, home of my Scottish ancestors; it may be in ruins, but its keystone(s) and its supporting arch survive. Sincerely, Jon

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“Unearthing America’s Musical Treasures”

Throughout its decade of existence, the CODA Journal has concerned itself with publishing scholarly research conducted by individual CODA members. The past two years have seen the genesis and the blossoming of a project started by an individual, but involving many of us. It can be described as a musical treasure hunt, one, hopefully, with a pot of gold at the end of it. “Unearthing America’s Musical Treasures” is the brainchild of CODA Immediate Past-president Kevin Bartram, searching the Musical Archives of the Library of Congress for long-forgotten orchestral works by American composers—finding the earliest symphony, symphonic poem, or concerto, and/or discovering other occasional masterpieces that, for some reason or another, have disappeared from the public eye. By December, 2016, some sixty-five works had been exhumed and studied by conductor-researchers: In addition to Kevin, David Kozamchak, Nadia Potemkina, Christopher Dobbins, Andrew Levin, Jon Ceander Mitchell, and numerous graduate students have been involved in researching and facilitating the eventual performance of some of these works. A Panel Discussion/Powerpoint session was held at the 2017 Washington DC CODA conference on February 3, explaining the project to the membership. Looking ahead, there are tentative plans for Kevin to conduct his University of Mary Washington Orchestra in many of these works at the 2018 CODA Conference in Los Angeles. In addition, there has been significant media coverage, in print, online, and on the air. The following article, reprinted with permission, captures the essence of the project as well as Kevin’s enthusiasm for it. JCM

Fredericksburg.com powered by The Free Lance-Star.

UMW orchestra director pursuing long-lost works UMW's Bartram leading musical treasure hunt

By Lindley Estes, The Free Lance-Star

June 20, 2016 Kevin Bartram, director of the UMW Philharmonic Orchestra, is an Indiana Jones for the internet age—with a musical ear. He’s pursuing the Holy Grail of American symphonic music: long-lost works by master composers that are housed

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in the Library of Congress and are not only unknown to the public, but have possibly never been heard. Known as “Unearthing America’s Musical Treasures,” the project was created this spring and is being led by Bartram. He is working with a research team of eight national academics in tandem with the music division of the Library of Congress. The team will conduct both online and onsite research into orchestral works that are unknown to the public. “With minimal staffing at the LOC, there are thousands of gems by great composers that are simply gathering dust,” he said. “We intend to find them and bring them to light.” Bartram’s passion for finding seldom-heard symphonies was lit in 2010, when the UMW Philharmonic performed a newly discovered symphony by 18th-century Austrian composer Joseph Haydn that had gathered dust for two centuries until it was found in the library’s archives. “Ever since then, I’ve been thinking about what other treasures haven’t been heard,” he said. After the pieces are found and researched, Bartram’s group will record them and the library will offer digitized versions. The Library of Congress’ Music Division has more than 25 million holdings, making it the largest music library in the world. Of these holdings, 10 million are of American music. The research team is also part of the College Orchestra Directors Association of which Bartram is national president. “Unearthing America’s Musical Treasures” will have its first public unveiling in Washington in 2017 at the national conference of the College Orchestra Directors Association. Members of the team include orchestra directors from Cornell University, the University of Massachusetts Boston, Oklahoma State University and others. One of the researchers, David Kozamchak, is orchestra director and associate professor of music at University of Northwestern–St. Paul. He’s on a sabbatical that ends in August and jumped at the opportunity to research the history of American music. “Scouring this information is like going on a rabbit trail,” he said. “You need to know where to look.” A violin and viola player, he is searching online catalogs for works by composers such as George Gershwin and Aaron Copland. He said he’s excited to share initial discoveries with students in the fall. Some of the pieces they uncover may be played by UMW’s philharmonic orchestra, Bartram said. “Little Mary Washington is where people may hear these masterworks,” he said. “My colleagues at larger orchestra schools ask me how we

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get the world-renown artists for out celebrity series—Joshua Bell, Itzhak Perlman— and the answer is we’re more tenacious. We work hard at what we offer.” So far, the research project has uncovered early work by Leonard Bernstein called The Birds, with 17 movements to serve as incidental music to a play and which has no known recording. They have-already found some seldom heard Gershwin. Copland’s Passacaglia, an orchestration of his piano piece of the same name with no current recording, and the music for the film “The North Star,” much of which has never been recorded before, have been located. And the collection of Charles Hambitzer, best known as being Gershwin’s piano teacher, will be scoured, as will various unrecorded pieces by Howard Brockway. Jennifer Gavin, spokeswoman with the Library of Congress, said the repository works with many academics on research like this. She said the library is offered many thousands of items each day and accepts most of them. “Our holdings exist to be used, we have manuscripts, whole collections of some composers,” she said. For example, along with Gershwin’s manuscripts, the library has his lyricist brother Ira Gershwin’s typewriter. Bartram gave an example of what he’s searching for. When talking with his researchers, one inquired about the first American symphony. None of them had any idea what that sounded like or who composed it. “It’s a sad commentary,” he said. “It really lit my fire and motivated me to work hard to make a difference.”

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Book Review: Haruki Murakami with Seiji Ozawa, trans. Jay Rubin: Absolutely on Music: Conversations. New York: Alfred A. Knopf, 2016, 325+ pp.

Any book featuring an internationally acclaimed author’s interviews with one of the world’s most respected conductors is always a welcomed addition to the libraries of serious musicians everywhere. It is also a rarity. While there are countless articles of journalists’ interviews with various conductors, very seldom, if ever, has an entire book been written as such. For this reason alone (though there are many others), this book falls into the “must read” category. Though flawed in places, this fascinating “documentation” does not disappoint.

The book is divided into chapters defined by the five conversations that Haruki Murakami had with Seiji Ozawa spanning an eight-month period, from November 16, 2010 to July 4, 2011. Situated between these “Conversations” are shorter, more informal “Interludes” on such topics from Ozawa’s stealing batons from Eugene Ormandy’s desk drawer to Chicago blues and Tokyo jazz clubs.

The first conversation is perhaps the most unique part of the book. Here we have Murakami and Ozawa listening to and commenting on various conductors’ recordings while listening to them—the infamous Gould/Bernstein Brahms’ Piano Concerto No. 1, as well as the Gould/Karajan, Gould/Bernstein and Serkin/Bernstein recordings of Beethoven’s Piano Concerto No. 3. Events occurring at particular places in time are discussed. It helps, of course, for the reader to be listening along to these particular recordings, although the text is still enlightening and stimulating without them--if one is familiar with the works.

The second conversation concerns itself with phrasing in Ozawa’s own recording of Brahms’ First Symphony, while the third recounts his adventures in New York in the 1960’s. These accounts are priceless and shed light on the struggles and breaks afforded a young conductor on the cusp of greatness.

It is in the eighty-three page fourth conversation, “On the Music of Gustav Mahler,” however, that the book becomes unbalanced and loses momentum. From this point forward Murakami’s embrace of Mahler’s music is all too obvious. Also, there is now less commentary from Ozawa and more from Murakami. It may have been that Ozawa was beginning to tire of the interviews at this point, although he certainly kept pace.

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The fifth conversation, “The Joys of Opera” covers not only Ozawa’s entry into the profession through the back door, so to speak, but also includes a substantial discussion on the reticence of Carlos Kleiber.

The sixth conversation is of an entirely different nature, having taken place

on a train ride during the annual Seiji Ozawa International Academy Switzerland. Here the conversation turns appropriately toward music education, students, and the influences of Professor Saito and Robert Mann. The tome ends with a brief “Afterword by Seiji Ozawa” in which the conductor expresses a heartfelt indebtedness to Murakami and a look to the future. Altogether, it is a most remarkable book. JCM

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Carolyn Watson Texas State University San Marcos, Texas Carlos Kleiber: A Study in Perfection This was the rarest of musicians, and most influential of conductors. He

was a complex and self-doubting genius who never gave an interview, published virtually nothing under his own name, avoided the usual forums of public debate and scrutiny, for decades held no regular appointment, over time gave few and fewer concerts, and happily and sardonically contributed to the mystery-cult which surrounded him. For all of this he had such an influence on our profession, and our audience.1

Karl Ludwig Bonifacious Kleiber (1930–2004), better known as Carlos Kleiber, was an Austrian conductor. A profoundly gifted conductor and deeply private man, any study of Kleiber’s life and work seems to pose more questions than it answers and the literature cited in this article offers numerous examples of conflicting accounts, seemingly contradictory behavior and apparently confusing and incongruous circumstances.

An enigmatic genius, Kleiber’s renown was as revered as it was notorious. This is no doubt due largely in part to the combination of superlative musicianship, a supreme intellect, unparalleled conducting ability and great charisma alongside eccentric demands, excessive fees, a reputation for being difficult and rare appearances, all of which gave rise to a degree of mystery and intrigue. New York Times writer Henahan believes ‘celebrity caught up with Mr. Kleiber in spite of – or because of – his reputation as a difficult fellow’2 while Los Angeles Times critic Mark Swed explains, Kleiber was ‘a conductor of tremendous mystique whose personal elusiveness made him one of the most enigmatic stars of the classical music world.’3

1 Barber, Corresponding with Carlos, xviii. 2 Donal Henahan, ‘The Opera: Pavarotti and Freni in 'La Bohème',’ The New York Times, January 24, 1988, http://query.nytimes.com/gst/fullpage.html?res=940DE0DA113AF937A15752C0A96E948260 (accessed February 21, 2011). 3 Mark Swed, Carlos Kleiber, 74; Brilliant, Reclusive, Conductor, Los Angeles Times, July 20, 2004, http://articles.latimes.com/2004/jul/20/local/me–kleiber20, (accessed December 31, 2010).

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An alleged recluse who reportedly never gave a media interview4, Kleiber’s appearances as conductor were also an event in themselves because as he once famously admitted to Karajan, he only conducted when his fridge was empty.5 Hewitt explains ‘his rare performances particularly at the Munich opera acquired a legendary reputation based almost as much on absence as presence’6 and as Lebrecht muses, ‘Carlos Kleiber was not famous for conducting so much as he was famous for not conducting.’7 Von Umbach too, describes Kleiber as ‘a virtuoso of refusal and one who was more phantom than present.’8 In fact, the majority of the performances for which he was booked did not take place.9 His reputation was also one of a man who, in spite of his talents, did not like to conduct. This fact is, however, a contentious one. Rather, evidence seems to point to Kleiber’s preference to prioritize life and lifestyle, as opposed to any dislike of, or disdain for work. Fellow conductor Michael Gielen agrees with this perspective saying that Kleiber preferred to walk with his son in the forest rather than learn a new score.10 Kleiber also admitted to Bernstein, ‘I want to grow in a garden. I want to have the sun. I want to eat and drink and sleep and make love and that's it.’11 In apparent contrast to these admissions, Kleiber’s uncompromising dedication to his art resulted in a work ethic and degree of dedication almost beyond compare. The Perfectionist An obsessive perfectionist of the highest order, Kleiber’s extreme fanaticism and fastidiousness are well documented. Lebrecht reports that for his Covent Garden debut in 1974 Kleiber spent three hours rehearsing 80 seconds of

4 This is not quite true. The one exception was a very early radio interview which has only recently resurfaced. Recorded in 1960 when Kleiber was Kapellmeister at the Deutsche Oper am Rhein, excerpts from this interview can be heard in the documentary Carlos Kleiber: I am Lost to the World. The complete interview has also been released on a recent CD, Hänssler Profil Medien, PH11031, released October 17, 2011. 5 ‘(angeblich eine Äußerung Karajans), Kleiber, der nur dirigiert, wenn der Kühlschrank wieder gefüllt werden muß.’ Jens Malte Fischer, Carlos Kleiber – der skrupulöse Exzentriker. (Goettingen, Wallstein, 2008), 13. 6 Interviewer Ivan Hewitt in Who was Carlos Kleiber? BBC Radio Documentary, broadcast 26 September 2009. http://www.carlos–kleiber.com/res/56/transcript–of–bbc–radio–program–on–carlos–kleiber–broadcast–september–26–2009, (accessed April 12, 2012). 7 Norman Lebrecht, Carlos Kleiber: Not a Great Conductor, July 30, 2004, http://www.scena.org/columns/lebrecht/040730–NL–kleiber.html (accessed December 27, 2010). 8 ‘Er war der Maestro mit dem Nicht-Repertoire, der Virtuose der Verweigerung, mehr Phantom als präsent in der Tretmühle des Musikbetriebs und im Supermarkt der CD-Industrie.’ Klaus von Umbach, Der begnadete Eremit, Der Spiegel, July 26, 2004. http://www.spiegel.de/spiegel/print/d–31617165.html, (accessed January 19, 2011). 9 Carlos Kleiber: Traces to Nowhere, Director, Eric Schulz (ArtHaus Musik 101553, 2010), Liner Notes. 10 ‘er halt lieber mit seinem Sohn im Wald spazieren ginge, als ein neues Stück zu lernen.’ Interview with Michael Gielen, http://www.carlos–kleiber.de/interview/michael–gielen.html, (accessed January 8, 2012). 11 Carlos Kleiber, The Telegraph, London, July 21 2004.

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music.12 Giulio Franzetti, concertmaster of La Scala remembers a similar experience during a production of Otello, where Kleiber ‘never rehearsed more than two or three consecutive bars without stopping, telling everyone what they had to do note by note, something which stemmed from incredible research.’13 Fischer reports famed tenor Placido Domingo remarking on Kleiber’s scrupulous attention and fidelity to each and every minute detail of the score. Domingo, with whom Kleiber shared a very close association, stresses however that Kleiber’s meticulousness was fundamentally borne of artistic conviction rather than any sense of pedantry.14 Sir Peter Jonas also explains Kleiber’s demands and the apparent associated hassles of working with him were the result of a search for perfection and a desire to make ‘truly artistic statements.’15 This desire for supreme and absolute artistic perfection had a profound impact on Kleiber in personal terms. Richard Trimborn, a repetiteur and friend of Carlos’ believed ‘he was a person at risk, he wasn’t ill, but he also wasn’t healthy, he was on the edge. Carlos, like all geniuses, was a border crosser and always on the brink.’16 Klaus König, an oboist who frequently played under Kleiber agrees, suggesting Kleiber constantly lived on a tightrope.17 The frequency and polarity of Kleiber’s emotional extremes have also been reported by Barber,18 while friend and music critic Christine Lemke-Matwey believed him to be manic-depressive.19 This tag however, was one that was rejected and resented by the conductor’s son, Marko.20 This most significant aspect of Kleiber’s psyche featured profoundly in his work, as Sachs explains: He was a tormented man, an almost terrifyingly gifted interpreter whose

self- dissatisfaction eventually took the form of self-laceration. The legends about him made him seem almost psychotic, and one celebrated

12 Lebrecht, Carlos Kleiber: Not a Great Conductor, 2004. 13 Andrea Ottonello, The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series. http://www.carlos–kleiber.com/res/57/translation–of–transcript–of–rai–series–on–ck, (accessed April 13, 2012). 14 ‘Er ist von peinlichster Genauigkeit in jedem Detail, aber er ist es aus künstlerische Überzeugung, nicht weil er ein Pedant wäre.’ Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 62. 15 Barber, Corresponding with Carlos, 113. 16 Carlos Kleiber: I am Lost to the World, 2011. 17 Carlos Kleiber: Traces to Nowhere, 2010. 18 Barber, Corresponding with Carlos, 76. 19 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 20 Charles Barber, Personal Conversation, 25 April, 2011.

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performer who worked with him often and admired him greatly described him as ''deeply sick.''21

Relationship with Erich Brug maintains Kleiber’s self-destructive character trait stemmed from the difficult relationship with his father Erich22, one of the most pre-eminent conductors of the first half of the twentieth century. Fellow conductor Claudio Abbado tells of Carlos’ suffering at his father’s lack of respect23 and Werner reports Erich impressed on Carlos ‘mediocrity was not acceptable for a Kleiber.’24 He also admonished, ‘Ein Kleiber ist genug’.25 Erich Kleiber’s biographer John Russell wrote that Erich was very disparaging towards his son however he suggests this was more a result of Erich’s own vanity and a feeling that the musical world didn’t appreciate or acknowledge him as it should.26 Whatever the motivation, such words undoubtedly had a lasting effect coming from a man described as a ‘tough, stubborn, difficult disciplinarian.’27 In the only interview he ever gave, Carlos confirmed his father was against him pursuing a conducting career. Speaking to NDR Radio in 1960 he was asked whether Erich supported him in this regard. Carlos responded, ‘No, quite the opposite. He was against the idea. He suggested I should choose a more sensible profession.’28 Carlos’ sister Veronika verifies this claim admitting Erich initially attempted to dissuade him from a career in music, once locking the piano and throwing the key into a lake.29 However on seeing Carlos conduct, he recognized his son’s talent and henceforth encouraged him. She also unequivocally denied reports that Erich was hard on Carlos, remembering it was a very happy family. 30

21 Harvey Sachs, ‘The Conductor Who Could Not Tolerate Error’, The New York Times, July 25 2004, http://www.nytimes.com/2004/07/25/arts/music–the–conductor–who–could–not–tolerate–error.html?sec=&spon=&pagewanted=all, (accessed December 29, 2010). 22 ‘Immer wieder hat man diesen selbstzerstörerischen Charakterzug aus seinem schwierigen Verhältnis zu seinem österreichischen Vater Erich abgeleitet.’ Manuel Brug, Eine januskoepfige Figur, Die Welt Online, July 20, 2004, http://www.welt.de/print–welt/article328729/Eine_januskoepfige_Figur.html, (accessed December 14, 2011). 23 The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series, 2008. 24 ‘Und Mittelmäßigkeit, das schärfte er Carlos ein, durfte es bei einem Kleiber nicht geben.’ Alexander Werner, ‘Der Mythos Carlos Kleiber: Auf der Suche nach dem Ideal’, Partituren, 2007, 13, 6. 25 ‘One Kleiber is enough.’ Barber, Corresponding with Carlos, 40. 26 Barber, Corresponding with Carlos, 5. 27 Schonberg, The Great Conductors, 320. 28 Carlos Kleiber: I am Lost to the World, 2011. 29 The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series, 2008. 30 Carlos Kleiber: Traces to Nowhere, 2010.

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Either way, the shadow of his famous father loomed large over Carlos’ life and in particular, his career. ‘Erich was a monumental figure in his life, controlling and compelling, inescapable, and central to his whole way of perceiving music.’31 Carlos’ debut as a conductor in Potsdam in 1955 was made under a pseudonym, Karl Keller, presumably not to cause any family embarrassment, however Erich reportedly wished his son luck for the performance.32

This problematic Oedipal relationship was widely reported and has been remarked on by Barber33, Blyth34, Goetz35, Kenyon36, Lebrecht37, Laurson38, Osterhaus39, Sachs40 and von Umbach.41 Kleiber’s biographer Alexander Werner refers to Erich as an ‘Übervater’42, a term also used by Kaiser.43 Werner also makes mention of ‘the widely rumored dysfunctional relationship between father and son,’44 while long-time friend and associate Charles Barber confirms Kleiber had ‘very mixed feelings about his father’ and reports being specifically instructed never to raise this subject in conversations with Kleiber.45

While a difficult relationship, Barber however believes far too much has been made of it and reports it was Carlos who first raised the subject with him.46 He also felt ‘Carlos had to put up with a good deal of rubbish about the supposed meaning of his relationship with Erich’,47 continuing, ‘the second commonplace is that he suffered a fundamental antagonism toward his father, one of mysterious origin and implacable coldness.’48 This view is also shared by another biographer,

31 Barber, Corresponding with Carlos, 2. 32 Erich sent a telegram to Carlos signed ‘The Old Keller.’ Barber, Corresponding with Carlos, 42. 33 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 34 Alan Blyth, ‘Carlos Kleiber: Mercurial Master of the Conductor’s Art’, The Guardian UK, July 21, 2004, http://www.guardian.co.uk/news/2004/jul/21/guardianobituaries.artsobituaries, (accessed December 31, 2010). 35 W. Goetz, ‘Zartheit und Entfesselung’, Zeit Online, July 22, 2004, http://www.zeit.de/2004/31/Nachruf_Kleiber, (accessed January 20, 2011). 36 Kenyon, ‘Carlos Kleiber: Genius Wrapped in an Enigma’, New York Times, New York, October 15, 1989. 37 Lebrecht, Carlos Kleiber: Not a Great Conductor, 2004. 38 Jens F. Laurson, ‘In Memoriam Carlos Kleiber’, July 21, 2004, http://ionarts.blogspot.com/2004/07/in–memoriam–carlos–kleiber.html, (accessed December 30 2010). 39 Stefan Osterhaus, ‘Opern-Enigma Kleiber, Der mysteriöse Maestro’, Spiegel Online, July 26 2007, http://www.spiegel.de/kultur/musik/0,1518,495249,00.html, (accessed February 14, 2011). 40 Sachs, ‘The Conductor Who Could Not Tolerate Error’, 2004. 41 Umbach, ‘Der begnadete Eremit, Der Spiegel, July 26, 2004. 42 Alexander Werner, Carlos Kleiber: Eine Biografie. (Mainz, Schott, 2008),15. 43 Joachim Kaiser, ‘Ein Vulkan am Operpult’, Die Süddeutsche, July 19, 2004, http://www.sueddeutsche.de/kultur/der–dirigent–carlos–kleiber–ist–tot–ein–vulkan–am–opernpult–1.435504, (accessed February 3, 2011). 44 Alexander Werner, Carlos Kleiber – Flamboyant Star, Enigmatic Genius, (Rehearsal and Performance, Overtures: Carl Maria Von Weber: Der Freischütz Johann Strauss: Die Fledermaus, 2007, DVD Liner notes. 45 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 46 Barber, Corresponding with Carlos, 2. 47 Ibid., 3. 48 Ibid., 2.

