Correlation,
Collaboration, and Contradiction: The Programme Notes from Recordings of
Sibelius's Fifth Symphony, and the Middlebrow Analytical
Tradition
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Bethany
Lowe
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I. Notes on
notes |
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The notes attached to
recordings have attracted less definition, though Simeone observes that they tended initially to be
'similar in style to the concert programme notes of the time'.[7]
Terms for these materials include sleeve note, liner note, disc note, or
album note - though the generic term 'programme note' is not
inappropriate. Colin Symes, who has given them a
more thorough consideration in his book Setting the Record Straight, notes
that they
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occupy a modal universe different from that of the
record[ing], and much of their efficacy as a
textual form depends on their capacity to accord with its contents and
minimize any distortion that might flow from transferring between modes of
'meaning'.[8]
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Symes argues that 'sleeve notes, like cover
designs, act as mediating texts that provide a particular reading of the
music that interposes itself between the loudspeaker and the listener'.[9]
They can thus be construed as part of the work's paratext, elements which
'lie on the threshold of the text and which help to direct and control the
reception of a text by its readers'.[10]
In his book Paratexts, Gerald Genette describes the function of these liminal elements in terms of both a transition and a
transaction.[11]
In the case of a book, paratextual material
typically includes titles, prefaces, and notes, elements that deploy
predominantly the same mode of discourse as its text, namely written
prose, and are hence peritexts; but due to the ambiguous notion
of 'a recording' as signifying either the bare sound trace or the whole
commercial package, sleeve notes can be thought to exist either within or
without its threshold, and hence are arguably a mere accompanying epitext to
the sounding performance.[12]
Whether the sleeve note is integral or accompanimental to the recording is an ambiguity
inherent to the genre, and the recordings investigated in this article
will be found to take up varying positions along this continuum.
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Sleeve notes serve to
introduce a wide range of potentially unfamiliar works and styles to
listeners whose identity is unknown by the writers. As such their function
is both educational or enlightening, in serving to give a leg-up to those
without more specialist knowledge, and commercial, in that it aims to draw
in a greater number of listeners than the bare sound trace might be
able.[13]
They have been pivotal to the commercial and intellectual success of
various types of music since the onset of recording, including 'early
music', whose scholarly packaging formed a key part of its connoisseur
image in the latter part of the twentieth century,[14]
and 'world music', whose acquaintance with European audiences in recent
decades has been facilitated primarily through accompanying sleeve
notes.[15]
As Beverley Parker points out in her case study of South African music,
the notes accompanying both concerts and recordings have the power to
affect our perception of music's aesthetic value as either art or artifact, and function as part of the cultural
system's 'machine for making authenticity'.[16]
In particular, Parker points out that the process of providing a
structural analytical commentary with the music recording can work to
catapult a musical artifact into the realm of
art, with a consequently higher status available to attach itself to the
listening public.[17]
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In the case of large
formally-complex classical works, sleeve notes
that contain analytical description might be thought to manipulate the
listener's perception in ways that are particularly intimate to the fabric
of the soundscape. Analytical writings typically
parse a piece, providing points of articulation and grouping structures to
enable a listener to navigate more confidently what may be an intricate
and lengthy slice of music. However, as Nicholas Cook has pointed out,
formal analytical publications, in the form of books and articles, form
part of the reception network 'only for the small minority of musically
educated listeners. Others must avail themselves of the potted biographies
and analyses on the backs of record sleeves'.[18]
Sleeve notes thus work at the sharp end of music-analytical discourse
reception, since their immediacy and wide circulation enhances the
influential power of these writings upon
listeners. |
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In contrast with
interpretations presented in free-standing books and articles, each
attempt to lead the listener towards a given understanding of the work,
provided as a sleeve note, is packaged physically together with a
particular recorded performance. Sleeve notes function successfully
because people tend to 'assimilate what they see and what they hear into a
composite experience', a process which is possible because of music's
'openness to semantic completion'.[19]
When the note and the performance seem to be working together to create an
interpretation, an interesting synergy takes place
which Cook has referred to as a 'domestic Gesamtkunstwerk'.[20]
This synergy is a manifestation of the holistic way in which an individual
builds up a mental representation of any piece of music through exposure
to a variety of experiences.[21]
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This composite perceptual experience, though,
is challenged on occasions when the written interpretation affixed to the
record cover bears no relation to, or explicitly appears to contradict,
the approach taken by the musical performers. This situation can be caused
by genuine differences of interpretation between the note author and the
performer, which pull against each other to persuade the listener of their
validity. However it is in other cases the result of variations in the
practical process of note-writing: a causal
one-to-one relationship between a recording and its accompanying text,
which may be thought normal or ideal for investigating the connection
between them, does not always prevail. Sometimes note authors are given a version of
the recording to respond to, so that their text forms a gloss to the
performance (congruent or otherwise), while others produce their copy
without hearing the performance that it will sit alongside.[22]
Only in certain (artistically privileged) cases do note authors get the
chance to collaborate with the performers to produce an integrated musical
statement. A
one-to-many relationship often arises where a recording is reissued - perhaps much later in time, perhaps in a different format - and receives a
new sleeve note; a many-to-one relationship is evident where a programme note is recycled and a writer submits only a
marginally-altered text for what may be a very different performance; and
plenty of recordings have no narrative material at all. A certain casualness of authorship is to some
extent in the nature of the programme note convention: recycling,
plagiarism, and anonymity were common in the culture of early concert
programme notes,[23]
and likewise the exact process of formulation of a particular sleeve note
cannot always be traced. |
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Despite these
inconsistencies of creative intention in the pairing of sleeve notes with
performances, their association into a single physical object binds them
into a symbiotic relationship (whether harmonious or incongruous) in the
listener's reception. Thus it is worth starting to ask questions of sleeve
notes, their function, and their writers, and draw some likely conclusions
from the available information about their relationship to the sound
recording, their audience, and its cultural
context. |
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To further complicate
matters, a sleeve
note may make reference to critical, analytical, or informative texts that
are outside the apparently closed circle of the performance and its
commentary - depending on the
author's style, the available word-count, and the imagined
audience. Notes
often thus perform something of a 'bridging' function, not only in the
conventionally-supposed manner from the composer (or performer) to the
listener, or between performance
and the written word, but also between scholarly monographs,
opinion-setting record reviews, and the exoteric functionality of record
packaging.[24]
They can reach beyond the single performance to contribute
greatly to the 'field of the piece' as it exists in the minds of its
potential listeners. Thus in seeking to understand programme notes we should always consider broader
patterns of influences; notes can do powerful work
as a dissemination outlet for scholarship or other kinds of specialist
knowledge, and as such, bring these into contact with the so-called
'ordinary' or middlebrow listener.
