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BERLIOZ, ANOTHER LOOK.

Angels, ceiling of B. & B. Bellefontaine, Pa. (photo R.E.)

Angels, ceiling of B. & B. Bellefontaine, Pa. (photo R.E.)

  (If you could travel back in time, what year and date would you choose?)

The  Requiem or Grande Messe des Morts, Opus 5 -(h75), 1837 and Symphonie Fantastique, Opus 14- (H 48), 1830 [1.] both written by Hector Berlioz, are  great works in the Romantic repertoire.  My appreciation for his wondrous orchestrations and sonic surprises, as fresh sounding today as when I first heard them, continues to grow.

Preceding both was a work which  until recently I’d not given enough attention. Written when Berlioz was 20 years old and had been studying music formally for only one year, the Messe Solennelle or Solemn Mass, (H 20A), 1824 was premiered in 1825 at the Church of Saint- Roch, Paris. [2]

For Berlioz fans, the Messe Solennelle throws a revealing light upon the composer’s growth. It illuminates the germination of ideas that would  shortly  appear in full bloom in his greatest works.


Gratias. from Messe Solennelle. Theme for Scenes in the Country, Symphonie Fntastique.

Sometime after the second performance of the work, Berlioz burned the orchestral and vocal parts to the Messe Solennelle.  He may have thought the work unrepresentative of his more mature  style.  However, Berlioz gave the complete score to a violinist friend from Antwerp who before his death gave it  to his  brother, a church musician. Assumed to have been burned or lost, the score written in Berlioz’ hand  was discovered in an Antwerp church organ bench in 1992.

One year later John Eliot Gardiner performed  and recorded Messe Solennelle  with the Monteverdi Choir and the Orchestre Revolutionaire et Romantique in Westminster Cathedral.

Philips Digital Classics 464 688-2

Footnotes:
[1.] Though written 7 years earlier than the Requiem, Symphonie Fantastique has a larger or later Opus number. This is  the result of its  publication date.  Symphonie Fantastique was published in 1845 whilst the Requiem was published in 1838.  In 1987 the D. Kern Holoman  chronological catalogue of all  compositions by Berlioz  was published with the designation H  before  Opus numbers.
[2]   The July 10, 1825  premier was conducted by  Henri Valentino and Berlioz played the Tam-tam. Messe Solennelle was  performed again in 1827, the year of Beethoven’s death, Berlioz  conducting.

July 10, 1825 is my answer to the time travel question. Just imagine being close enough to the orchestra to watch the face of Berlioz as he waited for and then played that great note. Is this Tam-tam  still in existence? Is the beater?)

Resurrexit from Messe Solennelle. Theme used in the Requiem Dies irae, Tuba Mirum.

+This article is based largely on notes written by Hugh Macdonald for the Philips recording CD booklet.

 
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Posted by on January 14, 2012 in Articles, Composers, Unassigned

 

Bang, Bang You’re Dead!

Recently I saw an item on television about young boys playing the game War. When I was a kid we called that game Guns.  One of our gang had a small plot of woods behind his home. He also owned a very impressive collection of realistic looking toy guns including one I particularly coveted, a World War II German Luger.

The game would begin with the selection of weapons. Some of the guys didn’t own guns and we’d share whenever possible, but sometimes a player would have to find a stick that looked something like a gun or less satisfactory, resort to using a cocked thumb and finger.

We meet after school or on a weekend. The rules were simple. First we’d choose up sides. “The Defenders”, thought of as the good guys, would hide in the woods. The enemy would be the attackers. The point of the game was to “Kill” one side before they “Killed” you. The real point of the game however, was to feel the boyish joy of outfoxing a friend.

The enemy would have to keep their backs turned until the good guys had hidden themselves. No peeking.  They could attack after the defenders had yelled “Ready”.  Neither side could shoot until the attacking team had entered the woods and themselves taken cover. The weapon of each player had a predetermined number of bullets and the player was bound by the honour system to keep count of the number of shots he had fired. No cheating.

“Bang, Bang You’re Dead” was probably the one imperative of Guns.  Attacker or Defender mattered not. Once these words were spoken, all action came to a halt. Everyone froze. No movement was allowed by anyone on till it was determined if someone was indeed Dead or only wounded. Making this determination was a ritualistic process which allowed no dissimulation. The crux of our boyhood code of honour was confronted here. Within the context of the game, it was a matter of life or death. But among us it was a matter of friendship and trust.

None of the other players could be called him to help decide who was dead or wounded. After all they would have to give up their hiding places. No, this decision was between two friends, the shooter and the shot.

When “Bang, Bang You’re Dead” was heard followed by the name of the victim, the victim would say to the shooter, “Where am I and how much of me do you see?” The shooter would then have to answer. For instance, “I see the top of your cap and you’re behind that bush with a few leaves on it.” (A dead bush or a pile of leaves was considered adequate cover.) And then a kind of dance began. “How much of my cap can you see?” “I can see all of it down to the very top of the brim”. “Okay, I’m dead, but you have to show yourself”.