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Jens Malte Fischer who also maintains Kleiber’s ‘father complex’ was not as traumatic as is often claimed, citing instances where Kleiber was reportedly good-humored regarding the subject. One such example was the occasion on which an audience member in Vienna mistook Carlos for his father, congratulating him on such an energetic performance despite his advanced years!49 Despite this difficult relationship, Carols’ reverence for his father is not in question. Among Carlos’ most treasured possessions were Erich’s marked scores50, he revered his father’s recordings51 and publicly acknowledged his father was able to conduct certain things much better than he. Werner espouses the view Erich was Carlos’ musical idol and one he continually worked towards emulating52, and Otto Staindl, Carlos’ doctor and friend also remembers ‘most of the time he spoke about his father. He was like a god as a man and conductor for him.’ He speculates that perhaps because Erich neglected him, Carlos idolized him even more,53 while director Otto Schenk too remembers Carlos’ blind veneration for his father.54 Either way, it is probable Carlos’ explicit refusal to openly discuss the subject of his father has given rise to a degree of speculation regarding their relationship. Barber confirms as much, explaining Carlos refused to talk to the press because of his ambivalent relationship with his father and because he knew they would compare him to Erich.55 The clear consensus is that it was largely a troubled relationship and one Carlos struggled with throughout his life, even after the death of his father. Furthermore, it appears at least to a degree to have been a significant contributing factor in shaping Carlos’ character and informing his relationships with others, as well as influencing his approach to work. This view is supported by Theodor Lessing who claimed Kleiber’s ‘extreme attitude was by no means play acting or

49 ‘dieses verbürgte Lachen zeigt, daß der Vaterkomplex nicht so traumatisch gewesen sein kann, wie immer wieder behauptet wird.’ Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 20. 50 Peter Jonas in Who was Carlos Kleiber? BBC Radio Documentary, 2009. 51 Peter Jonas in Who was Carlos Kleiber? BBC Radio Documentary, 2009. 52 Werner, Carlos Kleiber – Flamboyant Star, Enigmatic Genius, 2007. 53 Carlos Kleiber: I am Lost to the World, 2011. 54 Carlos Kleiber: Traces to Nowhere, Director, 2010. 55 Barber, Corresponding with Carlos, 4.

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put on, rather it was the natural protective mechanism of an injured yet all-pervading soul which was unable to thrive in normal, everyday life.’56 Noted soprano Brigitte Fassbänder often observed a similar phenomenon in regards to his conducting. She says Kleiber

experiences the work in its full perfection so intensely in his mind, that when something goes wrong and disturbs or shatters this image, he feels a deep, sharp, almost physical pain...and acute misery and anguish afterwards. Sometimes, he can even stay looking forlorn and dejected for days.57

Star director of stage and screen Franco Zefirelli, with whom Kleiber had a very close and successful working relationship concurs. ‘He is self-destructive most of the time and needs encouragement because he gets so very depressed at times, desperate like a child.’58 Domingo also speaks of Kleiber’s suffering when his intentions are not understood59 and Weizsäcker noted his ‘extreme sensitivity made it difficult to bear the imperfection of the world.’60 Indeed, the former Bundespräsident Richard von Weizsäcker is directly responsible for the only occasions, two concerts, on which Kleiber conducted the Berlin Philharmonic Orchestra, Kleiber relenting and agreeing only after a personal request to perform from the German Federal President. Rudolf Watzel, a musician who played under Kleiber only in these two concerts also made similar observations, regarding hypersensitivity and hyper-nervousness as the traits which characterized Kleiber.61 Unfortunately this sensitivity and Kleiber’s insistence on uncompromisingly high musical standards above all else led to him being labeled ‘difficult.’ A former colleague who worked with him at the Deutsche Oper am Rhein finds the ‘difficult’ tag grossly unfair. ‘He is not difficult... provided you understand what he wants, which is the Absolute! He was an idealist who always

56 ‘Diese großen Attitüden waren aber nicht gespielt, sondern waren der natürliche Schutz einer verletzlichen Seele, die sich umzirkt, weil sie im Alltag nicht blühen kann.’ Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 54. 57 Helena Matheopoulos, Maestro: Encounters with Conductors of Today (London, Hutchison, 1982), 459. 58 Matheopoulos, Maestro, 458. 59 ‘Kleiber leidet, wenn man ihn nicht versteht.’ Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 62. 60 ‘In seinem Empfinden trug er unendlich schwer an der Unvollkommenheit der welt.’ Werner, Carlos Kleiber Eine Biografie, 11. 61 Carlos Kleiber: I am Lost to the World, 2011.

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tried not to compromise.’62 Goetz too defends Kleiber, maintaining he was not petulant due to any sense of vanity.63 This opinion is supported by Placido Domingo, with whom Kleiber often worked. Domingo believed Kleiber cancelled and walked out of rehearsals ‘not out of capriciousness, but as a manifestation of his overall dissatisfaction.’64 Another musician also recognized ‘there was always a definite reason for what he did…even if it was his own uncertainty.’65 Kleiber was particularly fearful about people observing his rehearsals, which more often than not were closed to even the closest of friends, colleagues and supporters. For his only Berlin Philharmonic performances, additional security measures were put in place to ensure nobody could sneak in and hide in the hall. Charles Barber, hopeful of being an exception to such protocol, was also disappointed when he timidly enquired regarding observing Kleiber’s rehearsals at The Met:

I won’t have any musicians – especially talented ones like yourself – entertaining themselves with my fumbling preparations. Plumbers, laundrywomen, bouncers, dealers, carpenters: OK. (Maybe!)66

Consequently Kleiber quickly developed a reputation for being eccentric. Schudel believes ‘his brilliant interpretations were surpassed only by his eccentric, often baffling behavior,’67 a view supported by biographer Alexander Werner who notes Kleiber’s reputation for being difficult is matched only by his talent.68 Kaiser too, is perplexed by the combination of ‘daemonic talent and a daemonic inability to function,’69 while Laurson reports Kleiber was difficult and ‘almost autistic in his shyness.’70 Famously shy and plagued by self-doubt, Kleiber’s insecurities were legendary, with it being reported he once vomited on a score of Wagner’s Tristan

62 Matheopoulos, Maestro, 447. 63 ‘Kleiber war nicht aus Eitelkeit launisch oder im pubertären Sinne schwierig…’ Goetz, Zartheit und Entfesselung, Zeit Online, July 22, 2004. 64 Barber, Corresponding with Carlos, 91. 65 Klaus König in Carlos Kleiber: Traces to Nowhere, 2010. 66 Barber, Corresponding with Carlos, 185. 67 Matt Schudel, ‘Gifted, Eccentric Conductor Carlos Kleiber Dies at 74’, The Washington Post, July 20, 2004. http://www.washingtonpost.com/wp–dyn/articles/A63106–2004Jul19.html, (accessed February 21, 2011). 68 Werner, Carlos Kleiber – Flamboyant Star, Enigmatic Genius, 2007. 69 ‘spürt man erschrocken die bizarre Beziehung, wie sie zwischen dämonischer Begabung und dämonischen Nichtfunktionieren-Wollen zu bestehen scheint.’ In Kaiser, ‘Ein Vulkan am Operpult’, Die Süddeutsche, July 19, 2004. 70 Laurson, In Memoriam Carlos Kleiber, July 21, 2004.

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and Isolde in a typical case of pre-performance nerves.71 During another production of Tristan at La Scala Kleiber bemoaned ‘Why do I keep trying to conduct? I can’t get them to understand what I want. I shouldn’t be conducting at all.’72 Sir Peter Jonas also revealed Kleiber ‘was always absolutely in a panic before a concert, working himself up into a frenzy of fear, panic and paranoia.’73 At the Bavarian State Opera where he conducted most frequently, Kleiber’s anxiety was legendary. Prior to a performance of Richard Strauss’ Der Rosenkavalier he claimed to have forgotten to bring the score and had to be literally physically pushed and shoved to the podium, only to conduct the work sublimely.74 It was Music Director of the Bavarian State Opera (1971–1993), Wolfgang Sawallisch who pushed him on stage and was well used to such occurrences. On another occasion Kleiber refused to come out of his Munich dressing room, claiming if he conducted, it would have to be better than last time and this was something he couldn’t do.75 Sawallisch remembers ‘he was extremely shy, timid, and almost never convinced of himself…he was so hypersensitive and nervous he would not go on stage.’76 Werner Resiel, a musician in the Vienna Philharmonic Orchestra also remembers seeing Kleiber before a concert ‘wanting to run away like a little child’ but recalls ‘this great man achieved wonderful things that almost came down from heaven.’77 Regardless of his own misgivings, the public opinion of Kleiber was overwhelming. Barber cites near-universal acclaim78 and Ioan Holender speaks of Kleiber’s enduring quest for perfection describing a conductor who was the ‘perfect mediator between God and mankind.’79 Even though perfection was the ideal to which he aspired, Geitel observed Kleiber was never satisfied with it,80 nor with his own abilities. Kaiser reports that Kleiber, at that time already a famous conductor, sat and watched Karajan’s 71 Michael Walsh and Franz Spelman, ‘Music: Unvarnished Symphonies’, Time Magazine, June 13, 1983, http://www.time.com/time/magazine/article/0,9171,952033,00.html, (accessed December 29, 2010). 72 Sachs, ‘The Conductor Who Could Not Tolerate Error’, 2004. 73 Interviewer Ivan Hewitt in Who was Carlos Kleiber? BBC Radio Documentary, 2009. 74 ‘..behauptete er, die Partitur vergessen zu haben, und mußte buchstäblich ans Pult gestoßen werden – um wie ein Gott zu dirigieren.’ Dieter Borchmeyer in Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 12. 75 Wolfgang Sawallisch in Carlos Kleiber: I am Lost to the World, 2011. 76 Barber, Corresponding with Carlos, 56. 77 Carlos Kleiber: I am Lost to the World, 2011. 78 Barber, Corresponding with Carlos, 281. 79 Carlos Kleiber: I am Lost to the World, 2011. 80 ‘Es begnügt sich nicht mit Perfektion, obwohl es sie natürlich anstrebt.’ in Klaus Geitel, ‘Carlos Kleiber traut sich wieder vor ein Orchester’, Die Welt Online, January 12, 1999, http://www.welt.de/print–welt/article564339/Carlos_Kleiber_traut_sich_wieder_vor_ein_Orchester.html, (accessed February 3, 2011).

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Siegfried rehearsals in Salzburg every day for two weeks ‘in order to learn.’81 Kleiber very much revered the older conductor and also went to consult Karajan on Strauss’ Elektra. The meeting was a revelation for Karajan who claimed ‘never to have learned so much in four hours as he did in those four hours with Carlos Kleiber because he had taught him the entire score.’82 Matheopoulos notes this apparent discrepancy between personal and public opinion suggesting Kleiber’s characteristic lack of self-confidence ‘puzzles all who fall under the spell of his electrifying personality when they hear and see him conduct.’83 Great piano virtuoso Sviatoslav Richter experienced this contradiction first hand. Following a performance of Tristan Kleiber appeared depressed and dissatisfied. Richter relayed his thoughts regarding the fine performance and Kleiber, ‘suddenly, like a child, made a jump of joy in the air. “But then, it truly went well?”…Such a titan, so insecure of himself.”84 Indeed, it appears self-doubt was often a major factor in Kleiber’s many and frequent cancellations. Friend and fellow conductor Ricardo Muti believed Carlos cancelled when he didn’t feel he could deliver a performance of the quality that he himself, and the audience, expected.85 Barber too, cites self-doubt as the major reason he did not perform more frequently,86 confirming he was ‘profoundly unsure of his own talents.’87 Otto Staindl, friend and confidant concurs, believing Kleiber feared he could no longer live up to his own legend or standards.88 Director Otto Schenk supports this view suggesting ‘it was an act of desperation when he cancelled…a helplessness to deal with his own success.’89 This intrinsic sensitivity became very public following Kleiber’s only orchestral performances in the UK, with the London Symphony Orchestra. Critics were universally harsh in their opinion and Kleiber vowed never to conduct a concert in London again. He didn’t. In terms of everyday dealings regarding rehearsals and performances, Kleiber had little time for logistical and practical considerations. He absolutely abhorred the ‘business’ of conducting and hated contracts and negotiations, preferring to settle the engagement with a handshake. Celebrity for the sake of 81 Kaiser, ‘Ein Vulkan am Operpult’, Die Süddeutsche, July 19, 2004. 82 Barber, Corresponding with Carlos (Lanhan, Scarecrow Press, 2011), 62. 83 Matheopoulos, Maestro, 442. 84 The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series, 2008. 85 Ricardo Muti in Carlos Kleiber: I am Lost to the World, 2011. 86 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 87 Barber, Corresponding with Carlos, 45. 88 Carlos Kleiber: Traces to Nowhere, 2010 89 Otto Schenk in Carlos Kleiber: I am Lost to the World, 2011

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celebrity was something in which Kleiber was not at all interested, and he actively worked to avoid any association therewith. As his fame spread and he was increasingly in demand, Kleiber’s response was a contrary one, rejecting offers and withdrawing progressively into seclusion. Barber recalls the global demand for this most sought-after of conductors, Kleiber’s knowledge thereof and reluctance to commit to engagements. ‘He knew that companies abroad wanted him. He was not sure he wanted them.’90 In contrast to the vast majority of conductors who conduct well into their seventies and even eighties, Kleiber did not conduct at all in the last five years of his life, and very rarely from 1990 onwards. Werner maintains Kleiber’s quest for optimum working conditions whereby he could attempt to realize his perfectly conceived artistic goals was the driving force behind this increasing withdrawal from concert life:

By the 1990s, his disillusionment was such that he retreated further from the music industry that continued to court him like no other, but which had ground him down in a never-ending struggle over optimum working conditions.91

Kleiber himself was well aware of the public consternation caused by his actions and seemed to take a great deal of joy in the situation, frequently joking about his lack of public appearances, and that he was retired and lazy.92 Excessively long rehearsal schedules were a defining characteristic of Kleiber’s stringent artistic stipulations. On one occasion for instance, Kleiber requested, and was granted 36 orchestral rehearsals only to cancel the performance at short notice.93 Of this cancellation Barber explains it occurred when ‘someone failed to keep their word. ‘When this happened, Carlos took the view he was no longer obligated to keep his.’94

90 Barber, Corresponding with Carlos, 70. 91 Werner, Carlos Kleiber – Flamboyant Star, Enigmatic Genius, 2007. 92 In letters to Charles Barber: ‘Wanna hear about me? I actually conducted something!’ February 1994 p233, ‘Would you believe it: I conducted!’ July 1994 p238. A great admirer of the poet Emily Dickenson, Kleiber frequently joked about being her pet dog. In a letter of 1994, ‘Woof, Woof, says Carlo, frantically wagging his tail instead of his baton.’ p235 In 1996: ‘I’ve given up music, incidentally. But maybe I’ll still conduct. That would make me…what? A professional? p255. In 1996 he signed a letter ‘All the best from your CK who is trying, like Yeltsin, to give the impression he isn’t dead!’ p259. Barber, Corresponding with Carlos. 93 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 94 Ibid.

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Such sudden cancellations were not unusual and stemmed from artistic conditions being anything other than Kleiber’s perceived ideal. As Matheopoulos confirms, ‘he is a fanatic and a perfectionist who only agrees to appear when he feels that conditions are right and offer him a chance, at least, of realizing his vision of a work.’95 Fellow conductor Manfred Honeck observed ‘no other conductor in the world had such high standards.’96 Somewhat paradoxically, Kleiber was also known to perform with very few or no rehearsals, when it was familiar repertoire with an orchestra he liked.97 Aware of this apparent irony Kleiber confessed, ‘either I have to have stacks of rehearsals, or none at all.’98 Noted for astronomical fees and eccentric demands, Kleiber’s whims were always catered to by management who were thrilled to have secured his services but nervously aware of the risks associated with engaging him. Ioan Holender, Director of the Vienna Staatsoper reportedly kept a check for over a million dollars in his safe, should Kleiber ever wish to return to conduct. For his 1996 concert with the Bavarian State Orchestra Kleiber requested and received 100,000 Deutschmarks and a new Audi A8 with the vehicle fitted to his specifications. When invited to conduct at Covent Garden on one occasion he insisted on a hotel with a swimming pool because he was teaching his son to swim. His son was also highly significant in what was to be Kleiber’s premiere US opera production – he cancelled his scheduled 1977 San Francisco Opera engagement because he claimed he had to take his son to the dentist.99 The conductor’s sister confirms he would accept engagements if the location was beautiful and also offers an interesting insight into Carlos’ mode of operation, suggesting he considered his high fees a measure of his own importance.100 With such eccentricities far more widely known and publicized than his artistic ideals, it is little wonder the public view of Kleiber was an imbalanced one. Biographer Werner sums up the common perception or indeed, misperception, regarding Kleiber’s motives:

This highly intelligent, well-read, sensitive, charming, disarmingly humorous, occasionally cynical and irascible man was all too easily dismissed as an eccentric, his spectacular cancellations, curiously limited discography and outright rejection of publicity often interpreted not as the

95 Matheopoulos, Maestro, 442-43. 96 Carlos Kleiber: Traces to Nowhere, 2010. 97 Charles Barber, Corresponding with Carlos, 37. 98 Ibid., 127. 99 Charles Barber, Corresponding with Carlos, 94. 100 Carlos Kleiber: Traces to Nowhere, 2010.

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expression of a profound artistic sensitivity, but as the capriciousness of an exceptionally gifted but flamboyant personality.101

In spite of such contradictions, or indeed perhaps because of them, Kleiber maintains a premier position among the greatest conductors of all time with one commentator declaring ‘this eccentric genius is the greatest conductor of all time, first among equals, despite the paucity of his appearances.’102 Repertory Kleiber’s repertoire as documented by his performance history is perhaps as vexing as the man himself. Becoming increasingly specialized and conducting less repertoire as he matured, Kleiber’s repertory is characterized by a notable absence of much of what is considered standard symphonic literature. For instance, Kleiber never performed any symphonies or orchestral music of Tchaikovsky, Sibelius or Shostakovich. Von Umbach also points out Kleiber died without having conducted ‘a bar of Bach, Bruckner, Schumann, Stravinsky or Schönberg.’103 Of Dvorak’s music, Kleiber performed the Carnival Overture and recorded the little–known Piano Concerto but not any of the more popular late symphonies. Similarly, his only performance of a work by Mahler was Das Lied von der Erde even though Kenyon reports Kleiber was able to discuss specific points of detail in all the Mahler symphonies.104 Kaiser105 also confirms this view, stating Kleiber knew every Mahler symphony note-for-note, but that he chose not to conduct any. Of Haydn’s 104 symphonies, only one, Symphony No. 94, was ever performed by Kleiber. Of Mozart’s 41, he chose only two, the not oft performed Symphony No. 33 and the more popular Symphony No. 36, nicknamed the ‘Linz’. Of these, he performed the former on twenty-two occasions and the latter eleven times. Feted for his recordings of Beethoven’s symphonies and in particular that of the Fifth, Kleiber’s recording of this work is now regarded as a benchmark.106

101 Werner, Carlos Kleiber – Flamboyant Star, Enigmatic Genius, 2007. 102 Austrian Conductors (Memphis, Tennessee, Books LLC, 2010), 27. 103 Umbach, Der begnadete Eremit, Der Spiegel, July 26, 2004. 104 Kenyon, ‘Carlos Kleiber: Genius Wrapped in an Enigma’ 1989. 105 Kaiser, ‘Ein Vulkan am Operpult’, Die Süddeutsche, July 19, 2004. 106 Beethoven : Symphony No.5, Vienna Philharmonic Orchestra, released1974 ; re–released 1984, Deutsche Grammophone 415 861–2.