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II. Sibelius's Fifth Symphony and the set of
recordings & sleeve notes
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The case study for this
article, namely the set of sleeve notes attached to Sibelius's Symphony
No. 5 in a selection of contrasting recordings released in Britain over a
sixty-year timespan, illuminates a cultural
network that is both wide-ranging and closely-knit. These notes connect,
in a close and intricate set of relationships, with the recorded
performances themselves, but also with further 'epitexts' such as record reviews and published
analytical writings on the work in question, since they touch on related
issues and shared concerns.
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The first of the three
movements of Sibelius's Fifth Symphony presents various structural and
interpretational ambiguities, and hence is ideal for tracing patterns of
connection between performances, sleeve notes, academic writings, and
record reviews, through all of which one can see distinctive
interpretative opinions circulating. In particular, writers of analytical
monographs on Sibelius's symphonies are intrigued by whether this section
of music (the first 586 bars of the work) consists of a single complex
movement, or two joined together, with surprising energy being expended on
the subject, in their efforts to understand the compositional logic of the
work and hence the composer's modernistic and/or classical credentials.[25]
The piece itself opens with a rising horn figure within a Tempo molto moderato and gradually moves through a series of
tempo increases, modulations, and thematic and stylistic reworkings, including a distinctive passage with
trumpet fanfare at bar 106, which writers have generally viewed as either
an (altered) recapitulation to the first movement, or a new (albeit
interlinked and related) scherzo movement.[26]
My work in analysing the tempo of recordings using empirical methodology
produces graphs which show that the movement delineation debate also has
relevance for performers of the piece, since their performances are found
to fall into distinct interpretative patterns which suggest either a one-
or a two-part interpretation and/or other clear structural features.[27]
The function of programme notes (identified by Catherine Dale) 'to serve
as a guide to the listener, a charting of an aural journey through the
work which [draws] attention to features of particular interest and
structural and textural landmarks along the way'[28]
is a function which is particularly valuable and influential in the case
of such an ambiguous piece. |
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Of the 43 recordings
originally studied, three had no sleeve note, and in another nine the
sleeve note made no particular comment about the movement structure or
form.[29]
The remaining 31 recordings with relevant programme notes are listed below
in Table 1, a discography which gives the names
of the conductors and original release dates for reference, and the names
of note writers and the particular release version of the recording
used.[30]
Within this group, a variety of interesting relationships pertain between
the structural interpretation demonstrated in a performance and that
described in the attached note, as will be explored. Furthermore, a number
of discursive strategies start to emerge from examining the set of sleeve
notes as a whole. For instance, the first, 1915 version of the symphony
had four separate movements instead of three overall, the first two of
which were melded together in the subsequent and final revisions of the
piece (in 1916 and 1919) to give this complex compound structure; when
this information becomes generally known in English-speaking circles,[31]
it sets some kind of precedent for writers of two-movement schemes in the
programme notes to argue that this is the 'real' structure of the work and
the division can still be felt in the final version, whilst those who
prefer one-movement schemes either ignore this information or explicitly
dismiss its tangibility or relevance (as will be seen presently).
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Many authors in the set
of notes, as might be expected, propound both sides of the structural
argument more-or-less equally, taking either a neutral or an agonistic
tone (typically making comments such as how 'unusual' the form is); I have
identified these as making a rhetorical gesture of 'hedging', in the sense
of avoiding committing oneself or of counterbalancing a bet.[32]
The 'either-or' approach to formal categorisation takes place without
reference to previous models of fused multimovement forms (such as Liszt's B minor sonata or
Schoenberg's Chamber Symphony) which are the mainstay of later scholarly
comparison;[33]
instead the piece is set against a 'normative' sense of sonata form,[34]
in keeping with the traditions of programme notes and the presumed
knowledge levels of the readers.[35]
It is common for a writer to start with a hedging position on the form of
the Sibelius and move towards a clear statement of a one- or two-movement
interpretation - or vice versa, stating their point of view and then
qualifying it with secondary possibilities - and both of these hedging
manoeuvres can be found either lightly or strongly asserted. Since the set
overall leans a little more towards emphasising a one-movement pattern
(perhaps to avoid listeners getting lost), where there has been a strong
implication of a two-movement understanding I have identified it as such.
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[Table 1: Discography
with names of note writers and structural
categories To begin a brief
overview of the set, and to identify key examples to be explored in
detail, see Table 1. The column of '1's mark out some examples of
correlation where one-movement performances receive one-movement programme
notes. The first recording of the work, by Robert Kajanus in 1932, presents a single-movement sweep of
tempo as shown in Example 1, with some middleground fluctuation between bars 92 and 105 (and
elsewhere) being incorporated into a larger pattern of gradually
increasing tempo from this point to the end.[36]
The contemporaneous sleeve note, by Cecil Gray, that accompanied the
original release on 78-rpm records states clearly that 'the work is in
three movements, the usual scherzo being dispensed with' and goes on to
analyse the music on this basis, though it does also allow for the
secondary possibility that one might view the scherzo as being 'embodied
in the first movement'.[37]
A much later CD rerelease of the same Kajanus
performance features a sleeve note by Brendan Wehrung that refers to 'movements which take on
changing functions' and 'seamless organic growth', suggesting only that
the first movement 'somehow assumes the tone of a scherzo' and criticising
the earlier 1915 version of the work where the two putative movements were
separate.[38]
So whilst both writers are willing to acknowledge the possibility of
scherzo character within the movement, their characterisation of the
structure comes down more firmly on the side of a
single-movement continuity, an interpretation that matches that of
Kajanus in sound. In the case of Gray this is
largely because that was the way in which the structure of the piece was
widely seen at the time (as was to be reflected in his 1935
analytical-critical monograph on Sibelius's symphonies),[39]
and in the case of Wehrung more probably in a
bid to match the historic performance that his note was intended to
accompany.