By revealing himself the shooter could prove whether or not he’d had a clear shot and if so, the matter ended and the ‘Dead” boy  had to leave the woods to await the final outcome of the game. If he had only been wounded, say only his shoulder had been visible, he could continue on until killed or wounded a second time by which he was considered dead. The shooter could hide again and the game would continue. It was during these Gun moments that for the first time I seriously confronted issues of honor among friends.

I remember a game when I had found a really neat hiding place from which I was sure I could shoot one and possibly two members of the opposing team without ever being discovered myself. In my warm corduroy jacket, snuggled down among damp leaves and hidden behind a fallen log, I had only a peep hole from which to shoot and was certain I’d never be seen by the enemy. I was thrilled by the feeling of anticipation and  invincibility, but I was disappointed.

A game would invariably uncover the need for more rules or the tweaking of an existing rule. These variants were usually  debated in a hideaway we’d found in the woods. We didn’t know it at the time, but we were growing up. We were experiencing our first committee meetings, our first attempts at determining the course of future events. It was all great fun and then we’d go home for dinner.

Friendships were cemented by this game and many of its rules, our rules, remained with us as we went on to other more serious games. I remember the game as an example of cooperative independence. Each of us was responsible for ourselves, but in order to enjoy the game, we had to commit to working with our buddies. We learned to accept the group’s rules and expected them to be observed by everyone.

When Stephen Harper (b. 1959) was first elected prime minister of Canada  in 2006 he proclaimed his desire to make Canada a player on the world stage. He did that by agreeing to play guns with George W. Bush. Harper cast his lot with a despised president and a  nation in an advanced state of  dissolution.

Although Canada’s military involvement as combatants in the wars with Iraq, Afghanistan and Pakistan had probably been planned prior to his election, it was Harper who implemented those plans. Thus Canada became a major player on the world stage, but in a way most Canadians had never thought possible nor desirable.

Canada had always been perceived as a nation of peace and militarily, a peacekeeping nation. In one stroke Harper change that perception. Now Canada is a nation of war and a war making nation and its military children are dying.

Today friends are not playing games in backyard wood lots, its’ alien cultures making real war.  Today the boys and girls who have died and are dying to protect the insatiable avarice of businessmen and stoke the hubris of politicians, were only a few short years ago playing far gentler games. Today they no longer come home for dinner. They arrive in body bags and their homecomings haunt us.

 
 

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He Who Hesitates Can.

Alfons Grieder.

Alfons Grieder.

John S. (Jack) Pratt.

John S. (Jack) Pratt.

After the 2002 Drummers’ Heritage Concert my wife and I invited a few of the participants to our hotel room for some R & R.  Besides the pleasure of their company, I had an ulterior motive for gathering these gurus of field drumming. For many years a question had rankled my brain and now this assemblage offered a chance, perhaps my only one,  for my question to be definitively answered.

Among others our invitees included Alfons Grieder, world renowned Swiss Basel drummer; Dennis DeLucia. our concert moderator and himself a famous rudimental player and teacher; John S. (Jack) Pratt, legendary player and composer of “14 Modern Contest Solos”; and Doug Stronach, renowned teacher, and Scots drumming master. The majority of these artists had never before met though most had heard of each other.

After we all settled down and smiled a bit self consciously someone, I think it was Doug Stronach, asked why the Swiss drummers play the way they do – the strange wobble at the end of every measure?  Jack Pratt was first to jump in with an answer. “I’ve heard this is the result of drummers growing up in a mountainous country.  One foot is always lower than the other and so they developed this style from hobbling around the mountains while trying to play drums”. There were a few giggles and then Alfons Grieder spoke.

“I’ve always been told and always believed we play this way because beginning students hesitate before going over the bar line into the next measure”. Alfons was obviously serious. No giggles in the room this time. It seems one of our most honored drum traditions had developed because of student insecurities.

Everything was quiet for awhile so I decided this was the time to ask my question. “Why do many North American military field drummers hesitate before starting a 7 stroke roll that ends on a downbeat?” To demonstrate, I whistled the Yellow Rose of Texas, and accompanied myself by playing sevens on my knee.

Jack Pratt was again first to speak. “We do it because we can”.  And again the room was quiet. No rebuttals. Another master had spoken and I let the matter drop. Perhaps we dig to deeply, Sometimes answers are simple.

A few years later Jack and I had the pleasure of playing “Gingersnap” one of his greatest solos. We warmed up together in an Eastman school of music practice room. During our session I complained to Jack about his 7 stroke rolls. “Am I being a bad boy?” Jack asked.  “Yes” I said. “ It’s not that you’re hesitating on the sevens, it’s that you’re hesitating more and more as the piece goes on and I don’t know how to follow”. “I’ll be a good boy” Jack said.

At concert time he was better then good.  I doubt if I contributed much to the performance, but I managed to keep up with him. Playing with Jack that day is one of my fondest memories.  Looking over our shoulders were members of the United States Military Academy Field Music Unit “Hellcats”, a group Jack had led more than 30 years earlier. One of the “Hellcats” was David Smith (the younger) a former student of mine.

For those of you who may not be familiar with the hesitating style of playing 7 stroke rolls, click on the audio file below to hear the Lancraft Fife and Drum Corp of North Haven, Connecticut.

 

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