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This 1975 recording was so startlingly original in its conception that the recording engineer on the project referred to this version of Beethoven’s Fifth Symphony as ‘Kleiber’s First.’107 Nevertheless, Kleiber only conducted Symphonies 4-7 of Beethoven, never once having performed the Eroica or the Ninth. The Seventh was a particular favorite, having been performed on thirty occasions, more than any other orchestral work in Kleiber’s repertory.108 Beethoven’s Coriolan Overture was another popular choice, conducted on fourteen occasions. The more recognized Egmont, Fidelio and Leonore Overtures, however, did not form part of his repertoire list. Similarly, Kleiber’s recordings of Brahms symphonies were hailed as masterpieces with the German newspaper Die Frankfürter Allgemeine titling Kleiber’s obituary ‘the conductor who composed Brahms’ Second.’109 Yet in spite of such apparent success, Kleiber didn’t ever perform nor record Brahms’ First or Third Symphonies. A sought-after interpreter of opera, Kleiber’s repertory included Wozzeck, Carmen, Otello, La Bohéme, La Traviata, Der Rosenkavalier and Der Freischütz. Yet aside from two concert performances of Mozart’s Overture to The Marriage of Figaro, Kleiber’s repertory did not include any of this composer’s operatic works. Of Puccini’s oeuvre, Tosca and Turandot did not feature and of Wagner’s operas, only Tristan and Isolde formed part of Kleiber’s repertoire. Interestingly, the light orchestral miniatures of the Viennese father and son duo Johann Strauss and Johann Strauss II feature prominently in Kleiber’s output. Twenty-four such works were performed repeatedly throughout the course of Kleiber’s career – the relative frequency of these compositions alongside the notable omission of standard works of more recognized composers is indeed remarkable. A number of commentators have remarked on the similarity between Kleiber’s repertoire and that of his father. Kenyon notes that over the years Kleiber’s repertory contracted to be very similar to that of his father110, a

107 Schallplatte, Zeit Online, April 18, 1975, http://www.zeit.de/1975/17/schallplatte, (accessed February 6, 2011). 108 See http://www.thrsw.com/cklist, (accessed December 15, 2010.) 109 Wolfgang Sandner, ‘Der Dirigent, der die Zweite von Brahms komponierte’, Frankfurter Allgemeine, July 19, 2004, http://www.faz.net/s/Rub4D7EDEFA6BB3438E85981C05ED63D788/Doc%7EE6925397BE6CF4A4E901BABCCB9C86C68%7EATpl%7EEcommon%7EScontent.html, (accessed January 12, 2011). 110 Kenyon, ‘Carlos Kleiber: Genius Wrapped in an Enigma’, 1989.

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commonality also observed by Blyth111 and Kaiser.112 Sir Peter Jonas also agrees ‘it is no coincidence the pieces he actually performed were those his father performed’113 while friend and fellow conductor Michael Gielen explained that Carlos almost always only ever conducted repertoire for which he had material of his father’s – a recording, a set of orchestral parts, a score or most preferably, his father’s marked score.114 Kleiber’s early career, particularly his years in Düsseldorf, Duisburg and Zurich began eclectically enough, with repertoire including works by composers as diverse as Delibes, Egk, Henze, Leoncavallo, Lortzing, Millöcker, Wolf-Ferrari and Zeller. This in itself was probably largely as a result of circumstance – as Kapellmeister in an opera house, conducting the bulk of the house performances is essentially de rigueur. Indicative of Kleiber’s early open-mindedness was a recent release featuring music by Telemann and CPE Bach.115 Franz Willauer, former dramatic advisor to the Staatstheatre Stuttgart confirmed that when they first met, Kleiber had a huge repertoire including more than sixty operas. By the last five years of his career (1994–1999) however, this had shrunk to only two standard concert programs.116 Interestingly it is when Kleiber was free to pick and choose his freelance conducting engagements and associated repertoire that he honed his famously narrow repertoire, a fact also noticed by Uehling.117 Biographer Jens Malte Fischer states that Kleiber’s repertoire was an incredibly limited one, the smallest of any of the great conductors,118 a fact echoed by Schudel, who agrees Kleiber’s repertoire was ‘an unusually small one for a major conductor.’119 Walsh and Spelman note that ‘no other major conductor has 111 Blyth, ‘Carlos Kleiber: Mercurial Master of the Conductor’s Art’, 2004. 112 Kaiser, ‘Ein Vulkan am Operpult’, Die Süddeutsche, July 19, 2004. 113 Peter Jonas in Who was Carlos Kleiber? BBC Radio Documentary, 2009. 114 ‘Und Carlos dirigiert ja nur Stücke, von denen er irgendein Dokument vom Vater besaß, sei es ein ganzes Orchestermaterial, eine Aufnahme oder eine Partitur oder, das ist natürlich am Besten, eine vom Vater eingerichtete Partitur. Ich glaube, das war der Grund für seine Gebundenheit, dass sein Repertoire so winzig klein war.’ Interview with Michael Gielen, http://www.carlos–kleiber.de/interview/michael–gielen.html, (accessed January 8, 2012). 115 CPE Bach Cello Concerto in B flat Major, Telemann Tafelmusik: Suite in B Flat, Hamburger Rundfunk Orchester, recorded December 1960, released October 17 2011, Hänssler Profil Medien, PH11031. The disc also features the only known interview given by Kleiber which also features in the documentary ‘I am Lost to the World.’ 116 Programme 1: Beethoven, Coriolan Overture, Mozart Symphony 33 and Brahms Symphony No. 4. Programme 2: Beethoven Symphony No. 4, Beethoven Symphony No. 7. 117 Peter Uehling, ‘Musik unter ihm war Leben schlechtin’ Berliner Zeitung, July 20, 2004, http://www.berlinonline.de/berliner–zeitung/archiv/.bin/dump.fcgi/2004/0720/feuilleton/0005/index.html, (accessed January 20, 2011). 118 ‘der Dirigent mit dem kleinsten Repertoire aller bekannten Pultlöwen’ Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 15. 119 Schudel, ‘Gifted, Eccentric Conductor Carlos Kleiber Dies at 74’, The Washington Post, July 20, 2004.

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built an international reputation on as small an output as Kleiber’s’120, Lebrecht describes his repertoire as ‘severely restricted121 and Spahn ‘miniscule.’122 Von Umbach calls Kleiber the maestro with a ‘non-repertoire’,123 and Laurson goes even further, maintaining that ‘to describe his repertoire as narrow would be euphemistic: he conducted the same works over and over to the point of obsession.’124 Otto Staindl suggested that in maintaining this small a repertoire, Kleiber had a very good sense of where his particular strengths lay.125 This opinion is backed by Fassbänder who believed he only conducted those works with which he could identify 1000%. She believes Kleiber’s decision to restrict his repertoire was a conscious one, perhaps due to scruples, personal preference or the most-oft cited reason, his fanatic self-criticism.126 Borchmeyer also noted that over the course of his career Kleiber increasingly believed there were only very few works he was really able to conduct, a symptom of pathological self-doubt and overly harsh self-criticism,127 these masochistic factors of torment also cited by Pollini.128 Barber too observed a decline over time saying Kleiber became ‘less enamored of the profession and less enamored of his gift within it.129 This pursuit of uncompromising and ever further reaching artistic perfection was undoubtedly a major contributing factor in Kleiber’s ever-shrinking body of works. He brushed off his limited repertory as laziness but others clearly saw the detrimental effect of his own high, and seemingly unattainable standards. Sachs noted the ‘maniacal perfectionism and sense of desolating frustration that overwhelmed him when his goals were not met.’130 This claim is supported by Matheopoulos who believes Kleiber saw little point in conducting works which would be anything other than his perfectly conceived ideal. ‘Find me a Salome’ was his reported response when questioned as to why he didn’t conduct that Strauss opera.131 120 Walsh and Spelman, ‘Music: Unvarnished Symphonies’, 1983. 121 Lebrecht, Carlos Kleiber: Not a Great Conductor, 2004. 122 Claus Spahn, ‘Sensibler Außenseiter’, Online Focus, Nr. 11, 1996, http://www.focus.de/kultur/musik/musik–sensibler–aussenseiter_aid_156857.html, (accessed January 20, 2011). 123 Umbach, ‘Der begnadete Eremit’, Der Spiegel, July 26, 2004. 124 Laurson, In Memoriam Carlos Kleiber, July 21, 2004. 125 Carlos Kleiber: Traces to Nowhere, 2010. 126 Ibid. 127 ‘war ein fast krankhafter Selbstskeptiker, übersensibler Selbstkritiker, der im Laufe seiner Karriere, die rechtvielseitig begonnen hatte, glaubte, nur noch wenigen Werken gerecht werden zu könen.’ Dieter Borchmeyer in Fischer, Carlos Kleiber – der skrupulöse Exzentriker, 12. 128 The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series, 2008. 129 Who was Carlos Kleiber? BBC Radio Documentary, 2009. 130 Sachs, ‘The Conductor Who Could Not Tolerate Error,’ 2004. 131 Matheopoulos, Maestro, 448.

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As limited as Kleiber’s performing repertory was the scarcity of his appearances. In a career spanning forty-seven years (1952–1999), he conducted 89 concerts, 620 opera performances, 37 ballet, and authorized 12 recordings. Kleiber’s oeuvre, when measured against that of Karajan – 2260 concerts, 1020 operas and 91 films – simply does not compare. Bernstein too, for example, made 826 recordings while Stokowski premiered more than 400 works.132 From a purely numeric perspective, Kleiber’s output is not in the same league. Infrequent appearances with predictable offerings from a stagnant pool of repertoire masked Kleiber’s extensive knowledge of the broader orchestral and operatic repertory. Contextualized by the very limited body of works he performed publicly, this lesser-known fact is a seemingly incongruous one. Hellsberg tells that in spite of being familiar with virtually all known repertoire, Kleiber chose to focus on a few selected works.133 Barber too, reveals that ‘perhaps paradoxically, he mastered dozens of scores he would never conduct – but that was beside the point. He conducted all internally.’134 Kettle was similarly perplexed: The smallness of Kleiber's performing repertoire remains a perpetual

enigma. Yet it masks the extent of his scholarship and sympathies. 'He studies a great deal,' says a friend. 'He knows everything. He knows every piece. I know he does. I've seen the scores.’135

Furthermore it seems that learning these scores for Kleiber was not at all difficult. Friend and pianist Maurizio Pollini remembers Kleiber was able to instantly understand a score, immediately forming expressive and interpretative ideas on seeing the work. Pollini also recalled Kleiber’s extreme dedication to his art, and was of the opinion Kleiber would have been able to conduct any given piece at any given time, for he knew them all.136 Haitink also warned against evaluating Kleiber based on his performing repertoire.137 So once again, the question of ‘why’ is a most pertinent one. We are left trying to solve this enigma, wondering why the greatest conductor of his

132 Barber, Corresponding with Carlos, 158. 133 Clemens Hellsberg, ‘In Memory of Carlos Kleiber’, Vienna Philharmonic Orchestra. 134 Barber, Corresponding with Carlos, 57. 135 Kettle, ‘A Rare Touch of Musical Magic’, 1990. 136 The Smile of Music – A Portrait of Carlos Kleiber, RAI Radio3 Series, 2008. 137 Haitink: ‘Don’t be fooled by the small repertoire. His knowledge of music is immense.’ Barber, Corresponding with Carlos, 72.

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generation chose not to conduct more repertoire, nor to conduct more often. Compounding the confusion is the fact he, by all accounts, amassed a vast knowledge which in practical terms, went unused. In principal at least, it seems Kleiber was not opposed to the idea of performing repertoire other than that which became his trademark. Former General Manager of the Chicago Symphony Orchestra Sir Peter Jonas managed to persuade Kleiber in 1983 to perform a relatively unknown work, George Butterworth's First English Idyll,138 a work Kleiber admitted he enjoyed conducting. Jonas remembers Kleiber also once surprised him by expressing a wish to conduct The Mikado.139 Given that Kleiber didn’t publicly explain his decisions, it is difficult to undisputedly establish the reasons behind these repertoire choices and the rationale supporting them. What is undeniably clear is that his repertory was a very limited one, comprising a number of oft-repeated favorite works, performed time and time again. Accounts discussed above seem to indicate that psychological rather than musical factors were a predominating influence – Kleiber’s well-documented extreme perfectionism and chronic self-doubt the most likely and significant contributors.

138 Barber, Corresponding with Carlos, 113. 139 Ibid.

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Bibliography Austrian Conductors. Memphis, Tennessee, Books LLC, 2010. Barber, Charles. Corresponding with Carlos. Lanhan, Scarecrow Press, 2011. Blyth, Alan. ‘Carlos Kleiber: Mercurial Master of the Conductor's Art.’ The

Guardian, London, July 21 2004. Brug, Manuel. ‘Eine janusköpfige Figur.’ Welt Online, July 20 2004,

http://www.welt.de/print-welt/article328729/Eine-januskoepfige-Figur.html, (accessed April 24 2012).

Carlos Kleiber: Opera and Concert Listing, http://www.thrsw.com/cklist/,

(accessed December 15, 2010). Carlos Kleiber: Discography, http://www.thrsw.com/ckdisc/, (accessed

December 15, 2010). Carlos Kleiber. The Telegraph, London, July 21, 2004. Fischer, Jens Malte. Carlos Kleiber - der skrupulöse Exzentriker. Goettingen,

Wallstein, 2008. Geitel, Klaus. ‘Carlos Kleiber traut sich wieder vor ein Orchester.’ Die Welt,

January 12, 1999, http://www.welt.de/print-welt/article564339/Carlos-Kleiber-traut-sich-wieder-vor-ein-Orchester.html, (accessed April 24, 2012).

Goetz, W. ‘Zartheit und Entfesselung.’ Zeit Online, July 22, 2004,

http://www.zeit.de/2004/31/Nachruf_Kleiber/seite-1, (accessed April 24, 2012).

Hellsberg, Clemens. ‘In Memory of Carlos Kleiber.’ Wiener Philharmoniker

Online, 2004, http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=news_detail&set_z_news=51, (accessed February 22, 2011).

Henahan, Donal. ‘The Opera: Pavarotti and Freni in 'La Boheme'. New York

Times. New York, January 24 1998,

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http://www.nytimes.com/1988/01/24/arts/the-opera-pavarotti-and-freni-in-la-boheme.html, (accessed February 22, 2011).

Kasier, Joachim. ‘Ein Vulkan am Operpult.’ Süddeutsche Zeitung, July 19,

2004, http://www.sueddeutsche.de/kultur/der-dirigent-carlos-kleiber-ist-tot-ein-vulkan-am-opernpult-1.435504, (accessed December 29, 2010).

Kenyon, Nicholas. ‘Carlos Kleiber: Genius Wrapped In an Enigma.’ New York

Times, New York, October 15, 1989, http://www.guardian.co.uk/music/1990/jan/01/classicalmusicandopera.artsfeatures, (accessed December 29, 2010).

Kettle, Martin. ‘A Rare Touch of Musical Magic.’ The Guardian, London, January 1, 1990, http://www.guardian.co.uk/music/1990/jan/01/classicalmusicandopera.artsfeatures, (accessed February 22, 2011).

Laurson, Jens F. ‘In Memoriam Carlos Kleiber’, July 21 2004, Ionarts,

http://ionarts.blogspot.com/2004/07/in-memoriam-carlos-kleiber.html, (accessed December 30, 2010).

Lebrecht, Norman. The Maestro Myth. London, Simon and Schuster, 1991. _____. ‘Carlos Kleiber: Not a Great Conductor.’ La Scena Musicale, July 30,

2004, http://www.scena.org/columns/lebrecht/040730-NL-kleiber.html, (accessed December 30, 2010).

Matheopoulos, Helena. Maestro: Encounters with Conductors of Today.

London, Hutchison, 1982. Osborne, Richard. ‘Carlos Kleiber’s VPO Beethoven’s Fifth’, Gramophone,

June 1975, http://www.gramophone.net/ClassicReview/View/82, (accessed March 3, 2011).

Osterhaus, Stephan. ‘Opern-Enigma Kleiber, Der mysteriöse Maestro.’ Spiegel

Online, July 27, 2007, http://www.spiegel.de/kultur/musik/0,1518,495249,00.html, (accessed January 12, 2011).

Ottonello, Andrea. ‘The Smile Of Music: A Portrait of Carlos Kleiber.’ Italy,

RAI Radio3: 10 one hour episodes, 2008. http://www.carlos-

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kleiber.com/res/57/translation-of-transcript-of-rai-series-on-ck (accessed April 13, 2012).

Sachs, Harvey. ‘The Conductor Who Could Not Tolerate Error.’ New York

Times. New York, 1988. Sandner, Wolfgang. ‘Der Dirigent, der die Zweite von Brahms komponierte’.

Frankfurter Allgemeine, July 19, 2004. Schonberg, Harold C. The Great Conductors. London, Victor Gollancz Ltd.,

1968. Schudel, Matt. ‘Gifted, Eccentric Conductor Carlos Kleiber Dies at 74.’ The

Washington Post, Washington, July 20, 2004, http://www.washingtonpost.com/wp-dyn/articles/A63106-2004Jul19.html, (accessed February 21, 2011).

Schulz, Eric. Carlos Kleiber, Traces to Nowhere. DVD, ArtHaus Musik, 2010. Spahn, Claus. ‘Sensibler Außenseiter.’ Focus Online, Nr 11, 1996

http://www.focus.de/kultur/musik/musik-sensibler-aussenseiter_aid_156857.html, (accessed April 24, 2012).

Swed, Mark. ‘Carlos Kleiber, 44; Brilliant, Reclusive, Conductor’. LA Times,

Los Angeles, July 20, 2004, http://articles.latimes.com/2004/jul/20/local/me-kleiber20, (accessed December 11, 2011).

Uehling, Peter. ‘Musik unter ihm war Leben schlechthin.’ Berliner Zeitung.

Berlin, July 20 2004, http://www.berliner-zeitung.de/archiv/zum-tod-des-dirigenten-carlos-kleiber-musik-unter-ihm-war-leben-schlechthin,10810590,10195658.html, (accessed March 3, 2011).

Umbach, Klaus von, ‘Der begnadete Eremit.’ Der Spiegel, 31/2004,

http://wissen.spiegel.de/wissen/image/show.html?did=31617165&aref=image035/E0430/ROSP200403101420143.PDF&thumb=false, (accessed March 3, 2011).

Walsh, Michael and Franz Spelman. ‘Music: Unvarnished Symphonies’. TIME

Magazine, June 13 1983,

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http://www.time.com/time/magazine/article/0,9171,952033,00.html, (accessed December 11, 2011).

Werner, Alexander. Carlos Kleiber Eine Biografie. Berlin, Schott, 2008. _____. ‘Carlos Kleiber – Flamboyant Star, Enigmatic Genius.’ Liner notes to

Great Conductors in Rehearsal 2: Carlos Kleiber, DVD, South German Radio Orchestra Live, Stuttgart 1970, re-released by SDR Productions 2007, Arthaus Musik, 101 063.

_____. ‘Der Mythos Carlos Kleiber: Auf dem suche nach der Ideal.’ Partituren,

2007, 13: 6-11. _____. ‘Die Alban Berg Affäre’, http://www.carlos–kleiber.de/die–alban–berg–

aeffaere.html, (accessed March 11, 2011). ‘Who was Carlos Kleiber?’ BBC Radio Documentary, broadcast 26 September

2009. http://www.carlos-kleiber.com/res/56/transcript-of-bbc-radio-program-on-carlos-kleiber-broadcast-september-26-2009 (accessed April 13 2012).

Wuebbolt, Georg. Carlos Kleiber: I am Lost to the World. DVD, Berlin, C

Major, 2011.

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Mitchell Arnold West Virginia University Morgantown, West Virginia

Holding Back: Tempo Modification and Expression at the Point of Return Scott Burnham, in his exquisitely written, informative and engaging book “Mozart’s Grace,” published in 2013,i wrote the following about recapitulation in sonata form:

What happens when the urge to return is consolidated into a single recapitulation, as in sonata form? The returning first theme triggers a welcome flush of recognition, not just because it is familiar but because it is fresh all over again: its freshness is restored precisely in the way it gathers and reflects the music that has ensued, the way it sounds now as a consequence as well as a cause.ii

We anticipate return and then typically recognize its occurrence so it is affective. Burnham uses words of affect: “the urge to return”, the “welcome flush of recognition”, “freshness” “restoration” (Burnham specifically uses the verb “restored”), as if to say, that which was lost has been restored. We might also use words such as triumphant, as if the return is akin to a return home after an arduous or dangerous journey where something has been overcome, allowing safe return. Return can afford a sense of comfort; a musical point of return can be a metaphoric return to that which is familiar, and comfortable. At times, the moment of return can be climactic, occurring at the height of tension—one thinks of the recapitulation of the first movement of Beethoven’s 8th symphonyiii. Or, it can be quite the opposite, creating a sense of repose, possibly after the point of highest tension, as in the return in the first movement of Mozart’s Symphony No. 40 in G Minor K.550iv, a return upon which Burnham spends significant time.v We expect return, we know of its inevitability; we may even know or anticipate exactly when the moment of return will occur. Our experience and performance of music is affected by this knowledge. Furthermore, as with much that is expected, desired, or anticipated, delay can increase the effect of what Burnham called “welcome flush of recognition.” It can be the province of conductor or interpreter to heighten this effect. A slowing, a ritardando, added

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by the performer, can provide an emphatic mark to the moment of recognition as if to say rhetorically “Here it is,” or “Here it comes…wait…now.” Delay can enhance the experience of recognizing this moment of structural significance. Composers, too, may manipulate the pace of music surrounding the moment of return. A composer may broaden, hold back, without slowing the pulse or tempo—that is, without ritardando. Performers should take such occurrences into account when considering the interpretive decision to further manipulate the moment by adding ritardando. We might ask “Is there a composed ritardando in the music?” and, if so, “should I add more?”