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The second released
performance, by Koussevitsky, is another clear
one-movement interpretation matched by a one-movement sleeve note,
dismissing the importance of the 1915 version of the symphony, but this is
part of a family of related notes by Robert Layton that were written later
(and will be examined separately below), and hence is marked in the 'L'
column on Table 1. Tjeknavorian's performance
and sleeve note is a particularly striking example of one-movement
correlation that will also receive separate investigation, as Correlation
1 below. Alexander Gibson conducted on three recordings of the work and
all promote a one-movement interpretation, even when this style had become
unfashionable long before the third version in 1983. It is therefore
noteworthy that this third recording's accompanying sleeve note by Malcolm
Rayment is particularly adamant in dismissing
the relevance of two-movement precedents, claiming that 'the finished
version [of the symphony] is so superior that the initial [1915] one has
no place in the concert hall'.[40]
Gibson's first performance (1960) carries a short sleeve note that simply
states 'The Symphony is in three movements, though the first of these is
clearly in two sections', a 'one/hedge'
interpretation that is easily compatible with its one-movement
performance.[41]
In contrast, Gibson's second performance (1975) has a less congruent
sleeve note that moves it into a different category below. All of these
notes were written later than their recording was laid down, and the
authors made different decisions about how (or whether) to relate their
comments to the recording, with the question arising of whether they
listened to the performance and whether these subtle interpretative
distinctions were enough to sway their remarks. Already then the intricate
nature of relationships between sleeve note and performance is making
itself evident, although such correspondences as there are suggest that
they may be deliberate. |
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Recordings flagged in
the '2' column of Table 1 constitute examples of correlation between
two-movement performance and two-movement sleeve notes. Karajan's
ground-breaking 1953 performance starts slowly and instigates a pronounced
tempo transition following bar 106 to a new, livelier speed and mood,
through these performance choices separating out two contrasting
'movements', as can be seen in Example 2.[42]
This performance goes with the first sleeve note from the set to mention
the possibility of a two-movement structure, as will be discussed below as
Correlation 2a. Barbirolli's 1959 performance is
an 'early adopter' of this innovative two-movement performance style, and
its later CD-release notes by Michael Kennedy reinforce this, saying that
the first movement 'still bears traces of having been two separate
entities', adding the counterbalance 'for all its thematic unity and its
tonal scheme'.[43]
Karajan (1965) and Panula (1969) both
demonstrate a creative use of two-movement track timings that will be
explored separately as Correlation 2b, whilst Ashkenazy's (1981)
exaggerated two-movement performance is accompanied with the relatively
definitive statement that 'a moderato movement turns itself into a scherzo'.[44]
Colin Davis's similarly exaggerated two-movement performance also receives
confirmation in a cassette programme note by Jack Diether saying the piece 'was originally cast in four
separate movements' and even in its final form 'at the indication Allegro moderato [b. 114][...] he
begins the cue-lettering from A again, as if this really were the beginning of a
new (though linked) movement'.[45]
Another Karajan recording of this piece, his last in 1978, sees Douglas
Pudney dramatise the hedging process - saying
'Musical analysts have argued strongly about the structure of this first
movement, and whether the symphony is still really in four movements' and
'Sibelius experienced trouble with the form of this symphony' - before
cautiously legitimising the two-movement interpretation of the contents:
'the Allegro moderato section
is reached - the so-called "scherzo"'.[46]
Thus more correlations appear within the group of two-movement
performances, even though certain writers fall only just to this side of
the fence rather than the other.
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Most of the few
performances whose movement structure could be called 'average', in that
they fall between the one- and two-movement pattern, show a form of correlation by sporting a
sleeve note with a 'hedging' rhetoric (see 'H' column on Table 1). Both of
Ormandy's performances fall into the 'average' category, and the earlier
one (1956) receives a non-committal sleeve comment that 'by means of a
quickening in tempo and a contrast of mood, the second section of the
movement (if one likes to consider
it as such, the scherzo) gets underway'.[47]
The second Ormandy performance (1979) receives stronger hedging ('some
confusion') from Richard Freed and the curious locution of 'not merely':
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There has been some confusion about the number of
movements in the Fifth Symphony [...] There had been four in the original
version, but the sections Sibelius designated movements I and II became so
joined to each other as to constitute not merely two interconnected
movements but a single continuous one [...].[48]
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The 1982 Rattle
performance is also indeterminate in its tempo structure, and its
sleeve-note writer Gerald Abraham gives an account of the work's
compositional history before adding ambivalently: |
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As for the problem of
the first movement, which naturally fascinates the critics, it is no
problem for the listener. If he is simply listening, he will probably be
unconscious of any join between the original first movement and the
scherzo; [however] if he has a miniature score in front of him he can see
that the original scherzo began at letter A on p. 32 and that pp. 28-31
probably represent the transition from the original first movement.[49] |
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Likewise Bernstein's
performance of 1987 has ambiguous features of various tempo traditions,
whilst its note-writer Bayan Northcott chooses to articulate the music's first
section as functionally 'both' separate and preparatory: 'the Molto moderato function[s] both as a compressed sonata
form and a double exposition to the scherzo'.[50] |
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Distinctively unusually-structured performances can also prompt a
hedging sleeve note. For Berglund's 1986 release, Julian Haylock makes a basic hedging statement that Sibelius
'telescoped the first two movements into one to produce one of the most
exhilarating utterances in the history of symphonic form' and this comment
certainly reflects the exciting and complex qualities of the recording:[51]
Berglund's performance, illustrated in Example 3, is a very structurally
sophisticated interpretation combining a two-movement tempo transition
with a recapitulation-marking gesture at bar 298 that simultaneously tends
to bind the whole passage perceptually into a single sonata-form movement,
a subtle way of 'hedging' the structure performatively.[52]
And the strong hedge from Geoffrey Crankshaw
that makes explicit how 'analysts are still at loggerheads', referring to
both a sudden tempo change in the middle and 'one mighty argument' across
the movement, is such a good match for Rozhdestvensky's special 'stepped' performance pattern
that it receives individual consideration as Correlation
3.
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Of the others that
appear to be directly at odds - that is, where a programme note leaning
towards a single-movement view clashes with a recording that suggests a
two-movement interpretation, or vice versa - the majority have a programme
note by Robert Layton, a Sibelius writer and analyst whose distinctive
perspective gets recycled from one sleeve note to another irrespective of
the contents of the recording. His conviction that the one-movement
interpretation is the most valid only deepens as the performance tradition
moves in the other direction; hence these sleeve notes to recordings by
Koussevitsky (1940), Karajan (1961), Barbirolli (1967), Berglund (1975), Saraste and Blomstedt are
marked with an 'L' on Table 1 and will be considered separately in Section
V. Maazel's 1966 performance produces a unique
'diagonal' pattern[53]
but disappointingly carries an unrelated note that appears to be lifted
from Layton's monograph which was published the year
before. |
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Of the rest, five
note-recording pairs are neutral with respect to each other; either the
note hedges (Collins, Sargent, Salonen, Andrew Davis) or the performance is
indeterminate (Rattle 1988), as indicated in the 'N' column of Table 1.[54]
Varieties of hedging rhetoric in this group of notes range from the
clinical 'Leaving aside the debate over the correct number of movements'[55]
and the shrugging 'But it matters little whichever way we regard the
music'[56]
through a balanced description of the piece as formally advanced[57]