My interest in this question was most recently sparked by study of Schubert’s Symphony in C Major “The Great”, D.944, for a performance in 2015. Whether to add ritardando approaching the moment of return in the first movement is, in my opinion, tied to decisions one makes about the tempo relationship between the Introduction and Allegro. Many conductors we hold in high regard have added a ritardando in the measures before the recap. This modification of tempo may serve to add emphasis to the moment of the return after a very long passage of time. I will return to this later.

This raises several questions:

1. Why do performers sometimes “add” ritardando as the music approaches recapitulation? Is it more than just nuance, is it a way to enhance the listener’s grasp of the structural significance of this moment? Is it always justified? 2. Recapitulation is a significant structural event, usually signaled by thematic and tonal return. How else might a composer mark the significance of this event? Is it ever composed in such a way that might make our added ritardando superfluous, perhaps unjustified? 3. Is our manipulation of pulse by ritardando in some way justified for one historical period but not another? Is it, in other words, sometimes anachronistic?vi

Let’s look at some ways our greatest symphonic composers have approached this moment of return. Some Classic period treatments

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Haydn and Mozart sometimes incorporated fermatas, rests, or both at the end of the retransition. This might occur within the context of longer held notes at, or just before, the moment of return. In example 2, we see Haydn using a fermata at the end of the retransition.vii

Haydn sometimes used a fermata as in the end of the retransition in Symphony 104 in D. Major (see Example 1). Here there is a cessation of harmonic motion on V in m.185; the melody, climbs in pitch from A5 until it reaches the 7th

(G6) of the V7 harmony in m.189. Measures 189-190 are organized rhythmically by half-note; then, by diminution it music accelerates to a quarter-note pace in measure 191. Thus, while Haydn composes a cessation of harmonic motion for eight measures, there is an acceleration of surface pace, all brought to a full stop in m. 192. Perhaps the only ritardando one might consider is a stretching of time in the following fermata silence. Example 1. Haydn, Symphony No. 104 in D major, I, mm.182–209:

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In his G-minor Symphony Finale Mozart ends the retransition with a rest of nearly two full measures (mm.205–206) with no fermata (see example 2). Harmonically, there is a cessation of motion from mm.202–205 on the dominant (alternating viiø7 and V7). Here, as in Haydn’s Symphony No.104 Finale, it is difficult to imagine adding a ritardando leading to the rest.

Example 2. Mozart, Symphony No. 40 in G Minor, K. 550 IV, mm.196–211:

In the first movement of his E-flat Symphony, K.543 (see Example 3), Mozart uses a full measure rest (m. 180), followed by a three-measure sequence gently settling into the point of return (m.184). Is a ritardando here an extravagance or a necessity? In mm.172–177 pairs of measures alternate between

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frenetic 1/16th note neighboring figures and rocket-like ascending 1/8th figures. In m. 178 there is only the rocket figure—an acceleration by elimination—then in m.179, a stop whose abruptness is enhanced by what sounds like metric disruption: the second and third beats of m.179 are equally strong so as to disrupt the normal stress pattern of ¾ time. The rest that follows is not one that clarifies the meter, and the three-measure sequence seems to exist in a world far from the surging flow of the preceding measures.viii Example 3. Mozart Symphony No.39 in E-flat Major, K. 543 I, mm.176–196:

While we are considering the effects of fermatas and silences we should look at how Beethoven, in his 6th (“Pastorale”), inserts a fermata into the exposition then manipulates and extends its effects just after the moment of return. This fermata, when it occurs in measure 4, gives the first four measures piece an introductory character.ix Our expectation at the point of return (see Example 4,

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m.279) is fulfilled, but not quite as we might have expected. The fermata is stretched even further (mm.282–288) by the first violins who first trill on G5 then fill four further measures of space with staccato eighth notes. (See Example 5). Beethoven also manipulated the pace to create a stretching of time before the point of return in m.279 (Example 4). At the end of the retransition he stretches the alternation of the notes D-C (Violin II, Viola, flutes and clarinets) from quarter notes in mm. 271 and 273 to over six measures in mm.275–281. It seems as equally difficult to justify adding our own ritardando here as it is to justify adding no ritardando approaching the fermata in the exposition, m.4.

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Example 4. Beethoven Symphony No. 6 in F Major, Op. 68 I, mm.266–282:

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Example 5. Beethoven Symphony No. 6 in F Major, Op. 68 I, mm.283–298:

We see that a pause just before, earlier than “just before”, or even after the moment of return appears to be a not so uncommon device of Classic period symphonic sonata- allegro forms. Among the examples, I find in Mozart’s E-flat-Major Symphony, K.543, first movement, a manipulation of musical time that is germane to this exploration (see Example 3 above). In the last measures of the retransition (some measures not shown) the music is aggressively taught. A measure consisting of repeating pairs of eighth-notes—expressed as tremolo sixteenths in the violins—alternates with a measure of rocket-like eighth-notes that extend the harmony. In m. 178, Mozart “doubles down” with rocket eighths in consecutive measures. Then a sudden clearing of the decks, followed by a gentle, sequential fall into the moment of return. Thus, a pause, followed by a

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gently slowing approach.x Only the successively rising flute sighs seem to counteract the slow settling quality, as if imprinting a question mark. Beethoven’s Triumphal Returns Note the sense of tense expectation in the last measures of the retransition the first movement of the Eroica. The measured tremolos in the violins (mm.382–382, 386–391) resist the addition of a ritardando as does the already slowed pace of the music.xi The solo second horn resists ritardando dipping its toe in the recapitulation as if to ask, “Is this the moment?” followed by a resoundingly triumphant orchestral “Yes!” Example 6. Beethoven Symphony No. 3 in E-flat Major, Op. 55 I mm.370–398:

In the first movement his first symphony, Beethoven creates a sense of urgency just before the moment of return in m.178 (not shown). He composes an extended alternation of vi (a minor) and V/vi, over a pedal E in mm.160–173. All collapses to this single note E, ultimately a four-measure “written” fermata in mm.170–173. We might wonder at this moment: “How does the music return, or

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perhaps escape, to C Major from here?” This moment is like a musical black hole, a singularity, as all has collapsed on this single note, a musical cul-de-sac. Then a trap door opens, a quasi-adagio rendition of the first and second endings, in whole- rather than half-notes (m.174–177),xii an escape path to a sunlit fortissimo C Major return (not shown). By doubling the note value of the first ending as he approaches the point of return Beethoven composes a ritardando, similar Mozart in his E-flat symphony. But, unlike Mozart, Beethoven’s return is one triumph, not calm refreshment. Example 7. Beethoven Symphony No. 1 in C Major, Op. 21, I, mm.157-177:

Before we leave the Classic era, it is useful look at two further examples of tempo manipulation at returns, both in Mozart’s Symphony no. 40 in G minor, K.550. Each has implications when we later look at how Brahms handled the point of return in some of his symphonies.

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Referring to the point of return in a first movement of Mozart’s G Minor Symphony, K.550 (see Example 8), Burnham describes how “often after a dramatic development section reaches a climactic pedal point, Mozart’s passage of retransition floats gracefully to its destination—as though to make privilege out of custom.” And, he continues, “the E-flat–D motive that sobbed so obsessively at the end of the development is now re-experienced as a gently persistent appoggiatura, like a latent trauma repressed back into a symptom. But this is a symptom that we now know contains a world of trauma—not for nothing do some hear this recapitulation as tragic acquiescence to utter despair.”xiii It is this sense of falling, like a feather floating downward on a gentle current of air, alighting upon the moment of return—here in the Mozart’s G Minor symphony tragic, in his E-flat Symphony, refreshing—that characterizes many of Mozart’s exquisite moments of return. Where, if at all, fits a further manipulation by overlaying ritardando? There is an overlap of the retransitional passage with the beginning of the recapitulation in mm.164–166 (see Example 8). The one-measure viola introduction from the opening measure of the symphony is now gone, unnecessary or even intrusive: we have returned. Perhaps we fully recognize that we have returned only after the moment of return?xiv We probably would not add ritardando as it could destroy power of this magical crossfade!

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Example 8. Mozart Symphony No. 40 in G Minor, K.550, I, mm. 160–172:

In the second movement of the same symphony (the only example I have chosen from among slow movementsxv) we see a similar settling, a circling before a gentle landing, the point of return occurring in m.74. Note how Mozart approaches this return sequentially as if, or almost as if, the return is yet another unit of the sequential patternxvi. It is separated by orchestration. Does one consider, as in the first movement, allowing the listener nostalgic sensation of recognizing the return after it has occurred, or mark it with a ritardando?

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Example 9. Mozart Symphony No. 40 in G Minor, K.550, II, mm.67-74:

Brahms: Hidden Returns William P. Mahrt, in an article entitled “Brahms and Reminiscence” wrote, “Of all Brahms’s distortions of Classic conventions, the most telling occurs at the recapitulation, and the recapitulation is the location of interesting reminiscences.

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He often masks the beginning of the recapitulation, making the return of material from the exposition less exact than expected, creating at the same time a particularly expressive moment–often a moment of delayed recognition that the recapitulation has already taken place.”xvii For Mahrt, this delayed recognition is a form of reminiscence. We have seen above that Mozart used this expressive technique of blending the moment of return with the retransition in the previous two examples. Mahrt discusses the juncture of retransition and point of return in the first movement of Brahms’s Symphony No. 4 in E Minor. Brahms stretches the beginning of the recapitulation, beginning with m.246, and intersperses the first four motivic utterances from the exposition with “measured fermatas” (the first in mm.249–252) filled with cadenza-like eighth-note flourishes. This creates an aura of mystery at the point of return (see Example 10). The initial eight notes of the of the symphony’s opening theme are thus embedded in a series of adagio-tempo motions separated by fermata-like holds. It is not until the ninth note of the opening tune, corresponding to the fifth measure of the exposition that Brahms moves it along (not shown in Example 10). We realize, “after the fact,” according to Mahrt, “that the recapitulation has been emerging element by element. Such a recognition of an event already past (ital.-MA) is a reminiscence, whose quality is a savoring of the delayed realization of the significance of a past event.”xviii

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Example 10. Brahms Symphony No. 4 in E Minor, Op. 98 I, mm.235-254:

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We can add “reminiscence” to ours and Burnham’s terms: renewal, refreshment, triumph, and reminiscence. We see a similar technique in the first movement of Brahms’s Symphony No.2 in D Major (see Example 11). Here, in m.302 we are at the point of return. Brahms melds the opening horn melody (from m. 2) with that of the violins from m.44 (not shown). The three quarter-note neighbor figure in the bassi (m.305, 309) occurs as it did in the exposition’s m. 5 and 9. But what of the opening bar of the symphony: three quarter-notes, D-C#-D? One can see how Brahms used these notes repeatedly at the end of the retransition passage, preceding the audible point of return (see Example 12).

Example 11. Brahms Symphony No. 2 in D Major, Op. 73 I, mm.296–316:

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These notes are presented by violins in m. 290 and bassi in m. 292, slowed by hemiola, combined with the horn melody (F#-A), and joined by the violin tune (originally of m. 44) in violins in m.292, and winds in m. 294. There is a clearly-marked event occurring in m. 298 (see Example 11): the iiø7 harmony, with sf and a descending wind scale reminiscent of the exposition’s first ending both in character and instrumentation. M.402 is most clearly the moment where we hear that we are in the recapitulation, but Brahms has hidden the first measure’s three-note figure in the first trombone in the preceding four measures (mm.298-301)! It is a significantly slowed presentation of this figure, stretched rhythmically to proportions that effectively hide its upbeat feel. Brahms composed a large ritardando; he controls the pace approaching the moment of return. Example 12. Brahms Symphony No. 2 in D Major, Op. 73 I, mm.274-295:

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There is mystery here, the actual moment of return (m.298) hidden in a shroud. The choice of trombone is a conscious orchestrational allusion to, or following Mahrt, a “reminiscence” of the dark melancholic trombone/tuba quartet in m. 32-43 as well as the prominent use of these instruments throughout the development.xix

A conductor’s decision to add ritardando is perhaps justified if one is focused on the descending quarter-note line in the winds. On the other hand, if we consider the hemiola strings, leading to the excessively broadened first trombone utterance of D-C#-D, we understand that Brahms has already composed a dramatic ritardando. Perhaps marking the moment of the return with an added ritardando is precisely what Brahms does not want?xx Other late-nineteenth century returns Dvorak, in the first movement of his Symphony in G Major embeds the moment of return within the climactic passage of the development (see Examples 13 and 14).

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Examples 13 and 14. Dvorak Symphony No.8 in G Major, Op. 88 I, mm.210-220.

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Dvorak precedes the recapitulation, which arrives in m.219 with six measures of viio7/V harmony (mm.213–218). The rhythmic energy as defined by the dotted rhythms in the violins is initially organized in two whole-note groups, then four half-notes groups, and ultimately – along with the elimination of the dotted rhythm – shortened to eight quarter-notes. This is, in effect, an acceleration of

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events within a static harmonic environment. I recognize that many great conductors add a ritardando for the final four quarter notes despite Dvorak’s acceleration. Dvorak’s surge is the antithesis what occurs in the retransitions we have just seen.xxi Similarly, the point of return in the first movement of Tchaikovsky’s Symphony No. 6 in B Minor, Op. 74 (“Pathetique”) is led by the brass in the upbeat to m.245. It is a moment of return, embedded in a continuing developmental tumult ultimately collapsing at the catastrophe that occurs at rehearsal letter Q (not shown).xxii

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Example 15. Tchaikovsky Symphony No. 6 in B Minor, Op. 74 I, mm. 243-246.

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Schubert Symphony in C Major “Great” The catalyst of my study was preparation of the “Great” for a recent performance. For this, I can call upon the insight and scholarly work of A. Peter Brown whose 1987 article, “Performance Tradition, Steady and Proportional Tempos, and the First Movements of Schubert's Symphonies” is particularly appropriate to this paper.xxiii First, we should look at the relationship of the final measures of both the Introduction and the final measures of the retransition (see Examples 16 and 17). Among that which they have in common is the dotted rhythm in the horn and the triplets in the violins (compare mm.74–77 with mm.352–356). These rhythms help us to see the tempo relationship between the Introduction to the Allegro. I first learned this piece using a score reprinted from the Breitkopf editionxxiv, where the Andante Introduction was marked common time, rather than alla breve as Schubert’s autograph shows.xxv Conductors usually took the Introduction as slow as half the Allegro tempo and added an accelerando at the end of the Introduction so that the final measures of the Introduction would be essentially equal in tempo to the Allegro. Thus, the dotted eighth-note in the Introduction is equal to the dotted quarter-note in the Allegro. Brown uses Willem Mengelberg’s recording as an example, Mengelberg speeds to the Allegro, and slows into the point of returnxxvi. Schubert composed an acceleration in the final measures of the Introduction into the Allegro. This holds true regardless of whether one follows recent scholarship and performs the Introduction alla breve, equal in tempo to the Allegro, where the Introduction’s quarter-note, equals the Allegro half-note. Schubert’s acceleration begins in mm.70–73: slurred woodwind figures occur once per measure, the bassi leave and return to the note D once per measure. In mm.74-75 these figures double speed to twice per measure, and the dotted rhythm is added in bassi and horns as an enhancement. In mm.76–77 the dotted figure occurs four times per measure, and Schubert’s trombones provide accentuation to each quarter-note pulse.

In the retransition, the play of A-flat (bVI) and G (V) ‘replaces’ the harmonic approach to the Allegro at the opening. Schubert slows the pace of the music and twice brings in cellos who “resolve” the F3 twice: the first (mm.346-348) to the deceptively harmonized B (in a flat-VI); the final time, two measures before the return (mm.354-356), to E-natural (in I) at the point of return (m.356).

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Example 16. Schubert Symphony in C Major, D.944, I, mm.68-77.

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Example 17. Schubert Symphony in C Major, D.944, I, mm.335-371.

Brown notes the great conductor Willem Mengelberg’s interpretive ritardando in the moments before the returnxxvii. He writes: “Coming at the end of the development section, the interpretive ritardando just before the recapitulation (mm. 344–55), which returns in tempo, contradicts the performed acceleration at the end of the introduction (mm. 76-77) for the two are thematically parallel. Once again, no interpretive tampering is necessary in mm.

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344-55 as Schubert carefully prepares for the structural arrival: the dynamic level is lowered, the material is augmented, and the textural activity is reduced. The result, even though the surface rhythm and tempo remain constant, is a composed ritard.”xxviii (italics mine) This is not just Brown’s or my conjecture. Leopold von Sonnleithner was a friend of Schubert. His father hosted many of the evening salons at which Schubert performed. Brown writes: “as Leopold von Sonnleithner recalled: ‘[Schubert] always kept the most strict and even time, except in the few cases where he expressly indicated in writing a ritardando, morendo, accelerando, etc... Schubert always indicated exactly where he wanted or permitted... any kind of freer delivery. But where he did not indicate this, he would not tolerate the slightest arbitrariness or the least deviation in tempo.' Thus, if Schubert desired a rhetorical effect, he would have indicated a tempo change.”xxix The important question: Are there contexts that justify the use of ritardando? Contexts that prohibit? Can we even begin to approach this given how little we truly know of period performance of much of this great music? Burnham called recapitulation “the most fundamental of returns”xxx, thus, distinguishing it from returns in da capos, musical phrases, and rondos and if it is the most fundamental, why do we know so about how this return should be executed? When is it right to add ritardando to mark these moments? We must look carefully at every such moment, investigate all the rhythm manipulations, weighing the role we play, and tread carefully!

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i Scott Burnham, Mozart’s Grace (Princeton, NJ: Princeton University Press, 2013), 128. ii Ibid. iii The point of return is in m.190, marked fortississimo. iv M.164. v Burnham, 128-131. vi This very important question is beyond the scope of this paper. vii Other examples by Haydn include the 6/8 Presto of Symphony 101 and the 6/8 Allegro con spirito of Symphony 103. viii The absence of unusual voice-leading, or rather, lack of voice-leading, in this passage might also considered. There is little connection between voices either at the beginning of the sequence or at the end, save for the possible connection between the bassoon’s D4 and the Eb4 of the first violin, but it is difficult to hear across the instrumentation. One might question whether a tempo modification is still necessary to enhance the unique way Mozart approaches the point of return. ix Carl Dahlhaus, trans. J. Bradford Robinson, Nineteenth-Century Music (Berkeley and Los Angeles: University of California Press, 1989) pp.13-15. Dahlhaus discusses how for Beethoven, an introduction can expository. See below for the discussion of Schubert’s C major symphony first movement and the relationship between its Introduction and Allegro. x Note how the three-measure slurs clarinet and bassoon parts link the dotted-half notes into an even larger, slower moving unit. xi This process of slowing begins before the music shown in the example. It slows to two-measure long harmonies with no movement faster than that occurring at a rate of a tied dotted-half note (beginning with mm.378). xii Compare these measures to mm. 106–109, as well as the extended sequence using this figure at the beginning of the Coda. xiii Burnham, 128. xiv See the discussion of Brahms below. xv One expects more tempo modifications in typically espressivo slow movements. xvi We recognize that the sequential units are distinguished by orchestration. xvii William P. Mahrt, “Brahms and Reminiscence: A Special Use of Classic Conventions” in Convention in Eighteenth and Nineteenth-Century Music: Essays in Honor of Leonard Ratner, ed. W.J. Allanbrook, J. Levy and W. Mahrt (Stuyvesant, NY: Pendragon Press, 1992), 79. xviii Mahrt, 80. xix In Example 12, one sees prominent trombone in mm.274–277 (trombone III), mm.278–280 (trombone II). Earlier examples of prominent use of trombones are not shown. Reinhold Brinkmann describes how Brahms, responding to his friend Vincenz Lachner’s query about why Brahms chose to use the “lugubrious” trombones so prominently, replied “I would have to confess that I am, by the by, a severely melancholic person, that black wings are constantly flapping above us.” (Reinhold Brinkmann, Late Idyll: The Second Symphony of Johannes Brahms, trans. Peter Palmer ((Cambridge, MA and London: Harvard University Press, 1995)) pp.126–127.) xx I think of a “shroud” to explain such hidden recapitulations. There is some degree of similarity to what Mozart does in the first movement of the G Minor symphony where the recapitulation begins before the retransition ends. That both are symphonies considered to be fraught with emotional darkness is perhaps no coincidence in this regard. xxi Mozart’s returns occur after the moment of great tension, this occurs at a moment of great tension, without what we call a “retransition.” It should also be noted that there is a

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transformation at work. Dvorak opened the symphony with a somber hymn of cellos, dark winds and, of course, trombones. Now, at the point of return the theme is transformed into a martial call of trumpets amid a tumult! xxii Truly catastrophic: this music first appeared in slightly different form at the tragically catastrophic end of his tone poem, Voyevoda. xxiii Peter A. Brown, “Performance Tradition, Steady and Proportional Tempos, and the First Movements of Schubert's Symphonies,” in The Journal of Musicology, Vol. 5, No. 2 (Spring 1987). His is the only article or book I have come across that directly addresses the question of tempo modification at the point of return, but it is significant, even if it only concerns Schubert’s Symphony in C Major, D. 944. [A. Peter Brown, The Journal of Musicology 5, No. 2 (Spring 1987), 296–307] xxiv The Breitkopf and Härtel edition was first published in 1849. xxv See the Bärenreiter edition: Symphony no. 8 C major D. 944 "The Great" Edition number BA 5648-85, ISMN 9790006504220, edited by Aderhold, Werner. The score also appears in Bärenreiter’s New Schubert Edition as volume V/4. xxvi Brown, p. 301. Brown refers to the recording “Willem Mengelberg and the Concertgebouw Orchestra, Commemorative Issue from performances in 1939 and 1949, Phillips PHM500-041.” It should be noted that Mengelberg uses different tempos for the each of the main thematic groups. xxvii Brown, 301 xxviii Brown, 304 xxix Brown, 304 xxx Burnham, 129 Bibliography Brinkmann, Reinhold. Late Idyll: The Second Symphony of Johannes Brahms,

trans. Peter Palmer. Cambridge, MA and London: Harvard University Press, 1995.