to the more dramatic 'stark contrast[...] yet[...] utter inevitability'.[58]
Only three note-recording pairs seem potentially at odds (marked 'O'):
Gibson's middle performance (from 1975), in a one-movement pattern as
always, has a hedging commentary from Wadham
Sutton, leaning first towards the two-movement: '[Sibelius] telescoped the
first two of its four movements into one, placing what is in effect the Scherzo before the
recapitulation', and then towards the one-movement: 'the form is free, but
the construction is close-knit and logical'.[59]
Conversely, Järvi's gently two-movement
performance has what might be labelled a 'hedge/one' sleeve note: it
refers to corresponding points in the first version of the symphony, and
describes the constituent two sections under separate headings, but labels
them '1st movement, first part' and '1st movement,
second part' and pins them together with an overarching sonata scheme.[60]
Similarly Bernard Jacobson's notes to the CD re-release of Colin Davis's
clearly two-movement version provides a hedge/one interpretation by
casting 'some doubt' on the number of movements, and pointing out that
'Sibelius himself referred to four movements', before concluding 'But
commentators generally prefer to see these two sections as forming a
single movement[...] their combined span is so seamless that [it] has the
impact of one long, superbly controlled, and masterfully unified
accelerando'.[61]
Jacobson's note is unusual in having a title and in showing his name at
the top of the note, like an essay, rather than less prominently at the
bottom, which might suggest his (or the record company's) intention to
provide a more independent piece of writing than is the
norm. |
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Overall then this gives
six or seven examples of correlation within each of the three structural
groups - nineteen altogether - with at least one strong correlation in
each group, plus seven cases where the note is understandably irrelevant,
five neutral cases, and three slight discrepancies. That seems to be a
higher level of correlation, and a lower level of unexplained discrepancy,
than one might expect to arise on average in a group of recordings - though since this kind of survey has not been previously undertaken with
other works it is difficult to know. In the few special cases which showed unusually specific correlations
between the note and the performance, I felt provoked to investigate
further how they had come about. We'll examine these in detail as
correlation case studies: the recordings by Tjeknavorian, Karajan (1953), Karajan (1965), Panula, and Rozhdestvensky. |
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Tjeknavorian's
interpretation (from 1976) carries a sleeve note by Ateş Orga, a proud author of
programme notes who maintains an online index of
the over 1600 works for which he has written them.[62]
The first long movement of the Sibelius is described in Orga's sleeve note as 'a study in tempo structure
[which] represents one long accelerando culminating in the
più presto of the closing 32 bars'.[63]
This is an idiosyncratic view of the composition as notated in the score,
where no accelerando is marked until after bar 106, but is actually an
accurate description of the performance, whose tempo structure is
illustrated in Example 4. Tjeknavorian maintains
a progressive (if fluctuating) increase of tempo even when this is not
indicated in the score, for instance at bar 19 between the first and
second subject group, and through bar 92 even though this passage is
marked Largamente. And the
performance does make its only major articulation at the coda - although
this appears just after the Presto marking at bar 507, rather
than the Più Presto at bar 555 implied in the
sleeve note.
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Tjeknavorian's tempo
structure presents a highly integrated view of the movement, at a time
when the one-movement pattern had become unfashionable in the recorded
literature in favour of an interpretation with
strong tempo contrasts. But the internal integration of the first movement
is only part of a larger integration of the entire symphony in his
performance: Tjeknavorian performs the whole
symphony attacca, with only 2
seconds between the last downbeat of each movement and the first of the
next one, scarcely enough time for the sound to die away. (This feature is
unique to this recording: a more typical value would be 10 seconds after
the first movement and 5 seconds after the second movement.) He delivers
an unusually fast second movement - the basic tempo is between 90 and 100
bpm, a noticeable difference from the composer's
suggested 80 bpm and many performances that are
comfortably slower - which further lessens the contrast between this
movement and its surrounding first and third fast movements.
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divided into three movements, with no traditionally marked break between any of them. Gerald Abraham has suggested [...] that as the music stands in its final form it should really be regarded as a single, integrated structure in which only vestiges of the original scheme are left to remind us of its first concept.[65] |
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This
'single structure' scheme is a plausible view of the symphony, but an
extremely unusual one: the movements are indeed unnumbered, but conventionalised buffers appear between them in the
form of a double barline and new tempo marking
and key signature,[66]
enough to make most performers treat them as a small point of rest.
Although Orga quotes an analytical essay by
Abraham to support his view of a unified symphony, in fact Abraham was
referring to just the first movement as being (possibly) a
single integrated structure.[67]
He has thus been wilfully, or creatively,
misread by Orga to support the latter's
conception of the music's larger continuity, again matching the
performance he is describing.[68] |
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The
performance and the sleeve note are each unique amongst the set of forty
recordings for being so extreme in the levels of integration that they put
forward, such that it seemed like more than coincidence that they were
paired together. I tracked down Orga to ask him
if this was the case, and he confirmed that he, Tjeknavorian, and the producer Charles Gerhard
prepared the recording together, and that the correlation between the note
and the performance was the result of their joint interpretation of the
work, based on both musical and orthographic considerations.[69]
If a performance and an analytical writing are both realisations of a personal interpretation of a
piece,[70]
the interpretational concept here is one that has been built up by
discussion between individuals, and realised in
different media in parallel, then finally recombined into a multi-media
package (offering still another layer of integration). It is clear that this recording
and its sleeve note are linked together closely, and we can conclude that
such cases of interpretative correlation are sometimes, as here, the
result of deliberate and fruitful collaboration.[71]
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Correlation 2a: Two-movement contrast and
change in Karajan (1953) and Amis
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The ground-breaking two-movement interpretation by Herbert
von Karajan with the Philharmonic Orchestra in 1953, already discussed in
Section II above, comes along with the first programme note to mention any
possibility of a two-movement interpretation of the passage. John Amis
comments in his contemporaneous LP notes that 'the first movement [of the
Symphony] has the elements of two movements' (even though he hedges a
little by adding that 'the mood and thematic material are welded insolubly
into one'). He observes that after the Allegro marking 'the music
perceptibly quickens at last to a fast three in a bar', describing a
change to a light and fast scherzo style that is indeed perceptible in the
second half of Karajan's performance - whereas the same could not be said
of any of the other prior recorded versions which remain relatively steady
and solid-sounding, suggesting the continuation of a discursive first
movement. Amis's qualifier 'at last' refers to an unspecified point after
the start of the Allegro at bar 114 (and before 'the trumpet has a brief
dancing tune' which is at bar 218), and suggests a change that is awaited
or that is later than it might be - and this reflects the distinctive
shape of Karajan's tempo structure, where the faster speed is established
by a steep but gradual accelerando which begins just after the potential
analytical movement break at bar 106 but culminates much later around bar
150: see Example 2. This interpretative decision is also in distinction to
the tempo markings on the score which indicate a continuous process of
speed increase through markings of 'poco a poco meno moderato' at bar 107, 'Allegro moderato (ma poco a
poco stretto)' at bar 114, and '(vivace molto)', 'Presto',
and 'Più presto' at bars 372, 507, and 555,
rather than any settling-down point for the tempo. Karajan does continue
to increase the tempo at a lesser rate following bar 150, and this is
reflected in Amis's subsequent comments that 'the music constantly speeds
towards a powerful close'.