Brown, A. Peter. “Performance Tradition, Steady and Proportional Tempos, and

the First Movements of Schubert's Symphonies,” The Journal of Musicology, Vol. 5, No. 2 (Spring 1987), pp. 296–307.

Burnham, Scott. Mozart’s Grace. Princeton, NJ: Princeton University Press,

2013. Dahlhaus, Carl. Nineteenth-Century Music, trans. J. Bradford Robinson.

Berkeley and Los Angeles: University of California Press, 1989. Mahrt, William. “Brahms and Reminiscence” in Convention in Eighteenth- and

Nineteenth-Century Music: Essays in Honor of Leonard G. Ratner, edited by W.J. Allanbrook, J. Levy and W. Mahrt. Stuyvesant, NY: Pendragon Press, 1992.

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Luis Víquez University of South Dakota Vermillion, South Dakota Musical Elements as Dramatic Sources in Richard Strauss’ Elektra

Author’s Abstract

Since the origins of the operatic genre, composers and librettists have sought artistic meaning via multiple collaborations between music and drama. In the turn into the Romantic era, it was possible to appreciate that a merger of compositional devices and new advantages in the instrumental field created a more consolidated platform to not only support the vocal line, but also to enrich the dramatic scenario with new instrumental colors, melodic innovation, and harmonic and textural experiments. Richard Strauss (1864-1949) composed Elektra (1908) as the first of several collaborations with Austrian poet and librettist Hugo von Hofmannsthal (1874-1929). This opera provides a representative example of how orchestral color, extended vocal and instrumental lines, leitmotifs, and associative harmonies are used to articulate the dramatic discourse in operas from the early twentieth-century. This study surveys how musical materials provide a dramatic meaning to the orchestral accompaniment and vocal lines in Elektra. A general discussion regarding aspects of instrumentation, melodic line organization, and motives are included in this essay in order to provide a better approximation of the relationship between music and drama in this work. The score of Elektra emerged alongside notable advances in expanding orchestral color. By 1908, the features of the modern symphony orchestra were settled by important instrumental improvements and recent inventions, many cited in orchestration treatises such as those by Louis Hector Berlioz (1844) or Nikolai Rimsky-Korsakov (1891). Musical instruments were built in larger quantities. The improved construction quality helped make large orchestras an important musical source for composers in the late 19th and early 20th centuries. In accordance with the new timbral possibilities of the time, Strauss transformed the core sonority of the orchestra in Elektra by re-thinking instrument quantity and type, such as the combination of eight clarinets of different types, including a pair of basset horns, eight horns, and a quartet of Wagnerian tubas. In addition, divided strings in two or three parts require a massive number of players for this section. The monumental orchestral dimensions allowed Strauss to make a vast exploration of

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musical materials in order to provide dramatic force to Hofmannsthal’s libretto. Unfortunately, early reception was negative, as the attendees of the first performance deemed the work gross and brutal. However, they were significantly impressed by the extravagance of an orchestra of more than one hundred pieces in the pit.1

Orchestral timber, melodic organization and approaches to singing all deserve close attention in Elektra. Lawrence McDonald categorized Strauss’ vocal style in three ways: recitative, arioso, and aria. According to the author, the arioso style is the most prominent throughout opera.2 Strauss gave more freedom to the vocal lines for adjustment purposes with the linearity of the text. Highly chromatic voice-leading – made possible by the extended harmonies– prolongs the vocal line. This constantly irregular phrasing makes it impossible to find any symmetric periodicity throughout the work. The presence of chromatic elements in the piece not only contributed to this varied phrase length, but also imposes high technical demands on the singers, for unusual melodic combinations such as augmented or diminished intervals and extreme register changes. Despite these virtuosic demands, the peaceful and consonant moments in this opera are full of expression and are harmonically stable, and as Loredana Iatesen stated, they resemble Richard Wagner’s arioso style.3

Inherited from Wagner, the use of leitmotifs in both the vocal lines and the orchestral accompaniment helps a listener trace essential aspects of the plot of Elektra. David Greene stated that the motives assume the role of a narrator that characterizes the personages in the opera.4 McDonald also provided important insight regarding the use of motives in the work. He mentioned that the use of referential motives is consistent throughout the composition and does not allow space for freely composed materials since motives allude to different events, characters, or situations.5 Another important contribution to the study of motivic usage in Elektra is Wanda Kaluzny’s thesis.6 She provides an extensive analysis of motivic references to the main characters in the composition, classifying them by character. Her work categorized motives related to Agamemnon and Elektra and also referred a set of motivic figures related to the other main characters (Orestes, Klytemnestra, and Aeghisthus).

In Elektra, Agamemnon is brought to life by recurrent appearances of the

D-minor triadic motive that initiates the piece (See Example 1). Via this melodic figuration (See Example 2), Elektra frequently invokes her murdered father by singing in piercing dynamics.7 Throughout the composition, the motive is present in the lines that depict Elektra’s need for revenge against her mother, Klytemnestra, and Aegisthus, her lover. This motive occurs in the melodic contour of the vocal line or in the orchestral accompaniment, with rhythm modifications and frequent transpositions, across the entire opera.

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Example 1: Agamemnon’s motive at the beginning of the opera. Mm.1-3.

Example 2: Agamemnon’s motive transposed in the key of C minor. Rehearsal 46.

Elektra is not represented by any specific melodic or rhythmic figurations or motives; instead, Strauss assigned a specific chord to represent her bipolar psychological condition by overlapping the chords of D-flat major and E major, which are enharmonically separated by a minor third. Kurt Overhoff attributes the confronted feelings of love and hate to these two chords.8 Since Elektra’s mind is divided between her hateful thoughts toward Klytemnestra and Aeghisthus and the love between daughter and mother that is expected from her by nature, the harmonic ambivalence of Elektra’s chord is ideal for expressing her psychological instability as a music-dramatic element. Example 3 represents the first appearance of Elektra’s harmony in the orchestral accompaniment. It is evident how the A flat is shared by both D-flat major and E major chords, generating a point of agreement within this dissonant sonority. (See Example 3)

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Example 3: Elektra’s chord. 6 measures after Rehearsal 1.

In addition, Strauss used several motives that allude to situations and

symbols related to Elektra but that do not personify her as occurs with the other main characters. For example, two motivic figures are prominent throughout the opera: one depicting the axe that was used by Klytemnestra and Aeghisthus to murder Agamemnon and another representing the triumphal dance that reflects Elektra’s anxiety for revenging the assassination of her father. The axe motive (See Example 4) features the use of dotted rhythm figurations in a sharp descending way that represent the up-down movement of it. Accompanying this motive are dense chromatic harmonies that enhance Elektra’s frenetic mood as she remembers the moment of murdering of her progenitor.9

Example 4: Axe motive. Rehearsal 67.

Elektra’s triumphal dance is represented with a ternary-meter motive that

alludes to the waltz (See Example 5), a genre favored by Strauss in other large-scale dramatic works such as Salome (1903) and Der Rosenkavalier (1910). According to Kaluzny, this dance rhythm portrays the fantasy and obsession that Elektra had for consummating the death of Klytemnestra and Aeghisthus.10 By the end of the opera, starting at Rehearsal 235a, the triumphal dance turns into a mortal scene. After Orestes assassinated his mother and her lover, Elektra dances into death, feeling fulfilled by seeing her brother avenging their progenitor’s crime.

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Example 5: Elektra’s Triumphal Dance motive. Rehearsal 57.

Strauss employed harmonic areas to delineate the psychological mood of each main character in the opera. Describing the context in which Strauss wrote this opera, McDonald stated that in the late 19th and beginning of the 20th centuries, chord progressions that outlined a specific tonal center were replaced by weakening tonic-to-dominant relationships, using unresolved dissonant chords and triadic combinations with chromatic voice leading.11 In Elektra, associative harmony is present as an element of characterization of main personages; thus, the strict harmonic rules of the common practice period would not aid the dramatic purposes aimed for by the composer. Gilliam refers to two scholars who have studied the use of associative harmonies inside Elektra: Edmund Wachten (1933) and Kurt Overhoff (1978). Wachten in fact created a rubric that compares programmatic relationships in harmonic areas of Strauss’ operatic and stage works. Overhoff made a similar contribution by explaining how extra-musical and thematic elements are also anticipated by the use of associative keys.12 The harmonies linked with Elektra’s siblings show contrasting moods. Orestes is depicted with the key of D minor and Chrysothemis with E-flat major. Orestes, even as a heroic personage, is portrayed with the obscure aura of the minor mood. His sister’s personification is more diatonic, portraying her wishes to get out of Agamemnon’s palace and her desire to lead a normal life of marriage and motherhood. Klytemnestra’s associative key is F-sharp minor and her world of nightmares contrasts the diatonic quality of Chrysothemis. Aegisthus’ despotism is associated with complex chromaticism within the key of F major.13 Elektra’s unstable attributes are depicted by the absence of a tonality associated with her character, which also represents her lack of identity. As explained before, the vertical structure built from two juxtaposed major chords (E and D flat) is the main device Strauss integrated to refer to this principal character. Harmony is not essential to depicting Elektra’s frustration and her desires for

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revenge. Instead, melodic complexity, high chromaticism, and wide leaps in her challenging vocal part lead the musical discourse to represent her constant madness and anger toward her mother and Aegisthus. The use of associative keys across Elektra brings to light that the major mode is not only employed for representing lyrical and charming moments as occur in the tonal areas assigned to Chrysothemis. Major keys are also used with ironic attributions, as seen in the harmonies of Aegisthus and Klytemnestra. The minor mode is used to obscure Orestes’ heroic participation even though he fulfills the mission entrusted to him by Elektra. Moreover, the lack of harmonic consistency in Elektra’s role does not imply that her character is atonal. Strauss is mainly assigning a specific intervallic combination that helps identify her presence throughout the opera. Additionally, chromatic voice leading and shifting tonalities are present in Elektra’s vocal part to aid in creating the dark mood of the opera as a whole, a mood impossible to set with the “gentleness” of the harmonic system typical of the preceding two centuries.

The power of the musical elements that articulate the drama in Elektra is seen in an artistic way in which the composer merged instrumental color and vertical and horizontal components for conveying the frenetic psyche in Elektra. A large instrumental palette provides the essential colors for the contrasting moods of the characters within the different episodes in the opera. Moreover, Strauss’ use of leitmotivs and associative keys are crucial for maintaining the overall dramatic momentum of the opera, a trait that without a doubt is a continuation of one of his greatest stylistic influences, Richard Wagner. Linearity aids the flow of the drama by the use of motivic development and recurrence. Finally, shifting harmonies and a lack of a solid tonal center generate tension and help carry the turbulent dramatic mood through the tragic end of this opera, a work that stands as a cornerstone for the evolution of music’s Contemporary period.

1 David Murray, "Elektra." The New Grove Dictionary of Opera. Grove Music Online. Oxford Music Online. Oxford University Press, accessed July 20, 2016, http://www.oxfordmusiconline.com. 2 Lawrence F. McDonald, “Compositional Procedures in Richard Strauss’ Elektra” (PhD dissertation, University of Michigan, 1976), 114. 3 Loredana Iatesen, “Music as a Dramaturgical Component of the Opera Elektra by Richard Strauss,” Recent Advances in Acoustics & Music (June, 2010), 109. 4 David Greene, Listening to Strauss’ Operas: The Audience’s Multiple Standpoints (New York: Gordon and Breach, 1991), 39. 5 McDonald, 77. 6 Wanda Kaluzny, “The Role of Motive in Richard Strauss’ Elektra” (M.A. dissertation, McGill University, 1984), 55. 7 Murray, “Elektra.”

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8 Kaluzny, “The Role of Motive in Richard Strauss’ Elektra, 55. 9 Ibid., 74. 10 Ibid., 79. 11 McDonald, “Compositional Procedures in Richard Strauss’ Elektra”, 68. 12 Bryan Gilliam, Richard Strauss’ Elektra (New York: Oxford University Press, 1991), 68. 13 Ibid., 69

Bibliography Gilliam, Bryan. Richard Strauss’s “Elektra.” New York: Oxford University

Press, 1991. Greene, David B. Listening to Strauss Operas. New York: Gordon and Breach,

1991.

Iatesen, Loredana. "Music as a Dramaturgical Component of the Opera Elektra by Richard Strauss." Recent Advances in Acoustics & Music (June 2010): 109.

Kaluzny, Wanda. “The Role of Motive in Richard Strauss's Elektra.” M.A.

dissertation, McGill University, 1984.

McDonald, Lawrence Francis. “Compositional Procedures in Richard Strauss’ Elektra.” Ph.D. dissertation, University of Michigan, 1976.

Murray, David. "Elektra." Oxford Music Online. Oxford University Press, July 20, 2016, www.oxfordmusiconline.com. Strauss, Richard. Elektra, Op. 58. London: Boosey and Hawkes, 1943. July 20,

2016. http://search.alexanderstreet.com/view/work/376361.

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Tobin Stewart Montana State University Bozeman, Montana Effectively Eliciting Sound: Conducting with Balance, Freedom, Ease and Efficiency Introduction

Conductors have the opportunity to positively influence and effectively elicit sounds from an ensemble through gesture. Since conductors communicate primarily through nonverbal means, the quality of their movement significantly impacts what performers perceive and how they in turn breathe and move their own bodies. Gestures emanating from a balanced and freely moving body maintain optimal physical health, transmit clear musical intent, and stimulate healthy sound production from performers. Conversely, conducting can negatively influence the sound through hindering habits, excess tension or ineffective motions. This article will explain how principles of the Alexander Technique foster personal awareness and help conductors eliminate habitual tension that negatively influences sound.

In her book Ride with Your Mind: A Right Brain Approach to Riding, Mary Wanless writes:

Often, when I was riding a horse who seemed rigid and unyielding, a better rider would take over, and I would watch the horse transform before my very eyes, becoming far more beautiful in his movement, more proud in his carriage, and more willing in his demeanor… When I rode him he was completely inflexible, but in the hands of one of these good riders he became a malleable medium, ready to be molded into whatever shape and movements the rider chose for him.1

Like the horse with different riders, an orchestra responds accordingly under different conductors. Experience and skill of the conductor and the orchestra can affect this response, but the conductor’s use of their body and gestures highly impact the orchestra’s reaction. Tension in the conductor’s body will not only affect his/her own breathing and moving, but will also subtly transfer to players in the ensemble and can affect their movement and sound production negatively.

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Conducting gestures by nature employ repetitive and habitual motions. On one hand, it is essential for certain gestures to become second nature for the brain to be fully devoted to listening and higher level tasks, but the danger with any repeated, habitual motion is that it may become ineffective and possibly harmful to the desired sound. Because of this habitual nature, conductors may unknowingly use gestures that over time misuse or harm the body or deliver a contrary musical intent. Just as instrumentalists are continually forming desirable habits and attempting to discard bad habits in the practice room, conductors must constantly do the same. How one goes about practicing determines success in this endeavor, and F. M. Alexander provides a physiological basis for thinking about the “how.” Through an understanding of End-gaining, Inhibition, and Direction one can begin to gain Conscious Control of the body’s movements to then use them effectively. F. M. Alexander and the Alexander Technique Frederick Matthias Alexander was a Shakespearean actor and orator born in Tasmania in 1869 who began to experience chronic laryngitis when he performed.

Having sought help in vain from the medical profession as well as vocal coaches, he concluded that the cause of his problem and therefore its potential solution, must lie in what he was doing with himself (body and vocal apparatus) while on stage performing. During the years that followed, he systematically observed himself with the help of mirrors while reciting as well as everyday speaking and proved his initial premise to be correct. He not only proved that how one uses themselves in any activity has a direct effect upon their overall functioning and therefore on the quality of the outcome or performance but was a pioneer in demonstrating the connection between the body and the mind.2 What Alexander found in his self-observations was a tendency to pull his

head back and down especially when he got to the climax of his speeches. This tension affected his breathing and the use of his vocal chords. This begin a process of observing and experimenting with his movement habits and their connection to his thoughts, perceptions, and feelings, and he was able to recover and improve his overall breath, movement and speech.

Because of his own success in overcoming the laryngitis through his

discoveries, Alexander was encouraged and recommended by theater professionals and medical professionals to spread his knowledge. He began

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teaching others in Sydney, Australia what he learned, and he eventually moved to London to start a school that now teaches what is known as the Alexander Technique.

The Alexander Technique is more about unlearning than learning. There are no new techniques to acquire, but rather an awareness of what the body already knows and then a releasing of unwanted muscular tension throughout the body. Alexander teachers help students become aware of tension accumulated through the normal stresses of life. They then bring awareness to true balance, posture, and co-ordination through normal everyday actions like sitting in a chair or specific activities like playing the piano or conducting. Alexander’s discoveries all related to habits and actions that he was physically doing to himself subconsciously. Like Alexander, many people begin to suffer physically because of subconscious tensions that go unnoticed for years. The best way to learn the Alexander Technique is with a certified instructor, but this article will attempt to explain some ways that a conductor may begin to observe their own actions and improve their “use” in much the same way that Alexander first began to observe his own body use. End-Gaining versus the Means Whereby Alexander frequently used and contrasted the terms “end-gaining” and “means-whereby” when describing a person’s actions and movements. In our society, the end result often receives the most attention at the expense of the means of achieving such a result. The end goal is the driving motivator in so many careers, including conducting. Unfortunately, the means whereby one achieves these ends can often create or engrain hurtful or undesirable habits. Unfortunately, if one is not trying as hard as they can, they are not seen as doing their best. This idea of “trying” can lead to strain and tension as one overworks the body. Therefore, it benefits a conductor to stop and analyze the means whereby they show an internalized aural image to an ensemble in order to most effectively and efficiently arrive at the end result. As Alexander states in his book, Man’s Supreme Inheritance, “as long as the ‘end’ is held in mind instead of the ‘means,’ the muscular act, or series of acts, will always be performed in accordance with the mode established by old habits.”3

Conductors have been trained and engrained with patterns and habits. Perceptions develop about what certain musical sounds should “look” like from the conductor. As mentioned in the introduction of this article, some habitual patterns and habits can be helpful for communicating with ensembles and for freeing the mind for more important tasks. However, some of these motions may

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begin to feel right simply from repetition rather than from their effectiveness. For example, if a conductor wishes to get a larger, more accented sound from an ensemble, there may be a tendency to enlarge the gestures and apply more tension to the grip on the baton at the point of the ictus which consequently increases the tension in the whole arm and upper body. These physical responses do create a feeling of strength in the body by adding the extra tension and size, and it is possible the orchestra will respond with a bigger, more accented sound which validates the conductor’s actions. However, by only thinking about the end result in this example, the conductor may not realize how the gesture is putting undue strain on the body especially over sustained periods of time. The conductor may also fail to realize how the gesture transmitted tension to all the players which impacted their airflow and bowing arms. The sound may be louder and more accented, but it may also contain more edge and distortion than is needed or desired, necessitating a need to go back and rehearse the section again.

Conversely, to think about the means of achieving a louder, more accented

sound, a conductor may think more about how to influence the airflow without constricting the throat or how to encourage more bow with a stronger initial attack through arm weight and bow distance rather than sustained muscular tension. This thought process will likely lead to a gesture with much more freedom and release than grip and strain. This change in gesture allows ease and freedom in the conductor’s body and shows more effectively to the players how to produce the best end result the first time.