|
26 |
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All these
compatibilities suggest that Amis was describing the specific performance,
rather than a random interpretative possibility, so (as in the case of
Orga and Tjeknavorian)
I thought it worth writing to Amis to enquire. Unfortunately, Amis had
little recollection of writing the note, which at 57 years' remove was
disappointing but not surprising. He stated that he didn't think he had
had the chance to listen to Karajan's performance beforehand, but that he
might have read Abraham's account of the symphony (the same account that
Orga had used to support his own programme
note's agenda in Correlation 1).[72]
Unlike the case of Orga and Tjeknavorian, this shows an indirect pattern of
relatedness between note and performance, where the creative artists
appear to merely happen to share a compatible interpretation. At the same
time the possibility of shared prior influences remains a likelihood, whether in the form of notable
performances or well-circulated written accounts. |
27 |
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Correlation 2b: Track timing in Karajan
(1965) and Panula |
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The
cassette release for Karajan's 1965 performance (with the Berlin
Philharmonic Orchestra)[73]
has been allocated a track listing as follows.
|
28 |
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Panula's
performance from 1969 is also tracked in four movements (more powerfully,
since this is a re-release in CD format), and numbered with arabic and Roman numerals exactly like the Karajan,
with its own timings in four movements - even though the numberings here
are paralleled by a prose commentary which gives a basic hedging
approach.[74]
Both of these performances are two-movement interpretations, the Karajan
very strongly so and the Panula more moderately,
so these unusual trackings and timings show
another way that the creators of record sleeves can reflect the
performances inside. Whoever the anonymous person at the record companies
was who allocated these numbers, they wielded a
surprising amount of persuasiveness in a small number of
digits.
|
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Correlation 3: Rozhdestvensky and Crankshaw and their 'stepped'
interpretation
|
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Geoffrey Crankshaw's programme note, for Rozhdestvensky's performance in 1980, is a rich hedge
that both strongly articulates the movement division and affirms the
overall unity of the movement. Like Orga's (and
Amis's) notes, it creatively misreads the construction of the symphony,
but in a different direction: |
30 |
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Analysts are still at
loggerheads over the architecture of the first movement's eventful music.
Does the composer offer us a single movement or two linked together? The
problem does not emerge in the movement's initial stages [...]. Suddenly the
tempo changes to Allegro moderato,
ma poco a poco stretto. It is this turn
of events which has caused some to view the episode as the start of a
fresh movement - linked but yet distinct [...]. The whole procedure is
typical of the composer's creative processes. No, this is not two movements tacked together,
but one mighty argument, all evolving from quite simple germs.[75]
|
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The marking of Allegro moderato at bar 114 is
only an intermediate point in the gradual acceleration that continues in
the score from bar 107 through to bar 555; the change at bar 114 is
descriptive and notational and marks the point in the recomposition where the bridge material met the
scherzo, but is inaudible in tempo terms. Yet Crankshaw's identification of a 'sudden' tempo change
perfectly describes the structure of the particular performance, and seems
non-coincidentally connected with it. Example 5 shows Rozhdestvensky's 'stepped' interpretation, separating
distinct tempo plateaux with no acceleration within them (despite the
'stretto' indication in the score) by an abrupt
increase in tempo between bars 108 and 113. There are four such stepped
interpretations in the set, and it seems to be a Russian tradition;[76]
the programme notes for the other three (conducted by the Russians Horenstein and Kondrashin
and the latter's pupil Levi), tantalisingly, make no mention of the issue
and so have had to be excluded from this collection. The performance style
represents an effective structural 'hedge' of a kind, since the step in
tempo separates the two constituent movements even whilst the lack of
continued accelerando fails to differentiate them - and hence is matched
by the programme note very neatly.
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In this case I would
speculate that the correlation between note and performance is a result
of the writer responding to the qualities of the recording
rather than a collaboration or a coincidence, since his notes date from
five years after the recording itself. Crankshaw's career was as a general critic and CD
reviewer (for Musical Opinion,
Classic CD, the Musical Times and others), rather
than having any evident personal links with Russian conductors
directly.
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Since some of the
correlations noted above make reference to writings other than sleeve
notes, we can now pull this thread to unravel the general cultural context
and reveal the nature and function of these other
writings. |
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IV. The middlebrow, their programme notes,
and 'analytical' writing on Sibelius |
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The notion and
phenomenon of the musical-cultural 'middlebrow' forms a link between the
reception of Sibelius in Britain and the pivotal function of programme
notes. The term is first found in print around 1925 but derives (with a
little irony) from late Victorian and Edwardian popular phrenology; it
delineates a category opposed to both ends of the 'high-low' and
'elite-mass' dichotomies and, whilst it can be pejorative, was also owned
by many who described themselves and their tastes as such.[78]
The middlebrow musical canon was drawn largely from European repertory
(whilst influences on the popular style were mostly
American), and typically saw classical symphonies rubbing up against brass
band music, operatic overtures, virtuoso violin arrangements, Handel and
Mendelssohn choral works, and melodic pieces by the likes of Bizet, Elgar,
Albert Ketèlbey, Richard Rodgers, and Johann
Strauss.[79]
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This middlebrow
'musical public' then felt itself to be distinguished not only from
professional musicians on the one hand but also from 'the vulgar herd' on
the other,[80]
and they were open-minded in their tastes but only up to a point. Overchallenged (even bullied) by the new phenomenon of
Reithian BBC radio broadcasting into the belief
that contemporary music was in a sense good for them and they should come
to endure it,[81]
many of them found that they could not stomach the musical (and probably
also the national) implications of Schoenberg and his students in
particular.[82]
By 1931 'even self-proclaimed new music enthusiasts had lost patience with
the Corporation's preoccupation with this particular composer
[Schoenberg]'.[83]
This same year was a pivotal point for the reception of Sibelius's music
in Britain, since it saw the appearance of both Cecil Gray's pioneering
biographical and aesthetical monograph Sibelius, and the premiere
recordings of the First and Second Symphonies:[84]
by the end of that year, Scott Goddard could note 'the considerable
increase of interest in the music of Sibelius in this country' afforded by
these developments.[85]
The listening public who had absorbed the spirit if not the letter of the
contemporary music message leapt on this composer's works with enthusiasm:
indeed, 'Sibelius's symphonies were so popular in England by the mid to
late 1930s that the phenomenon was often referred to at the time as the
"Sibelius cult" '.[86]
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For the middlebrow
audience's needs the programme note was the perfect vehicle: informative,
only moderately technical, and delivered in manageable chunks which
combined perfectly with their listening practices. And of the eight
'leading English-language writers of programme notes in the early
20th century' mentioned by Nigel Simeone,[87]
a noticeably high proportion of them - namely Donald Tovey, Ernest Newman and Rosa Newmarch - were strongly involved with commentating on
and promoting Sibelius in the early days of his British popularity. Donald
Francis Tovey wrote distinguished notes for his
own concerts in Edinburgh and for some in London, some of which were
anthologised as Essays in Musical
Analysis; his analytical commentary on Sibelius's Fifth Symphony,
which appeared (alongside that on the Third) in volume II of these Essays, achieves the status of a
major explication of the piece's structure for its published time of
1935.[88]
The critic Ernest Newman, always prominent in the push to promote new
music to the general listener, provided part of
the extensive sleeve note for the premiere recording of Sibelius's Fifth
(with Karajan) in 1932, where he introduced the composer as 'one of the
most remarkable minds that has ever found its outlet in music',[89]
elsewhere having compared him favourably to Schoenberg.[90]
And Rosa Newmarch, regular note-writer for Henry
Wood's concerts at the Queen's Hall and author of the collected Concert-Goer's Library of Descriptive
Notes, was one of the earliest to publish substantially on Sibelius's
music; her booklet Jean Sibelius: A
Finnish Composer of 1906 was less well-known but perhaps even more
telling than her 1939 biography Jean Sibelius: A Short Story of a Long
Friendship.[91]
As part of the Granville Bantock / Henry Wood
circle she was jointly responsible for welcoming Sibelius to Britain in
1905 and 1908 and creating the first wave of appreciation for his music
here before his fame was to spread during the 1930s.[92]
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It is noticeable in
this account that there is an odd cross-over between programme notes and
published analytical volumes in the form of Tovey's Essays
and Newmarch's Concert-Goer's Library, both of
which are books which collate a selection of their existing programme
notes into print - and this observation provides the key to dismantling an
apparent distinction between the two genres that is unhelpful to
understanding British musical reading material of the period. Whilst
nineteenth-century Britain could be regarded as 'the land without music
analysis' in comparison with the detailed activity elsewhere in Europe, it
did possess active traditions of technical and pedagogical analysis.[93]
However it was what Catherine Dale identifies as the third tradition of
'"programme-note" style analysis' that formed the basis for the readable
blend of musical commentary and dramatic hermeneutics that made Tovey's writings more widely read than others', and
hence 'set the standard for technical analysis in Britain'.[94]
Even when Tovey's writings were intended as
self-standing publication or comments on an edition, they 'serve as an
introduction to the work that the listener is about to hear, and it is
this aspect that lends them the distinct character of "programme
notes" '.[95]
This third style of writing would have been familiar to British musical
life from the analytical programme notes written by George Grove and
August Manns for the Crystal Palace concerts in
London,[96]
which also stimulated the writing of the former's famous Dictionary and his reference text
Beethoven and his Nine
Symphonies.[97]
The extent of the cross-over between British analysis and programme notes
is evident from the tug-of-war in Grove's Dictionary where the article that
began life under the title 'Analysis', in the first edition (of 1879) and
the second edition, and morphed into 'Analytical Notes' (with accretions
by other writers) in the third and fourth editions, was retitled 'Programme Notes' in the fifth edition;[98]
the sixth edition of 1980 (New
Grove) carries an article
on Analysis in the modern sense (with a brief mention of Tovey in his historical position),[99]
but no entry for Programme Notes, and it is not until the seventh edition
of 2001 (New Grove Revised)
that both topics are given full consideration in their own separate
place.
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Indeed even that
analytical material on Sibelius, published in Britain, which did not begin life as programme notes,
tends to have the qualities of a 'listener's guide', and appears in
outlets intended for high circulation, usually under the banner of a
collectable series for the general listener.[100]
The music critic Cecil Gray published a set of analytical comments on each
of Sibelius's symphonies in the tiny and inexpensive Musical Pilgrim format (77 pp.,
6''x4'), a series which Megan Prictor recognises
as part of Oxford University Press's music appreciation efforts
(complementing the landmark The
Oxford Companion to Music (1923), The Radio Times Music Handbook
(1935) and similar middlebrow ventures).[101]
The 1947 Sibelius: A Symposium,
edited and with a chapter on the symphonies by Gerald Abraham, guides the
reader (or listener) gently through each of the genres frequented by this
composer, choosing Sibelius as the first contemporary composer (and only
the third composer overall) in the series Music of the Masters, a choice
which he said 'calls for little defence'.[102]
Although he was a publishing musicologist, typically for this group of
writers Abraham's career was by no means centred on the ivory tower - he
worked in an editorial capacity at the Radio Times (1935-39), and The Listener (1939-42), and as
Director of the Gramophone Department at the BBC (1942-47), becoming a
professor at Liverpool University only in the same year as his Sibelius
book was published. The Finnish conductor and composer Simon Parmet continued in the same vein with his The Symphonies of Sibelius
(published in Swedish in 1955 and in English translation in 1959); the
middle-brow appeal of the text is given away by
its subtitle, A Study in Musical
Appreciation. Robert Layton was entrusted with the life-and-works Master Musicians volume which came
out in Sibelius's centenary year of 1965;[103]
as a regular reviewer for Gramophone magazine and The Stereo Record Guide, and a BBC
internal rather than an academic musicologist, he too thus personifies the
connections between recorded and broadcast music and the more apparently
formal music monographs. The same year the BBC itself published a booklet
on Sibelius and Nielsen, intended to supplement its centenary broadcasts
on the Third Programme and the Music Programme, written by the composer
(and freelance lecturer/writer) Robert Simpson. The 'discovery narratives'
of this booklet seem to want to replicate the listening process of a
putative innocent but open-minded listener ('What now - is this a new
movement, a scherzo? [...] Just
as we settle happily, sure that we have the answer[...]')[104],
but (like many such texts from Tovey onwards)
invoke a substantial amount of music notation, technical terminology, and
harmonic analysis such as would challenge some of his intended audience.[105]
Lionel Pike, as an academic musicologist employed by the University of
London, marks the start of a new trend towards professionalism in British
Sibelius studies with his Beethoven, Sibelius and 'the Profound
Logic' of 1978; published by Athlone Press,
the publishing house of the University of London, the book's 240-page
length and over-arching analytical theories move it out of the league of
the 'ordinary listener' and into the domain of a music undergraduate.[106]
Nonetheless, the previous tradition was revivified when James Hepokoski's ground-breaking
analytical and hermeneutic Sibelius research was published in the popular
Cambridge Handbook series, intended to provide 'accessible introductions [...]
with the concert-goer, performer and student in mind',[107]
rather than in a prestigious but obscure scholarly monograph.[108]
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Thus part of the
success of Sibelius in Britain can surely be attributed to the style and
widespread distribution of the 'analytical' material, founded on the
tried-and-tested style of the programme note, which made it accessible to
the large middlebrow listening public. It was thus complementary to the
role of the symphonic recordings themselves, which from 1931 allowed the
public to to 'play the work daily and at last
get close to the music'.[109]
'Few composers have benefited as much from the invention of the phonograph
as has Sibelius', claimed Harold Johnson in 1959,[110]
but the beneficial role of the accompanying (and related) written
materials should also not be underestimated.