Pedro de Alcantara in his book Indirect Procedures talks about how the universal habit of end-gaining is the ultimate cause of misuse in our bodies. “Aches and pains as well as problems of all sorts, come about because of our goals and intentions. We “do” things wrongly because we “want” things wrongly.”4

When conductors focus on a specific end result without thinking of the most effective means of achieving the result, they can possibly harm their own body and the desired sound. Famed cellist, Pablo Casals made it clear in his teaching that “if you plan and setup what you are going to do with enough care and completeness, you find you get the first time, the result you had in mind.”5 A conductor’s desire for ensemble and musical control often leads to end-gaining. If the desired sound is not achieved, rehearsal time is taken to repeat or try again. Care should be taken by the conductor to ensure that their initial gesture is accurately and effectively showing the best movement to encourage the players to create the desired result.

End-gaining in conducting can also lead one to miss or overlook the present moment. Alexander teacher Mark Josefsberg explains that when we think of what while ignoring the how, “we leave the present moment, and try to loft ourselves toward the end, skipping over time.”6 Although conductors cannot skip time, they

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are constantly thinking and looking ahead in preparation for the next change in dynamic or tempo or shape in the phrase. But the problem with leaving the present moment to achieve the next end is that one might entirely loose the beauty in one moment in order to ineffectively prepare for what becomes an undesirable end. If the mind is on what is coming next, it cannot be focused on the means of physically showing the present. Nor can it be fully attentive to the present sound and the possible need to adjust the gesture to better influence the ensemble. While all good singers and instrumentalists are trained to look and think ahead in their music, they are also physically and audibly engaged in the creation of the present moment. Even though conductors do not audibly create the present sound, they also need to be physically present in its creation. Leaving the present to prepare for the next end might actually hinder the natural rhythm and flow of the moment. The means-whereby principle for a conductor is the recognition in practice that how one portrays or delivers any given gesture is as important as the resulting sound. The tension or ease shown in a gesture directly impacts the resulting sound. To have a great sound in the end, there must be consideration for how to effectively communicate the desire. “Application of the means-whereby principle involves awareness of the conditions present, a reasoned consideration of their causes, inhibition of habitual or end-gaining responses to these conditions, and consciously guided performance of the indirect series of steps required to gain the end.”7 Inhibition Because of the strong tendencies toward end-gaining that often lead to unnecessary tensions, Alexander recognized a need to inhibit the body’s inclinations to needlessly contract upon itself. His use of the word inhibition would align most with the second meaning from Webster’s Dictionary: “the act of preventing or slowing the activity or occurrence of something.”8 In his own words, “my technique is based on inhibition, the inhibition of undesirable, unwanted responses to stimuli, and hence it is primarily a technique for the development of the control of human reaction.”9 In Alexander’s own situation, he noticed a tensing of his neck which pulled his head back and down when orating on stage. This undue strain interfered with the natural air flow through the vocal chords. An end-gaining desire to project most clearly from the stage actually triggered a harmful physical response to pull down. His desire to project led the body to overwork, and actually hindered the very desired result. With this revelation, Alexander saw the need to inhibit the harmful physical motion. In his own words,

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All those who wish to change something in themselves must learn to make it a principle of life to inhibit their immediate reaction to any stimulus to gain a desired end, and, in order to give themselves the opportunity of refusing to fall back upon the familiar sensory experience of their old habitual use in order to gain it, they must continue this inhibition whilst they employ the new direction of their use.10

Alexander’s story is instructive in showing how end-gaining can lead to the need to inhibit harmful movements. “An apparently physical problem is the manifestation of a wish or desire, and you can’t control one without addressing the other. And when a solution finally comes, it requires that you stop doing the thing that causes the problem to begin with. Non-doing is the best skill you could ever learn. Needless to say, it’s also the hardest thing the world to comprehend!”11 Physical gestures and facial expressions are the conductor’s means for communicating musical intent. The bulk of conductor training deals with learning the physical technique of conducting. For better or worse, these learned gestures are not added to a blank slate. Every conductor comes the plate with varied background experiences, fears, biases, emotions, and perceptions, not to mention differed physical attributes and levels of coordination. These differences are what make each conductor beautifully unique. They can also be the very things that lead to unwanted subconscious movements or tensions which may need to be inhibited to most effectively conduct.

For example, someone that has been told by parents throughout their formative years that they need to stand up straight to look confident might step on the podium realizing a need to confidently lead an ensemble and force their body into a taller, straighter position. This action actually puts undue strain on the back and shoulder muscles, as the conductor holds what they think to be confident posture. A well balanced posture in this example has been replaced with a stiffened, fake sense of confidence. With self-observation or help from instructors, this conductor could gain a proper sense of balanced posture, but there would be a need to inhibit the old habits until the new correct habit is learned and engrained. Even when a conductor understands a correct or better way to move, there is a constant need to inhibit old habits.

A conductor may have a habit of leaning in towards an ensemble at specific

points of emphasis or even on a pulsing basis. This action often stems from a lack of trust either in the conductor’s own gestures or in the ensemble’s ability to respond. Leaning into the ensemble’s space becomes a pleading gesture or motion that actually weakens the ensembles confidence while also obscuring the

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conductor’s ictus. On a physical level this continual motion can put strain on the conductor’s low back over a long rehearsal or concert. With an awareness of this ineffective habitual motion, a conductor will need to identify the stimulus that tends to prompt such movement, and then inhibit the response. When they sense the desire for more from the ensemble, they need to consciously stop themselves from leaning and trust their hands and their players.

Other conductors unknowingly tighten the muscles of their thighs and

buttocks. This can stem from an inner desire to have a firm grounding or foundation for the movement that is occurring in the upper body. Tightening in the upper legs may give the sense of stability in stance, but it actually impedes the flow and movement of the upper body. Fluid body motion integrates the whole, and when some muscles are locked, others will be affected. For the most energized and rhythmic motion, there needs to be freedom and a balance of tension and release. Conductor’s that struggle with this will first need to understand that stability comes all the way from the ground. They need to inhibit the habit of holding the upper legs and allow them to release away from the hip joints creating a fluid stream of motion from the feet up through the hips to the arms and hands.

Humans have a tendency to do what they have always done. To habitually

move without conscious thought may begin to feel “right” from repetition, but may not actually be “right.” Inhibition is about saying no to habits and tensions that impede freedom and ease of movement. Pablo Casals would tell his student not to do the wrong thing.12 Inhibition is saying no to one’s own poor movement habits to then be free to relearn or redirect the energy. It is refusing to be controlled by any habitual routine so that you can consciously direct your thoughts and movements.

Inhibition is an Alexander Technique tool that allows a conductor to make changes to their physical technique through mental directions to stop the unwanted tension and proceed with more release. It is not replacing a bad habit with a new (possibly also bad) habit, but stopping the bad habit to allow the body to move without the added unnecessary effort. The practice of inhibition is problematic for conductors in a rehearsal or concert, and it is for this very reason that conductors can so easily and unknowingly engrain poor habits. In a rehearsal or concert setting, a conductor wants the full amount of focus to be on the music and the sound of the ensemble, not on their own physical motions. When a conductor is focusing on themselves, they are likely missing information coming from the ensemble. To successfully inhibit a habit there must be attention given to the stimulus and then a conscious decision to stop the normal chain of movements to allow the body to proceed differently. This takes inward attention, focus and practice. Conductors then must

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start the initial process of exploring the inhibition process in the practice room similar to individual instrumentalists that need to address specific issues of their technique in the privacy of the practice room. Rarely are people able to truly change and inhibit engrained habits in the heat of the moment. This is especially true of conductors that want and need to be focused on the sounds of the ensemble. Direction To truly spend time in the moment and take care of the means whereby one is engaging with an activity and to be able to inhibit undesirable motions, it can be useful to provide mental direction for the desired way to move. Alexander used directions to help maintain conscious control of what his body was doing rather than allowing any response to stimulus to simply follow routine. Alexander teacher Hilary King defines direction as “the mental instruction we learn to give ourselves before and during an action, in order to bring about changes in the way we use ourselves whilst performing the action.”13 In an Alexander lesson, a teacher may use their hands to bring awareness to the student of the tensions and tendencies that may be unnecessary. Their hands will gently direct the body to its natural, neutral position. It is possible and desirable that the student upon feeling the new release will then be able to direct the same action from their own mental directions. A foundational principle of the Alexander Technique is that the head wants to lead the spine, and then the body follows. If the head leads the spine into lengthening during an activity, then what follows is a natural, fluid motion from the rest of the body. If the head contracts upon the spine, other muscles will often respond in kind. Because the spine is the central structure from which the arms and legs extend, the compression or extension of this spinal column greatly affects how the limbs can respond in movement. Alexander and the teachers that have followed through the years will always begin with the head and neck and their use in any activity. To deal with tension anywhere in the body, release must start with the head and neck to begin freeing any compression on the spinal column. From there, directions could apply to each specific situation. For a conductor, to give mental directions to allow the spine to release into a lengthened position and to allow the arms to release out from the spine will do a lot in setting up the body for a balanced and ready posture to conduct. This action is very different than the example instruction to stand up straight given earlier. The latter often induces more tension on the body to hold a “correct” posture. To give direction to release up and out rids the body of tension and allows free flowing movement throughout the release. For conductors that have tension in the upper legs as mentioned above, directions to allow the legs to

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release out and down from the hip joints will remove the rigid foundation and allow power and energy to flow all the way through the body instead of stopping at the point of locked muscles. For conductors that want to to really emphasize heavy moments at the point of the ictus without unnecessary tension in the baton grip, a direction to release immediately after the arrival at the ictus allows the hand to float back up on the rebound which consequently shows the best action for release of air or bow from the players. Directions can be a powerful tool that sends a positive message to the body. Inhibition by nature can be seen as a negative. The word itself means to stop an action from happening. Phrases like “I’m not tensing my neck,” or “stop gripping the baton” approach the problem from the negative angel. Although these may be very helpful and necessary things to inhibit, a positive direction of “I’m letting my head lead the spine up,” or “release the hand,” may be the best directions to help achieve the result. How one directs themselves correlates to the issue of end-gaining. Positive directions in the moment may be the best means whereby one is able to inhibit the unwanted habits which then lead to the best use of the body and the best sound from the ensemble. In Summary - Conscious Control With an understanding of end-gaining and its corresponding responses to stimuli that may prompt a need to inhibit habits with positive directions, one can begin to gain conscious control of the body’s movement. For Alexander, conscious control was regaining control of the voluntary musculature of the body. It is making conscious choices about how to move in response to stimuli in ways that are efficient, free and balanced. Alexander’s observations in himself and others concluded that the habitual responses that develop over time can be informed and misguided by the end-gaining demands of life which may interfere with healthy sensory awareness resulting in faulty co-ordination or functioning. Students of the Alexander technique will hopefully become more kinesthetically awake with the ability to detect and then change unnecessary tension into more effortless ways of moving. In his book, The Universal Constant of Living, Alexander states, “I wish it to be understood that throughout my writing I use the term “conscious guidance and control to indicate primarily a plane to be reached rather than a method of reaching it.”14 In this article, several examples were given for how a conductor may work through a physical tension issue. Some steps were given for how to think about the means of achieving a result, through inhibition and direction. These are necessary steps in the early stages of changing behavior, but Alexander distinguishes between simply working on exercises and understanding the broad concepts and principles. “A person who learns to work to a principle in doing one

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exercise will have learned to do all exercises, but the person who learns just to ‘do an exercise’ will most assuredly have to go on learning to ‘do exercises’ ad infinitum.”15 The Alexander Technique is about finding the best overall use of the whole body. By beginning to exercise one’s use with a specific area of conducting technique, a conductor can begin a process that may transform their whole technique. Applying the Alexander Technique to conducting helps one observe their own body and increase their kinesthetic awareness of how and what one is doing with their physical gestures. The goal is freedom and ease in moving the way the body was designed. By giving thought to the mental processing and end-gaining that is so prominent in the job, a conductor using Alexander principles can begin to free themselves from chronic tightness or unwanted tension that interferes with the integration and balance of the whole body. Gestures of freedom, ease and balance will most effectively and efficiently portray musical intent to ensemble members.

1 Mary Wanless, Ride with Your Mind: A Right Brain Approach to Riding (London: Kingswood Press, 1991), xvi. 2 Corinne Cassini, “Light in Being: Alexander Technique,” http://lightinbeing.com/f-m-alexander (accessed June 2, 2016). 3 F. M. Alexander, Man’s Supreme Inheritance (London: Mouritz, 1996), 138. 4 Pedro de Alcantara, Indirect Procedures: A Musician’s Guide to the Alexander Technique, 2nd ed. (New York: Oxford University Press, 2013), 11. 5Pablo Casals in Vivian Mackie and Joe Armstrong, Just Play Naturally: An account of her cello study with Pablo Casals in the 1950’s and her discovery of the resonance between his teaching and the principles of the Alexander Technique (London: Duende Editions, 2002), 39. 6Mark Josefsberg, “Alexander Technique NYC,” http://www.markjosefsberg.com/the-alexander-technique-end-gaingin-becomes-end-losing (accessed June 1, 2016). 7Frank Pierce Jones, Body Awareness in Action: A Study of the Alexander Technique (New York: Schocken, 1976), 195. 8Merriam-Webster online dictionary, “Inhibition.” http://www.merriam-webster.com/dictionary/Inhibition (accessed June 3, 2016). 9F. M. Alexander, The Universal Constant in Living (London: Chaterson, 1946), 102. 10F. M. Alexander, The Use of Self (Kent (UK): Integral Press, 1955), 115. 11de Alcantara, Indirect Procedures: A Musicians’ Guide to the Alexander Technique, 64. 12 Mackie, Just Play Naturally, 58. 13 Hilary King, MSTAT: Alexander Technique Teacher in North London, “End-Gaining,” http://www.hilaryking.net/glossary/end-gaining.html. 14 Alexander, The Universal Constant in Living, 20. 15 Alexander, The Universal Constant in Living, 186.

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References

Alexander, Frederick Matthias. Man’s Supreme Inheritance. London: Mouritz, 1996. First Published in 1910.

���. The Universal Constant in Living. 3rd ed. London: Chaterson, 1946.

���. The Use of Self. Kent (UK): Integral Press, 1955. First Published 1932. Cassini, Corinne. “Light in Being: Alexander Technique,”

http://lightinbeing.com/f-m-alexander (accessed June 2, 2016).

de Alcantara, Pedro. Indirect Procedures: A Musician’s Guide to the Alexander Technique. 2nd ed. New York: Oxford University Press, 2013.

Jones, Frank Pierce. Body Awareness in Action: A Study of the Alexander Technique. With an Introduction by J. McVicker Hunt. New York: Schocken, 1976.

Josefsberg, Mark. “Alexander Technique NYC,”

http://www.markjosefsberg.com/the-alexander-tehcnique-end-gaining-becomes-end-losing (accessed June 1, 2016).

King, Hilary. MSTAT: Alexander Technique Teacher in North London. “End-

Gaining,” http://www.hilaryking.net/glossary/end-gaining.html (accessed June 2, 2016).

Mackie, Vivien with Joe Armstrong. Just Play Naturally: An account of her cello study with Pablo Casals in the 1950’s and her discovery of the resonance between his teaching and the principles of the Alexander Technique. London: Duende Editions, 2002.

Merriam-Webster online dictionary. “Inhibition,” http://www.merriam-

webster.com/dictionary/Inhibition (accessed June 3, 2016). Wanless, Mary. Ride with your Mind: A Right Brain Approach to Riding.

London: Kingswood Press, 1991.

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Chaowen Ting Georgia Institute of Technology Atlanta, Georgia College Orchestra Programming: Repertoire Diversity

Introduction

Although women are commonly accepted in the musical world as educators and performers, they remain vastly underrepresented at the highest levels as composers. In the orchestral profession, women composers’ works are still seldom performed in concert halls. In all concerts performed by the 21 major U.S. orchestras during the 2014–15 season, only 1.8% of the works were written by women.1 During this same season, if one focuses solely on the programmed works by living composers, only 14.8% were composed by women. And a 2015–16 survey of the eighty-nine largest American orchestras yielded the following numbers: 1.7% (women) and, of these, 14% (living women) composers.2 These statistics are seen both in concert halls and in opera houses. In 2016, for the first time since 1903, the Metropolitan Opera of New York staged a work by a woman composer.3 In its 134-year history this, the greatest opera company in the United States, has produced only two operas by women.

Many have advocated the importance of more inclusive and diverse

programming for performing arts organizations, including 2016 Grawemeyer Award-winner Andrew Norman4 and composer Mohammed Fairouz.5 It was an exciting encouragement for the music community that all three finalists of the 2017 Pulitzer Prize for Music were women. However, there is still a long way to go before reaching gender equity in the profession.

The core repertoire of symphonic literature has long been dominated by the

Austro-German giants such as Mozart, Beethoven, and Brahms. Russian composers including Tchaikovsky, Rachmaninoff, and Stravinsky, also remain popular in concert halls. Historically, as women were discouraged from composing, few orchestral compositions are available from composers such as Fanny Mendelssohn Hensel, Amy Beach, Louise Farrenc, and Florence Price.6

When orchestras do program works by living composers, John Adams, John Williams, Mason Bates, and Christopher Rouse are among the most performed composers by U.S. professional orchestras. In the past few years, orchestral works by women composers, including Jennifer Higdon, Anna Clyne, Gabriela Lena Frank, and Kaija Saariaho, have gradually begun to receive higher numbers of professional performances.

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Traditionally, new music and works by living composers comprise only a

small part of symphonic repertoire. This issue revolves around the tangible: professional orchestras in the U.S. as non-profit organizations, are largely dependent on donor supports. Thus, a delicate dance occurs, moving between planning a diverse and inclusive concert season, and programming music that appeals to patrons and yields more ticket sales.

As for college orchestras, many directors seek a balance between

introducing students to the standard repertoire and exposing them to a wide range of musical genres, styles, and languages. When it comes to newer music, it can be quite challenging to find appropriate newer works, or those by living composers, due to the lack of access to perusal scores or recordings. In hopes of providing useful resources to fellow directors, here are three orchestral works by women, those suitable for college students and ensembles of a variety of performance levels. These three pieces are scored for full orchestra, chamber orchestra, and string orchestra, respectively.

Full Orchestra

Bellor, Jennifer. Tone Poems of Ethereality (2015)7 Duration: 8’ Instrumentation: 2222-221(1),8 timpani, 1 percussion, piano, strings9 Level: Medium

About the Composer

The 2016 Winner of American Prize for Composition, composer Jennifer Bellor writes music that blurs the boundaries between musical genres. Frequently combining styles of classical, jazz, hip hop, and opera, Bellor’s compositions also draw inspiration from poetry. A vocalist herself, Bellor’s music is tuneful with a special singing quality to the melodic lines.

About the Piece: Tone Poems of Ethereality

Tone Poems of Ethereality consists of two movements: I. Air and Angles, and II. The Distant. Both were originally songs written for soprano, with text taken from poems by John Donne and Yannis Ritsos. Bellor’s orchestration comprises two songs without words, setting the scenes with varying orchestral colors while reflecting the atmosphere and the narrative of the poem with lyricism and simplicity of materials.

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In the first movement, “Air and Angles,” (3’ 30”), Bellor uses extended

melodic lines and clear-cut rhythms. Her orchestration successfully blends various timbres of woodwind, piano, and percussion with interwoven materials. The musical language is tonal but full of colors. Solo passages for principal woodwinds should be manageable for most college orchestra players, while ensemble techniques must be employed to really listen, blend with, and attune to each other’s musical line (Example 1). Example 1: Bellor, Tone Poems of Ethereality: I. Air and Angles, mm. 1-8.

The string parts of “Air and Angles” are of medium difficulty; they contain

neither notes in the high register, nor complicated rhythms or fast passages. There are also very few divisi passages within each section, which works well for ensembles with a smaller string body. Example 2 shows the most difficult string passage, with some accidentals in the inner voices and a high part for the cello section. It’s worth mentioning that a good pianist is required; the piano part often summarizes the woodwind solo lines and is not always idiomatic for piano fingerings (Example 3).

Example 2: Bellor, Tone Poems of Ethereality: I. Air and Angles, mm. 53-59.

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Example 3: Bellor, Tone Poems of Ethereality: I. Air and Angles, mm. 1-8.

The second movement, “The Distant,” poses some difficulty; it is longer

(around 5’) and faster (eighth note = 112), with frequent meter changes between 3/4, 7/8, 5/8, and 5/4. While the eighth note stays consistent, 7/8 and 5/8 meters are always broken into 3+3+2 and 3+2, respectively. The 5/4 passage could work as five quarters (five equal beats) or eight notes divided into 3+3+2+2––essentially in four beats.

Unlike the first movement, the woodwind section very often plays in unison

in “The Distant,” providing color and background for the primary themes. The strings may need additional rehearsal on the irregular meter and accent displacement. However, with the simple rhythm and mid-ranged materials, this should be easily managed for college players of various levels. Example 4: Bellor, Tone Poems of Ethereality: II. The Distant, mm. 41-48.