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V. The Sibelius analysts and their recording
sleeve notes |
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In this context of
fluidity between the analytical monograph and the performance paratext, then, it shouldn't be surprising that some
of these published Sibelian authors also turn to
writing sleeve notes for recordings as a means of reaching their intended
audience, as well as supplementing their freelance careers.
|
39
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Gray wrote the analytical part of the
extensive accompanying material for the first recording of the work under
Kajanus and HMV (with Ernest Newman contributing
the aesthetic-historical introduction). Both this programme note and
Gray's slightly later monograph propound a one-movement scheme whilst
acknowledging the possible division into two sections within it. The book
states that 'the first movement definitely falls into two strongly
contrasted sections in such a way that it is possible to regard them as
two separate movements playing without a break [...] [but this] seems to the present writer illogical and
indefensible';[111]
whilst the note claims that 'the work is in three movements, the usual
scherzo being dispensed with or, if one chooses to look at the matter in
that way, embodied in the first movement'. The music examples and the
details of the musical materials in the five-sheet note are, in places,
more lavish and extensive than in the monograph, though lacking some
deeper thematic correlations between the later movements that were
presumably revealed by the passage of time.[112]
The correlation between Kajanus's interpretation
and Gray's description may well be partly explained by the latter's
familiarity with the former's performing style, a tantalising link back to
the composer in the light of Kajanus's devotion
to rendering Sibelius's works in a way that closely paralleled that of the
composers's own performances.[113]
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Abraham's formal analysis combines one- and
two-movement schemes together to make a compound scheme, the first
well-circulated account to give a detailed plan for a two-movement view of
the piece. This source appears to be popular with writers of programme
notes of all stances: not only was Abraham (mis)quoted by Orga in his unifying programme note for Tjeknavorian, but when pressed for the influences upon
his ground-breaking note for Karajan's two-movement recording, John Amis
also speculated that he 'might have read Abrahams'.[114]
In another layer of contradictions, Abraham's published article is as
technically detailed as any of its time, but when he writes his own
programme note, for Rattle's 1982 recording, Abraham respects the more
exoteric nature of the latter genre, pointing out that reassuringly that
'as for the problem of the first movement which naturally fascinates the
critics [viz. himself and his peers!], it is no problem for the listener'.[115]
Nonetheless he can't resist giving rehearsal letters for those with a
miniature score who want to look up the details of the form.
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Layton wrote sleeve
notes for a range of recordings, following the release of his 1965
monograph on Sibelius, but increasingly staunchly defended the analytical
point of view he had already established in its pages. The relevant
passage in his monograph on the opening of the Fifth Symphony states that
'there are compelling musical reasons for disregarding [the historical
movement] division and viewing the piece as one continuous movement. Not
the least compelling are the organic cohesion of the material and the
overall tonal scheme of the movement'.[116]
Accordingly in the 1967 version of his programme note which is used for
both Barbirolli (1967) and the later cassette
re-release of Karajan (1961), he recommends the one-movement scheme; but
at this point his position is a fairly moderate 'hedge/one' type. He
begins with a typical hedging reference to the movement as 'perhaps the
most original in all Sibelius', continuing by describing it as 'a united
framework that [nonetheless] combines features of first movement and
scherzo', but finally acknowledging that the second part of the movement
'is so closely integrated both in feeling and substance with the first
part that one takes their unity for granted'. These programme notes take
arms against the analytical significance of the earlier 1915 version of
the symphony, with its separate opening movements, by saying that
'Sibelius was dissatisfied with this' and felt compelled to withdraw it
twice 'for further re-working'. |
42
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The same basic sleeve
note by Layton receives a minor rewrite in 1974 for a recording by
Berglund, but by 1988 (when it accompanies a recording by Saraste), the note has been adapted with a mix of old
and new sentences, and Layton's rhetoric has intensified the argument
against the 1915 version. To his previous comments he adds 'There is no
doubt [Sibelius] hurried so that it would be ready for the occasion [of
its first performance in 1915]', and 'In fact it was not until 1919 that
the symphony was finished', emphasising 'how drastic a metamorphosis the
work underwent' between revisions.[117]
This version of the note also suppresses the dissenting voices (of Abraham
and Parmet) present in the earlier versions
which give the balancing two-movement perspective, making the new note a
one-movement interpretation without any element of hedging. The same
content revised for a 1990 CD re-release of Koussevitsky (1940) keeps the essence of these
comments but adds that Sibelius 'undoubtedly hurried' the first
version (italics added), and emphasises the final version as the
'definitive form'. (Whereas Layton waxes descriptive about the conductor's
specific performances of the coupled Second and Seventh Symphonies, for
the Fifth he relies on the pre-performance opinions he already has in
stock.) And the further redraft for Blomstedt's
1993 performance amplifies his previous comment
that 'Sibelius was not happy' with the 1915 version to speculate that
'Sibelius was not at all happy'
with it (italics added). This gradual process of adding narrative emphasis
seems like an increasing attempt to dismiss the significance of the
earlier version of the symphony, with its structural precedent of separate
movements, in the face of growing discussion of it elsewhere, so as to
strengthen the one-movement interpretation that the author prefers and
that he is known for. Through the sleeve note revisions we are able to
watch Layton's opinions on the structural debate entrench themselves over
the years, a fascinating diachronic process one is not often afforded.[118] |
43
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How does Layton's nexus
of sleeve notes relate to the performances they support and the
performances he personally approves of? Layton uses the sleeve note medium
to propound his one-movement interpretation despite the fact that all of the
performances that his notes are
attached to (except for the rereleased Koussevitsky) present a two-movement interpretation of
some degree (see Table 1). The written material that travels from one
record sleeve to another thus does not seem to bear much relation to what
is inside; Layton has more independence, perhaps, than most programme note
writers, as he has his own major monograph to draw upon. In this case the
programme note forms its own trajectory of reception, is unswayed by the interpretation of the performances it
is attached to, and even may be trying to work against them to promote a
pre-existing analytical agenda.[119]
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In his record reviews
for the popular British middlebrow magazine Gramophone, Layton extends this cultural work
by criticising extreme two-movement versions of the piece which move to a
much faster tempo in the middle - for instance that by Esa-Pekka Salonen - but
instead commends for their 'mastery of the structure' a variety of
interpretations ranging from one-movement to moderate two-movement
versions (the former by Tuxen and Gibson, and
the latter by Rattle and Karajan).[120]
In particular Sargent's moderate performance of
the work made a deep impression on Layton when he heard it in the concert
hall in the early 1950s - 'he handled the celebrated transition [...] with
consummate skill'[121] - and so this preference for a limited although still articulated contrast
between the sections of the extended movement may have cast the dye in
Layton's critical writings thereafter. |
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Record reviews are a
relevant part of the picture here, as like sleeve notes they mediate
particular sound recordings verbally to the potential listener. Symes points out that the record review 'belong[s] to
a special category of texts called "dependency texts" [...] not entirely
autonomous but predicated upon the pre-existence of another "text" [here
the recording] upon which it casts judgement'.[122]
Compared to the sleeve note, also a dependency text (or paratext),
the record review is still more of an epitext - a connected
statement outside the musical text itself - than the sleeve note, since a
review is not physically connected to the recording like a sleeve note but
merely distantly refers to it. Nonetheless, it is significant that record
reviews in Gramophone magazine
were labelled 'Analytical Notes and First Reviews' until 1970, thus
further blurring reviews in with programme notes and sleeve notes, which
were likewise considered forms of 'analysis' for much of the century (as
the New Grove articles revealed
above). Record reviews were aimed at the potential consumer and classical
music enthusiast, and were generally written by those 'from the main
bastions of the U.K. musical establishment' such as the BBC, New Grove, or university music
departments.[123]
Symes identifies that many review authors 'also
write sleeve notes',[124]
so the cultural, functional, and stylistic relationships between these two
genres have been inevitably close.