Overall, Tone Poems of Ethereality is suitable for college ensembles in

introducing various colors of the orchestra. As the technical difficulty level is not demanding, the piece also serves as a good candidate for teaching ensemble skills, including how and what to listen for within a section and across the ensemble. With its transparent writing, the piece requires students to blend with each other and to be very careful with tuning. With its duration under ten minutes, Tone Poems of Ethereality can also be easily programmed to fill performance time and to provide a diverse concert experience for both players and audience members.

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Chamber Orchestra

Jolley, Jennifer. The Crossing Ferry (2015)10 Duration: 11’ Instrumentation: 2200-2000, strings Level: Medium-Advanced

About the Composer Composer Jennifer Jolley frequently writes for various types of

performance forces, including orchestra, chamber, solo, opera, wind band, and sound arts. Her music features economy of writing, with transparent lines and minimalistic-like layers setting the groundwork. Jolley’s primary materials are often pointilistic, contrasting a tightly kneaded foundation built from highly repetitive passages.

About the Piece: The Ferry Crossing

The Ferry Crossing, which Jolley wrote for the Vermont Symphony Orchestra, depicts her experience riding the ferry on Lake Champlain in the Green Mountain State. The piece has a strong nostalgic feeling with simple textures. Strings set the ferry-riding scene with continuous eighth notes within a small range, providing a warm and peaceful layer underneath lyrical lines played by the winds. Neither tempo nor meter change appear throughout the piece, except for the ritardando in the last five bars.

Although for the most part Jolley’s writing is seemingly straightforward, a

few sections with potential technical challenges are worth mentioning. The piece starts with two-horn soli, in an “echo horn” affect, possibly an unfamiliar technique for college players (Example 5).11 Unlike stopped horn, where players transpose down a half step and fully close the bell with the hand, the echo horn effect is performed with players transposing up a half step and closing only half of the bell. This might cause difficulty in tuning and matching intonation between the two players; however, as this passage mimics the sound of ferry horns, intonation is more flexible. If the musicians experience great difficulty producing the echo horn effect, the section can be performed off-stage or simply muted to create the lontano feeling.

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Example 5: Jolley, The Ferry Crossing, mm. 1-3

Similarly, Jolley calls for flute harmonics in a later section, where the two

flutes play descending harmonics in parallel sixths (Example 6). Flute harmonics should be part of students’ everyday practice; such practice is good for checking intonation and understanding the tendencies of the instrument in various registers. An easier way of ensuring this passage is played in tune is for the flutist to finger a perfect fifth below the desired note and overblow. For example, for the first high C harmonic, the player would finger the F below, overblowing it in order to reach the correct overtone.

Example 6: Jolley, The Ferry Crossing, mm. 29-33.

The string section is mostly tonal, with long sustained chords and

continuous eighth notes portraying the water. As mentioned above, the musical materials span a rather small range and the rhythmic pattern remains simple throughout the piece. Jolley frequently uses divisi in all sections, hence a medium- to large-sized string section works the best (Example 7). It is worth mentioning that both cello and second violin play harmonics––artificial for cellos; both natural and artificial for second violin (Example 8). It is recommended that some strong players play the second violin part, which has some challenging passages, including the harmonics and more complex rhythmic figures.

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Example 7: Jolley, The Ferry Crossing, mm. 143-146.

Example 8: Jolley, The Ferry Crossing, mm. 75-78.

Even with a few technical challenges, The Ferry Crossing can be managed

by college orchestras of players of various levels. It might best be programmed alongside a more lively or intense piece, as a counterpoint with a calming atmosphere. The minimalistic writing affords an appropriate introduction to students of the 20th-century compositional movement and symphonic development. The traditional manner of music elements, including tonality, formal structure, phrasing, rhythm, and meter, also makes the piece appealing to players.

String Orchestra

McTee, Cindy. Einstein’s Dream (2004)12

Duration: 14’ Instrumentation: 3 percussionists, strings, pre-recorded music on CD13 Level: Advanced

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About the Composer

Cindy McTee’s music has been commissioned and performed by several major U.S. orchestras, including the Houston Symphony Orchestra, the Detroit Symphony Orchestra, and the National Symphony Orchestra. McTee’s orchestral writing is deeply influenced by Polish composer Krzysztof Eugeniusz Penderecki, with whom she studied 20th-century compositional techniques, orchestration, and counterpoint. Additionally, the integration of technology has been an important part of her musical output for the past decades.

About the Piece: Einstein’s Dream

In the first place, McTee has another composition Einstein’s Dreams (i.e.,

the plural) for chamber ensemble, which should not be confused with Einstein’s Dream. The latter work for strings, percussion and recording, was commissioned by the Dallas Symphony Orchestra, written for the World Year of Physics (2015) and the centennial celebration of Einstein’s four publications that later became the foundation of modern physics.

Einstein’s Dream is a very fine piece for introducing the incorporation of

live performance and recording. The operation is simple: only a CD player and stereo amplification system are required for the performance. The conductor needs no timing devices or headphones, and all of the cues are provided in the sound track.

Besides its integration of technology and orchestral performance, Einstein’s

Dream introduces modern compositional techniques to college students. Along with traditional string and percussion playing, McTee includes uses of graphic notation, tone clusters, and aleatory elements in the later parts of the work. For the opening she writes in the classical manner for strings, then gradually adds more and more modern techniques as the music unfolds; the piece becomes even avant-garde towards the end.

McTee indicates seven sections in this piece, the first two both juxtaposing

materials of the new and the old. Einstein’s Dream starts with the pre-recorded sound blending with strings quoting from J.S. Bach’s chorale Wir glauben all’ an einen Gott (“We all believe in one God”), transposed to the key of “E” for Einstein (Example 9). After the chorale-like section, McTee employees simple intervals of perfect fifths and fourths, referring to the “harmonious” thoughts of music advocated by Pythagoras.

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Example 9: McTee, Einstein’s Dream, mm. 6-13.14

In the third section, “Chasing after Quanta,” the recording plays materials

of granular synthesis, a computer music technique that creates new sounds by reorganizing grains, tiny fragments broken from existing elements. McTee incorporates such synthesized sound with orchestral clusters, created by 12-tone canonic passages in the string section (Example 10). The graphic notation indicates the timing, relative to individual entrances of each section, by the space appearing on the score, as opposed to traditional notational system designating the beat on which the materials should be played. McTee notes that players should not attempt to synchronize any passage with other players or the conductor, and to use their bows freely. Players are encouraged to explore different ways of performing such phrases with dynamics clearly shaped. It is also worth noting that the 12-tone row constructing this section begins with a musical cryptogram of Bach’s name: B-flat, A, C, B-natural.

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Example 10: McTee, Einstein’s Dream, mm. 38-39.

The cluster returns in a later section, with measured sextuplets in the strings,

where the composer again marks that synchronization is neither desired nor intended (Example 11). The whole piece ends with a quiet reiteration of the Bach Chorale, but notes are much augmented, loosely referring to Einstein’s theory of relativity. One of the major challenges of this piece is the extensive violin solo, based on the trumpet solo in Charles Ives’s The Unanswered Question (Example 12).

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Example 11: McTee, Einstein’s Dream, mm. 103-107.

Example 12: McTee, Einstein’s Dream, mm. 47-68.

All in all, though Einstein’s Dream may be technically challenging for players, due to their unfamiliarity with modern techniques or the unusual sound effects, it remains a suitable introductory piece for college orchestras. The two early sections, combining music old and new, are beautifully scored. The tone-cluster effects in later sections are not difficult to execute for collegiate musicians. With a strong concertmaster, I would urge every ensemble director to program Einstein’s Dream to expose students to a variety of orchestral writing, integration of technology, and modern composition techniques. Conclusion

In April 2017, I conducted a concert entitled “Eroica in America,” pairing Beethoven’s Symphony No. 3 in E flat, Op. 55 with works by American composers, including Charles Ives, Leonard Bernstein, and Jennifer Higdon. Principal Oboist, Elizabeth Koch Tiscione from the Atlanta Symphony Orchestra joined the orchestra in the Georgia premiere of Higdon’s Oboe Concerto. After

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the performance, a freshman violinist emailed me to say she had really enjoyed learning the Oboe Concerto, “especially since it made our last concert feature a very diverse selection of pieces.”

Her comments struck me in how diversity yet remains a rare concept in

orchestral programming. Trained in traditional conservatories, I too developed a taste for the classical repertoire of Mozart, Beethoven, Brahms, and others from a young age. Not until the last years of my education did I have opportunities for performing new music and contemporary works. Surprisingly, the more exposure I had to modern music, the closer I grew to the masterpieces with which I developed as a musician. Thus, I sincerely hope to instill this experience earlier for students, and that such resources of newer compositions will facilitate more diverse and inclusive college orchestral programs. 1 Ricky O’Bannon, “The 2014-15 Orchestra Season by the Numbers,” Baltimore Symphony Orchestra. https://www.bsomusic.org/stories/the-2014-15-orchestra-season-by-the-numbers.aspx 2Ricky O’Bannon, “What Data Tells us about the 2015-16 Orchestra Season,” Baltimore Symphony Orchestra. http://www.bsomusic.org/stories/what-data-tells-us-about-the-2015-16-orchestra-season.aspx 3Kaija Saariaho’s L’Amour de Loin. 4Tom Huizenga, “Andrew Norman Wins the Grawemeyer Award for Music,” NPR Music, 11/28/2016, http://www.npr.org/sections/deceptivecadence/2016/11/28/502559072/andrew-norman-wins-the-grawemeyer-award-for-music 5Mohammed Fairouz, “Don’t Hire Me. Hire a Female Composer Instead,” NPR News, 5/1/2017, http://www.npr.org/sections/deceptivecadence/2017/05/01/525930036/dont-hire-me-hire-a-female-composer-instead 6 The Women’s Philharmonic Advocacy has a webpage with suggestions of repertoire by women composers: http://www.wophil.org/repertoire-suggestions/ 7 A perusal score is available at: https://issuu.com/jkbellor/docs/tone_poems_of_ethereality, and a MIDI realization can be found at http://www.jenniferbellor.com/?page_id=3121 8Bass trombone or tuba. 9Percussion: vibraphone, glockenspiel, crotales, xylophone, tam-tam. 10 A perusal score is available at: https://issuu.com/jennjolley/docs/the_ferry_crossing__2015__final_rev; program note and audio recording are available at https://www.jenniferjolley.com/the-ferry-crossing 11Dukas calls for the same effect, “sons d’écho,” in The Sorcerer's Apprentice (1897). 12 A perusal score can be obtained from the publisher, Bill Holab Music. See program notes and recordings of excerpts at http://www.cindymctee.com/einsteins_dream.html. 13Percussion 1: Medium Suspended Cymbal, Large Suspended Cymbal, Flexatone, Glockenspiel, Small Triangle, Medium Triangle; Percussion 2: Medium Suspended Cymbal, Large Suspended Cymbal, Flexatone, Tubular Bells, Bell Tree, Maracas; Percussion 3: Bass Drum, Tam-tam, Mark Tree, Ratchet, Gong (optional). 14 Permission to reprint score excerpts by Bill Holab Music. Copyright © 2007 by Rondure Music Publishing (BMI). Sole Agent: Bill Holab Music.

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Bibliography Fairouz, Mohammed. “Don’t Hire Me. Hire a Female Composer Instead.” NPR

News, 5/1/2017, http://www.npr.org/sections/deceptivecadence/2017/05/01/ 525930036/dont-hire-me-hire-a-female-composer-instead

Huizenga, Tom. “Andrew Norman Wins the Grawemeyer Award for Music.”

NPR Music, 11/28/2016, http://www.npr.org/sections/deceptivecadence/ 2016/11/28/502559072/andrew-norman-wins-the-grawemeyer-award-for-music

Huizenga, Tom. “Looking for Women’s Music at the Symphony? Good Luck!”

NPR Music, 5/5/2017, http://www.npr.org/sections/deceptivecadence/ 2017/05/05/526968527/looking-for-womens-music-at-the-symphony-good-luck

O’Bannon, Ricky. “The 2014-15 Orchestra Season by the Numbers.” Baltimore

Symphony Orchestra. https://www.bsomusic.org/stories/the-2014-15-orchestra-season-by-the-numbers.aspx

O’Bannon, Ricky. “The Data behind the 2016-2017 Orchestra Season.”

Baltimore Symphony Orchestra. https://www.bsomusic.org/stories/the-data-behind-the-2016-2017-orchestra-season/

O’Bannon, Ricky. “What Data Tells us about the 2015-16 Orchestra Season.”

Baltimore Symphony Orchestra. http://www.bsomusic.org/stories/what-data-tells-us-about-the-2015-16-orchestra-season.aspx

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Jamie Blair Loeb Grinnell College Grinnell, Iowa Being Present Online: The Embedded Internet for College Orchestras and their Directors

Most college ensembles have websites or dedicated portions of their department sites and most directors have websites for personal professional work. But, while a website is an important hub for official information, it is no longer sufficient for effective online visibility. The internet has become embedded in daily life far beyond computer screens, creating a wild profusion of ways that people interact with online content. An effective online presence, therefore, is a managed and directed ecosystem of online activity across multiple platforms, a total digital footprint. This paper offers an introduction to the world of interconnected online activity and recommendations on how to successfully participate in that world. This paper is neither comprehensive nor a step-by-step guide. Instead, I hope to give readers an overview of strategies for dealing with the important issues of creating and executing digital engagement plans. I will begin by describing how a well-managed and effective web presence can serve college orchestras as organizations and college orchestra conductors as individuals. I will then offer a basic guide to building such an online presence, including preparatory steps and maintenance. As the ways of interacting with online content have proliferated, so too have the channels for interacting with various audiences, presenting both challenges and opportunities to college orchestras. The challenge lies primarily in learning to be ever-adaptable to the ways of communicating online that constantly emerge and shift. The ever-expanding universe of social media, mobile apps, and internet-enabled devices can sometimes act as a barrier to effective online activity for organizations that do not have someone dedicated to keeping up with that universe. Even those who are generally comfortable with digital media may find the pace of change prohibitive. But, developing adaptability by being consistently digitally active opens exciting new opportunities and concrete benefits for college orchestras in areas such as recruiting, audience building, audience development, and community outreach. The art of effective recruiting is a highly personal one, relying largely on relationships with teachers and programs, visits to and from high schools, and other irreplaceable in-person techniques. However, geography and travel funding limits the reach of such activities. In order to recruit from farther afield, online visibility is just as important, if not more so, than the often ethereal notions of

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prestige and reputation. As most admissions officers will attest, high school students’ understanding of a college’s reputation is very often derived from online sources. Obviously, students develop opinions based on what people around them say and think, but interest in a school can be piqued and maintained by online encounters, even if a student has never heard of a school before. Students also use online sources to research schools that they already have an interest in. Online contact with a school may come through social media, various kinds of content that appears in a search, or online interaction with a current student or alumnus. Students doing such research are often interested in learning about the daily life of current students, campus life, and what a particular school offers that distinguishes it from other schools. Whether or not an orchestra program actively manages its online presence, that presence exists and prospective students will interact with it. Online activity that is poorly managed or does not represent the program well can make an orchestra seem disorganized or neglected. A consistent online identity, by contrast, gives prospective students better and easier access to the kind of information they are looking for while representing the orchestra in a positive light. College admissions and communications offices at many schools create and manage comprehensive online identities for schools, which are designed to capitalize on opportunities to interact with high school students online, sometimes featuring certain programs. No matter how a school positions an orchestra in such official ventures, a college orchestra can be present and accessible in the online spaces where prospective students are doing research. Such presence cannot replace other recruiting techniques, but, if it is well-managed and deliberately organized, online visibility can be a very effective way to amplify the reach of a recruiting program. Like prospective students, potential audience members will find information about a college orchestra online, whether or not that information is deliberately managed. Unlike prospective students, however, potential audience members and the community may not purposefully go looking for such information. Reaching out to new audience members online therefore requires a combination of directed advertising and increasing general visibility in order to be part of the every-day online life of potential audience members.1 Increasing online visibility means both being active on various platforms and ensuring that activity is coordinated. Coordinating various types of activity and activity across platforms is key, because it allows efficient direction of people from their first point of contact to the information that is most important. For example, a college orchestra whose local community is well-engaged with Twitter and Facebook should, logically, be active on those platforms. Posting noticeably different information with a noticeably different voice to each platform can lead to confusion and misinformation among followers of the orchestra, especially if

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some of that posting should contradict information on the orchestra’s website. However, consistent messaging and a consistent voice, combined with a strategy for directing followers to the orchestra’s official source of information ensures that online followers have all of the information they need to become audience members. Helping followers become audience members is an important function of an active online community. Like any other event, people are more likely to attend a college orchestra concert if they have one or more people to attend with, and a thriving online community is an excellent way to find concert companions. An online community can also help an orchestra to interact with people in an informal way, much like playing chamber music at a local social space. An initial informal interaction can be a very effective entry point for potential audience members who are unfamiliar with or intimidated by concert etiquette. Many professional orchestras are finding ways to add informal performances to their schedules for just this reason. A wide range of cultural factors have produced a generation of adults who, despite having the constant ability to listen to almost any music, have often had little or no exposure to orchestral music. A thriving online community can help those adults encounter and learn about orchestral music, which is steeped in images of exclusivity, in a comfortable environment that is free from expectations of prior knowledge. People who have developed a taste for orchestral music of their own accord, helped by an orchestra’s online activity, are much more likely to become audience members. Discovering new music through online networks has become the norm for people in many age groups, but especially college students. When a college orchestra’s audience is mostly students, the world of online content can be a powerful educational tool both in its own rite and as a driver of concert attendance. For many non-musician students, one of the largest barriers to enjoying orchestra concerts is being unfamiliar with the kinds of music orchestras usually play. Online content can help those students to learn about music the orchestra is playing by listening to recordings, reading about the history of the piece, discussing the piece, etc. Directed online publishing be used to offer something like an online music appreciation course where students and community members alike can broaden their musical horizons. A space where online followers can find resources for expanding their musical tastes can also quickly become a space where those followers share such resources with each other. Engaging followers so that they help create online content and interact with each other is a very effective way to build an online community around an orchestra that is vibrant and active, which brings offline benefits. Like college orchestras as organizations, their directors as individuals can benefit from a well-managed web presence. Obviously, professional orchestras

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and colleges do not find conductors by internet search, but they do research applicants online. Like prospective students researching a school, potential employers and collaborators will find information about a conductor online, whether or not that information is well-managed. By developing a web presence specifically focused on conducting work, as opposed to a haphazard record of personal adventures, conductors can exert some control over the results of online research. Coordinated activity across the web can show potential employers or collaborators a lot about a conductor such as current and previous projects, personality, and artistic vision. It also shows that a conductor is engaged in current cultural conversations and comfortable in the digital spaces that have become critical to the public life of orchestras. While specific platforms and practices that are most useful vary from conductor to conductor, a well-managed web presence can help a conductor build general professional visibility. In addition to improving professional visibility, well-managed online activity can be part of a college orchestra director’s academic research. Digital Humanities, an emerging area of academic research, offers some particularly interesting ways of integrating online activity with various kinds of humanities research. For example, a blog is an excellent way to build online visibility. It also offers an opportunity to research patterns of readership and engagement, which can help develop best practices for engaging the arts community online. A well-managed blog with dedicated readership can also be a useful forum to sharing ongoing research digitally, though videos or infographics. Creating such content, which often generates a high volume of traffic to a blog, is usually considered a digital humanities project and can be an excellent opportunity to involve student researchers. As an emerging field, digital humanities currently encompasses a wide variety of types of projects, many of which lend themselves well to online publication or online components. Its natural affinity with online activity makes the digital humanities an excellent way to connect work towards developing a web presence with academic research. The benefits of a well-managed online presence for college orchestras and their directors are extensive. But, creating and maintaining such a web presence requires a methodical approach and some preparatory work. While preparatory work can seem prohibitive in scope, it is critical to creating and maintaining an effective web presence and simplifies the actual work. In order to determine the online needs of an ensemble or conductor, there are several important questions that need to be answered (see Appendix A for a guide). First and foremost of these questions is: what is the orchestra or conductor’s brand? An effective brand emerges from consistency across the various channels of online life. That consistency helps people who engage with an orchestra or conductor online to quickly and easily recognize who they are interacting with and why they should interact with them. Brand recognition is one of the most reliable factors in

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purchasing decisions generally, which in the case of an orchestra or conductor means decisions about going to concerts, buying recordings, making donations, etc. Building the recognition and trust in an online brand identity is perhaps the most effective way to convert online engagement into offline action.2 Creating a brand for an ensemble or conductor lays the foundation for the connectedness that marks an effective web presence. Basic visual branding is relatively simple and can be mostly achieved with an easily accessible database of logo files, image files, and fonts that enables simple reuse across multiple platforms. But, a brand concept should go beyond visual consistency to include an overarching narrative and clear identity. A brand is a way of expressing that narrative and identity in shorthand, using implication, allusion, and association. The visual style of a brand, the words it uses to describe itself, as well as the tone of those words, all combine to create an impression of the brand which, if each element is effective, will be close to the identity that the brand is expressing. With a strong and clear brand concept, consistency can be maintained relatively simply by ensuring that anything crafted for online use effectively represents that concept and uses pre-determined structures. For example, if a college orchestra’s brand concept is focused on emphasizing the professional training that it offers to students, its imagery, text, and tone should be very much like a professional orchestra’s. Candid pictures of players socializing might be fun to share, but can easily contradict the professionalism of the orchestra’s brand if not captioned in a way that relates the image to the professional work the students do. With a clear brand concept, preparations for building an online presence can move from the abstract toward the concrete. Setting goals is the first step in forming such plans. A social media page or webpage that exists just for its own sake will almost never be effective. Goals need to be well-considered and clear in order to guide the development of a web presence that will be able to meet them. For example, many college orchestras want to use their online presence to grow their audience. This goal is reasonable and achievable using online means, but a bit vague. Audience-building requires a slightly different approach for different demographics, such as students as opposed to community members or young adults as opposed to families. Each demographic needs to be targeted specifically by slightly different kinds of online content. Therefore, a goal of building attendance among a specific demographic or even several demographic groups will be much more useful in guiding online activity than simply the hope of increasing audience size. For help in creating useful goals for online activity, see Appendix A. Having created a set of concrete goals and a clear brand concept, the actual online activity that forms a web presence can begin. Organizing various kinds of information and channeling it correctly is can often be the most challenging part

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of that activity. Alignment of message and medium are nowhere more important than on the internet, where each platform has become a medium unto itself. Websites and social media are the core of a college orchestra’s life online, since those are the areas most suited to conveying the kind of information both orchestras and conductors usually need to convey such as event details, programming information, and activity updates. But, websites and social media are very different kinds of online experiences and each has its own particular uses. Websites act, essentially, as repositories of information and as the official face of a person or organization. They tell the overall story of an organization and offer information of the kind someone might call a box office for - when and where is the next concert, how are tickets obtained, etc. Even when they are easy to update, significant changes to websites should be rare, so as to project an image of stability and continuity. Some content on the website, like upcoming events or a blog, might be updated regularly, but the overall look and organization of the site should remain stable for about three to five years at a time. The tone of website text tends to be the most formal of all internet sources, but need not be as formal as an academic paper. Currently, mobile use accounts for a majority of internet traffic in the U.S.,3 so a general preference for short paragraphs and an increasing emphasis on images has become the norm on websites to make them easier to navigate on a smart phone or tablet. In mapping an online presence, a website is the best choice for a hub to which users of other platforms are directed for more information. A social media page can sometimes serve this function, but will tend to project an image so informal as to be counterproductive. Where websites contain information that visitors refer to time and time again, social media channels are filled with information that is more targeted and time-specific. Social media is designed for frequent updates and ephemeral information. Each social media platform has its own type of preferred content and demographics of users (see Appendix B), but all of them share an emphasis on ephemera and passing information along lines of established connections. Using social media effectively also requires publishing content regularly, preferably once or twice a day. That content can be created specifically for publishing or shared from other online sources, but does need to be be in keeping with the brand identity being represented. Social media has also become an overwhelmingly mobile app-based experience, which means that the tone is quite informal and there is a strong preference for media (photos, videos, etc) over text of any length. Social media is most useful as a way to show the public a crafted behind-the-scenes view and how an orchestra or conductor fits within its community. Engaging with other people, organizations, and institutions on social media is therefore an important element of its effective use.

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Though a website and social media presence forms the core of a college orchestra's online presence, it is not the entirety of that presence, regardless of an organization’s intention. Creating and maintaining a web presence is an attempt to be more visible to online and enable people to talk about an ensemble or conductor in ways that are directly connected to official channels. Building those connections is a combination of adding links (such as social media buttons on a website or a link to a website in a social media profile) to direct traffic and effectively managing metadata. Metadata, data about data, is the connective tissue of the internet, the strands that tie disparate channels together into an ecosystem. Most search engines, whether they search the entire web or just a single page, do not actually read the content of the items they search. Instead, they search the metadata tags of those items. The frequency and relevancy with which an item appears in search results is largely dependent on the amount and quality of the metadata on that item and how the search engine interprets that metadata. For example, someone writes a blog post about a concert they attended. When that blog post is published, some metadata is probably added to it automatically such as date, time, and possibly location of the post. Other metadata can be added by the author in the form of tags, such as topic (perhaps “concert” or “classical music”), performer (perhaps the name of the ensemble, name of the conductor, name of the soloist), location of performance, and pieces performed. The results of a general web search that includes several of those tags or a search of the blog’s site that includes one of those tags will then return that blog post, among other things. The same is true of posts on social media, including images and videos. Tagging and metadata, as ways of connecting various areas of the internet, are thus at the heart of a holistic understanding of the internet and a web presence. The key to successfully engaging with the internet as an embedded, omnipresent technology is the fact that its myriad channels are connected by metadata and are, to some extent, interchangeable for users. All kinds of online content is returned for a general web search, so it may be a photo or video that someone looking for information about the ensemble engages with first, even before finding the official website. While it is impossible to control how other people choose to tag or not tag their online posts, it is possible to be aware of the tagging that’s happening and to make effective tagging of the right kind of information simpler. Perhaps the simplest way to help ensure that various online items are tagged in a way that connects directly to the organization is to ensure consistency of usernames across platforms. Ideally, that username should be related to the main URL for and name of the orchestra. When someone tags a person or organization in a social media post, they usually do so by typing the first few letters of the username for that person or organization and then choosing from a list. For example, the New York Philharmonic’s website is www.nyphil.org. Their Twitter name is NYPhil and their Facebook and Instagram names are both NY Philharmonic. That consistency allows people who want to tag the New York

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Philharmonic do so easily and effectively, since the orchestra’s username is obvious and one need not remember the whole thing in order to find it in a tagging feature. One of the most useful, but often overlooked, tools for managing metadata is location services, or location-based metadata. There are two kinds of location services that can be of use to college orchestras and their conductors - search-oriented and social or check-in oriented. Search-oriented location services are usually tied to mapping applications and enable searching for “restaurant” or “gas station” instead of a specific address. When someone searches Google Maps, for example, the information returned is from the database of Google Places. Other mapping applications have their own databases, but they are often populated with data from Google Places, since it is the most comprehensive database of its kind. Location databases include information not only about a location (business hours, name of business, phone number), but also about the type of location it is (restaurant, gas station, etc.). If the concert hall where an orchestra performs is not in the Google Places database, a location can be added with ease and offers an excellent opportunity to disseminate accurate information in a way that will be accessed extensively. An accurate entry in Google Places also generally enables check-in on a wide range social media platforms. The check-in feature is especially popular on Facebook and can help generate extensive online activity around an event. When setting up an event on Facebook, there is a field for location. Choosing a location from the list that Facebook provides or creating a new Facebook location allows users to check into the event. That check-in post which tells the poster’s network that they are at the event, where the event is, who is hosting the event, etc. Check-in posts often include images, which make them generally more likely to garner attention than text-only posts. Setting up a check-in feature thus helps to generate a large number of posts that are likely to attract a large amount of online engagement, all of which is connected to the person or page that created the Facebook event. Such surges of activity can be instrumental in raising online visibility both through improved status in timeline order algorithms and increased relevance in searches. With a comprehensive plan for creating an integrated web presence and an understanding of how make use of various online platforms, building online visibility is surprisingly simple. Consistently relating activity to a plan and set of goals keeps that activity focused and effective. However, maintaining and managing that presence a surprising amount of time. Social media, especially, requires extensive and regular activity in order to be effective at building visibility. Effective delegation therefore often makes the difference between long-term success and short term improvement. In searching for assistance, I

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recommend against assuming that students are capable by default. Many students are only really digitally native when in terms of using platforms for personal purposes. They may not understand how the information they post is used and propagated around the internet. They may also not be used to officially representing an entity, what kind of tone that entails, and the effect that their words can have. So, when delegating to a student, be sure that student understands how to set an appropriate tone and the importance reliable and regular posting. Determining what to delegate can be a real challenge, especially for organizations that do not have access to digital marketing professionals. When there are tasks that need to be delegated, but there’s no one to delegate them to, then it may be prudent to scale back the scope of activities. Some tasks that are often effectively delegated include: social media updating, events calendar updating, and engagement tracking. Some tasks that are often less effective to delegate (i.e. should be done by whoever is in charge/overseeing an online presence) include: official department information updating, website design, updates of large amounts of website text, overall planning. Generally speaking, anything that is time intensive, but not particularly official can be delegated in relative safety. Except for a dedicated professional, no single person can reasonably be responsible for all of the activity that makes up a web presence. Therefore, delegating and spreading the work effectively and efficiently can often be the difference between an online presence that meets its goals and one that struggles. Creating and maintaining an effective online presence is a long-term and continual process. This paper has offered guidance on preparation, appropriate expectations, and maintenance in order to assist in applying an understanding of the pervasive nature of the internet to that process. To buttress that guidance, this paper began with an introduction to the interconnected and interdependent ecosystem of online activity in its various forms. As in many endeavors, the most important element in building a successful online presence is the willingness to try new things and adapt as circumstances change. 1 Online advertising can be a slippery slope of costs, so use extreme caution when considering employing this method. 2 When developing a brand for college orchestra, it is crucial to understand how the school at large approaches its online brand and how the orchestra fits into that brand. Some college orchestras may be encouraged by the college to create their own online identity, while others will be most effective as a subordinate the institutional structure. Brand development for a college orchestra should not happen in isolation, but in collaboration with the appropriate departments beyond the orchestra. 3 Dave Chaffey, “Mobile Marketing Statistics Compilation,” Smart Insights, March 1, 2017, http://www.smartinsights.com/mobile-marketing/mobile-marketing-analytics/mobile-marketing-statistics.

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Works Cited Chaffey, Dave. “Mobile Marketing Statistics Compilation.” Smart Insights.

March 1, 2017. http://www.smartinsights.com/mobile-marketing/mobile-marketing-analytics/mobile-marketing-statistics.

Fontein, Dara. “Top Facebook Demographics that Matter to Social Media

Marketers.” HootSuite. July 27, 2016. https://blog.hootsuite.com/facebook-demographics.

For Further Reading

Dragon, Ric. The DragonSearch Online Marketing Manual: How to Maximize Your SEO, Blogging, and Social Media Presence. New York: McGraw Hill, 2012.

Kerpen, Dave. Likeable Social Media, Revised and Expanded: How to Delight

Your Customers, Create an Irresistible Brand, and Be Amazing on Facebook, Twitter, LinkedIn, Instagram, Pinterest, and More. New York: McGraw Hill, 2015.

Razor Social. http://www.razorsocial.com

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Appendix A - Setting Useful Goals and Priorities This is a list of questions to consider during the process of setting and prioritizing online goals.

1. What is the brand that are you trying to create/promote? Remember that a brand is bigger than just the identity of you and your ensemble. A brand is a comprehensive public image, which requires consistency of both visual and narrative elements. When considering this issue, think about what you want people to associate with you as a conductor or your ensemble. Do you want to be known as a new music specialist or an expert in a specific style? Does your orchestra want to be positioned as an elite ensemble or one that’s open to all players? Answers to these kinds of questions will form the foundation of an online identity and help you to create a brand.

2. What kind of information are you trying to disseminate? Obviously, different online platforms are better suited to different kinds of information and before you start developing a plan of action for your online presence, it’s important to know what kinds of information you want to put out there, which kinds of information you’re going to be updating regularly, which kinds will stay static, etc.

3. Who are you trying to reach? This area is easily overlooked, but critical. Knowing your intended audience for the various types of information you’re trying to share is the only way to make sure that information reaches them. Different audiences gravitate towards different platforms, so knowing who you want to reach and where to find them online will help determine which online platforms are most useful for you.

4. Finally, with the above answers in mind, decide how you want people to travel through your online ecosystem. It is usually most effective to decide on a central location, whether that be a website or social media page. Managing various online platforms then becomes a process of directing people, through links and tags, towards your central hub where they can find the most complete set of information.

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Appendix B - Social Media Platform Descriptions Social Media is best used for ephemeral information, with an emphasis on media rather than text and an informal tone. • Facebook: Skewing older than other platforms, Facebook is most popular

with people ages 25-34.4 Facebook is a good platform for building community partnerships, sharing event information, and engaging deeply with potential audience members.

• Twitter: This platform is favored among college students. Twitter is best for short bursts of information, generally with minimal engagement. It’s exceedingly difficult to create content that spreads widely. But, it’s easy to have your Facebook content automatically pushed out to Twitter, where it may be discovered by new active Twitter users. Live-tweeting (tweeting comments in real time during an event) can be a really powerful tool for gathering new followers. Allowing live-tweeting of concerts can generate a lot of interest in a group. If you encourage live-tweeting of your concert, be sure to have a pre-made hashtag (so that it all tracks back to your ensemble) and think though the concert hall etiquette issues.

• Instagram: This platform has a very wide demographic, generally encompassing both Facebook and Twitter users. Instagram is really easy to connect to your Facebook page and/or Twitter account. It’s a service for sharing photos and videos with captions, so it is not a great way to disseminate real information. If your students post pictures of themselves having fun at rehearsals and concerts and tag your ensemble, it creates an aura of cool and fun for your ensemble, which can help with recruiting and audience building.

• Snapchat: This platform is generally used by teenagers and college students. It’s very much like texting photos to people, but the photos themselves disappear once they’re seen. If it’s popular on your campus, it might be helpful for your ensemble to be active with the goal of creating an aura of fun. But, with no permanent feed for people to look at, it’s not generally useful for conductors as individuals.

4 Dara Fontein, “Top Facebook Demographics that Matter to Social Media Marketers,” HootSuite, July 27, 2016, https://blog.hootsuite.com/facebook-demographics.

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Index to CODA Journal, Volumes I-X

Arnold, Mitchell. Holding Back: Tempo Modifications and Expression at the Point of Return: X, 38-65. Atherton, Leonard. Sui generis by Jody Nagel: I, 1: 96-102. Averbach, Ricardo. Book Review: Gunther Schuller: Gunther Schuller: A Life

In Pursuit of Music and Beauty (Rochester, NY: University of Rochester Press, 2011): VIII: 13-24.

__________. Book Review: José Antonio Bowen (ed.), The Cambridge Companion

to Conducting (Cambridge, England: Cambridge University Press, 2003): I, 1: 29-37.

__________. Student Evaluations: National Guidelines for Promotion and Tenure:” 65-71.

__________. Tchaikovsky’s Romeo and Juliet: Interpretive Notes: V: 73-85. Averbach, Ricardo and Huber, Jeff. Shostakovich’s Ninth Symphony:

Background, Analysis and Performance: II, 2: 8-30. Bernal, Sergio. Shakespeare/Mendelssohn: A Midsummer Night's Dream: A

Performance Edition: IV, 10-20. Blundell, Reuben. Saying Yes: How CODA Helped Me Make New Friends in

Chile, and Encouraged Me to Pass Along the Wonderful Experience I Had: IX: 58-64.

Dal Porto, Mark. “Song of Eternity: An Insider’s Look: VIII: 61-67. Duitman, Henry. Developing a Viable College/Community Orchestra: The

Northwest Iowa Symphony Orchestra: A Brief Study of the Organization: IV: 31-38.

Gambetti, Charles. Laban Movement Analysis for Conductors: Creating a

Fresh Approach to Conducting Gesture: I, 2: 55-95. Jacobs, David. What Is a Conductor’s Analysis? IX: 12-19.

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Jiménez, Alexander. Eliciting Sincere and Passionate Performances from Student Musicians: The Dynamic Rehearsal: I, 2: 15-28. Ladd, Jason. History of the College Orchestra in the United States, VI: 16-28. Liu, Jiang. Chen Yi’s Momentum-A Unique Fusion of Two Cultures: I, 1:

22-28. ________. Butterfly Lovers Violin Concerto, the First Chinese Violin Concerto:

II, 1: 31-46. Loeb, Jamie. Being Present Online: The Embedded Internet for College

Orchestras and Their Directors: X, 97-108. Mitchell, Jon Ceander. Book Review: Haruki Murakami with Seiji Ozawa:

Absolutely On Music: Conversations: X, 14-15. __________. Critical Glimpses: Philip Hale’s Correspondence to Charles

Martin Loeffler, 1905-1908: III, 30-39.

__________. Entr’acte: Music of a “Peedie” Nation: VI: 12-15.

__________. Score and Parts: Anton Rubinstein: Piano Concerto No. 3 in G, Op. 45 and Piano Concerto No. 4 in D minor, Op. 70: VII: 46-64.

Neves, Joel. Selecting Appropriate Literature for College Orchestra: A Study of

Repertoire and Programming Choices of CODA Conductors: VII 11-29. Peddell, Lewis T. “Crowding North” (2007) by Libby Larsen: I, 1:11-21. Ramael, David. The Antwerp Score of Mahler’s Fifth Symphony: I, 2: 42-54. Selden, Ken. Ballet Academy Partnerships for University Orchestras: IV, 21-30. Christopher Stanichar. Gabriel Fauré’s Pelléas et Mélisande: Discovering

the Original Stage Version: II, 1: 9-30. Sommerville, Daniel. Unlocking the Score: V: 13-50. Spell, Lawrence S., Jr. Movement 101: Introducing Laban Movement Analysis

to Student Conductors: V: 51-72.

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Spence, J. Robert. The Franchise Model: What the Fast Food Industry Can Teach Us about Directing an Orchestra: VI: 64-70. Stewart, Tobin. Effectively Eliciting Sound: Conducting with Balance,

Freedom, Care and Efficiency: X, 73-83. __________. Infusing Score Study and Aural Image Development into Undergraduate Conducting Curricula: VI, 29-54. __________. Kinesthetic Metaphors: Building Blocks for Effective and Meaningful Conducting Gestures: VIII, 25-36. Sun, Xun. Snowballing: A New Technique for Conducting

Practice/Rehearsal with Student Orchestras based on Brookfield/ Preskill's teaching strategy outlined in their book and workshop “Discussion as a Way of Teaching:” II, 1: 31-62.

Ting, Chaowen. College Orchestra Programming: Repertoire Diversity: X,

84-96. __________. The Female Image on the Podium: Does It Exist? VIII: 37-60. __________. Understanding Figaro: Music, Text, and Social Status: IX: 42-57. Viquez Córdoba, Luis Adolfo. Musical Elements in Dramatic Sources in

Richard Strauss’ Elektra. X, 66-72. __________. Romantic Symphonic Music in Costa Rica throughout the

Compositional Style of Julio Mata in His Symphonic Poem El Libertador: VII: 30-45.

Waddelow, James. Preparing Dance Numbers within the Broadway Musical:

Strategies for a Rewarding Collaboration between a Choreographer and Musical Director: VI: 55-63.

Wallin, Nicholas L. Mozart’s Le Nozze di Figaro, Act IV: A Structural

Investigation: I-2, 29-41.

Watson, Carolyn N. Attempting to Explain the Inexplicable: The Intangible Art of Conducting: IX: 20-41.

__________. Carlos Kleiber: A Study in Perfection: X, 16-37.

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Zeniodi, Zoe. An Overview of Frank Ticheli’s Orchestral Works: III, 12-29.

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Guidelines for Contributors to the CODA Journal:

Parameters: Articles must be submitted in English, the official language of the CODA Journal.

Articles will be reviewed by the peer review committee chair, editor and/or assistant editors for consideration. These reviews are considered anonymous.

In addition to the article itself, authors are encouraged to supply a brief abstract of the article (one or two paragraphs).

Electronic submission is encouraged, with the preferred format being Microsoft Word with Times New Roman Size 12 font. Please do not send .pdf files of the text, as these cannot be formatted. Articles must be double-spaced. In general, numbered endnotes and/or footnotes are preferable to simple reference lists, though bibliographies are encouraged. Notes should be written in accordance with the specifications set forth in the Chicago Manual of Style.

If musical examples are included, authors are strongly encouraged to submit them electronically in a format that is easy to open [.pdf files of these are fine]. Clearance of any copyrighted material is the responsibility of the author. Note: Depending largely on spatial considerations (file size, etc.), photographed examples may or may not be unusable. Diagrams and charts, however, are fine.

The CODA Journal continues to be defined by CODA itself. We are a professional organization; all of us have specialty areas. In fairness to everybody, however, dissertation chapters that have not been substantially rewritten and reformatted for the CODA Journal cannot be accepted.

Topics: Each issue is different, though at present there are currently no plans for single-topic issues. Topics include, but are not limited to, the following areas:

Repertoire Traditional works Large Orchestra Chamber Orchestra College-community Orchestras

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New works

Composer perspectives Little-known works Arranging/editing music Conducting

Conducting problems in major works (a la Max Rudolf) Technique Score study Development and maintenance

Research Historical Annotated listings Composers Orchestras Conductors Criticism Recordings Pedagogy Auditioning Sound Rehearsing Touring and Funding If accepted, the article will be published in the appropriate section, depending on its inherent nature.

Deadline for consideration for the next issue is February 15, 2018.

Articles should be submitted to CODA Peer Review Committee Chair Leonard Atherton (latherton@bsu.edu; latherton1023@att.net).