|
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In conclusion, there is
fluidity between musicological books, sleeve notes, and record reviews,
both where a note-writer draws on a pre-existing text (as Orga did with Abraham), and where the note itself is
written by the author of a book or article (as with Layton, and as with
Gray, though his extensive note was the precursor of his published
monograph). Furthermore, programme notes and sleeve notes are hardly
distinguishable in style from, indeed form the basis for, published
monographs and scholarly articles on Sibelius during the first two-thirds
of the twentieth century in Britain, and thus form a crucial link between
performance and written discourse during this period which is often
overlooked. This whole range of writings (including record reviews), along
with recorded (and live) performances, forms a network of musical
information which was consistently aimed towards (as well as mostly
digestible for) a range of listeners whose cultural approach might be
termed middlebrow, as well as for those more specialist critics,
performers and others who might be in a position in turn to influence
public opinion. |
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VI.
Discussion |
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As we
have seen in the first half of this article, a sleeve note writer may
choose to enhance, ignore, or subvert the distinctive interpretation that
the performance conveys (and sometimes performers and writers may team up
against the composer to creatively misread the work), so that the nature
of the relationship between recordings and their programme notes within the general context of the work
of music is limited only by human creativity, ideology, and obstinacy.
These practices create a more complex or even contradictory representation
of a piece of music than might be supposed from the tidiness of the
recording package. Furthermore, sleeve note contents form a vital support
to a mainstream style of analytical writing and cannot be conclusively
disentangled from the self-contained books in the form of which such
writings normally receive academic attention. Sleeve notes represent a
conduit for ideas about music, running back-and-forth between recordings,
research, and reviews, and thus can enable us to trace patterns of musical
thought transmission across otherwise boundaried
areas of activity. What appears to be a reductive structural question,
about numbers of movements in a Sibelius symphony, has here illustrated
collaborative musical practices (between conductors and commentators),
rhetorical strategies (of 'hedging', ossifying, and subverting), freelance
working patterns (touching on institutional affiliations, record
reviewing, and publication), and generic ambiguities (between notes,
guide-books, and reviews) which perhaps would otherwise not have been
brought to light. |
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In his account of paratexts, and their diversity and significance, Genette remarks that: |
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The notes that
accompany musical recordings or even simply the information provided on
record jackets or CD cases [...] are a mine of paratextual information. Other researchers, I hope,
will work that vein.[125]
|
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Whilst
concert programme notes have become a recognised 'vein' of musical reception history, record
sleeve notes have been mined hardly at all. This neglect is perhaps
surprising given sleeve notes' many fruitful leads between music
performance, historical contextualisation,
analytical interpretation, and social delineation. Working with sleeve
notes has in common some of the subversive features of working with
concert programme notes: engagement with the
expectations of the general listener;[126]
consideration of the locus of power in the person of the writer granted
the authority to control listeners' perception; and eschewing published
books and articles as a starting point in favour
of what might be viewed as ephemera.[127]
Sleeve notes also differ from programme notes in
key aspects, since they are more likely to be preserved and re-read
(recordings are kept as valuable, and the jewel cases protect them) so may
have influenced listener perception for longer;[128]
the performance to which a notes in some sense pertains is recoverable
(unlike most live concerts) and can be itself interrogated; and the
status of the note vis-à-vis the work is further complicated by
considering its relationships with the specificity of the individual
interpretation (as above).
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Sleeve
note research in itself addresses historically-specific questions of music
reception: whilst concert programme notes are
often described as a characteristic part of nineteenth-century listening
practices,[129]
recording sleeve notes might be considered to be equally evocative of
those of the twentieth century, when the growing availability of the
household record collection enabled listeners to relocate much of their
listening to the domestic sphere.[130]
As an effective tool for 'shaping listening practices',[131]
sleeve notes may also turn out to be coterminous with the twentieth
century, since many listeners in the early 21st century are now
turning to computer (and mobile-phone) downloading and digital streaming
services as ways of obtaining their music, which has the advantages of
arriving swiftly and demanding negligible physical storage space,[132]
but lacks the convenient verbal accompaniment that comes with records,
cassettes, and CDs.[133]
In a sense the guidance that sleeve notes used to offer is now superseded,
since for those listeners who have online access the internet invariably
offers a range of information to supplement their sound files, from the very general (such as online
encyclopedia articles) to the highly detailed (including extensive
information on composers or performers, academic articles available
through online archives, and, ironically, uploaded programme notes from concerts).[134]
Maybe there is something lost in this process, the opportunity for
musicians to put together intentionally a integrated package of
complementary information and convey it to a receptive listener[135] - or maybe it would be too easy to sentimentalise and idealise
a process that rarely worked as holistically as it might. Instead,
21st-century modes of catering to the public's hunger for
musical information could be seen as just another stage in the democratisation of musical knowledge that was
previously fed by programme notes, sleeve notes,
and the like. |
50
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To face
the social dimensions of music reproduction and reception is, finally, to
face the mechanisms through which our individual relationship with music
is constituted, together with its micro-historical process, and its
connections with class, privilege, and the contributions of others. The
greater portion of support for western art music comes from quarters that
might still be termed middlebrow; for instance, whilst the sharp edge of
connoisseur listening to classical music in the UK is represented by the
state-sponsored BBC Radio Three, its commercial sibling station, Classic
FM, nets a notably larger audience with its easier-to-digest playlist,
popularity charts, and reassuring commentaries which firmly perpetuate the
middlebrow listening tradition.[136]
Reflections on mechanisms of music dissemination such as these prompt
self-examination and more overt discussion, particularly amongst those of
us who are now music connoisseurs and professionals, about how we
ourselves came to learn and appreciate what we know. (When did you first
hear a particular landmark piece? where did you get the first classical
recording you ever were obsessed by? how did you first find out about the
composer(s) you went on to write a dissertation about?) In some of our
cases, a family background provided a 'highbrow' listening environment,
and/or we received a formal school education that drilled us through
old-fashioned biographical and repertoire studies; but in other cases,
such as my own, haphazard influences such as childhood dance classes and
George Martin's orchestral scorings introduced us to a proto-classical
style, and our solitary acquaintance was consolidated by poring over
cassettes (and their sleeve notes) from the local library, and
tape-recording interesting pieces (and their introductions) from the
radio. For those who choose them, sleeve notes, and similar interventions
such as radio introductions, enable a form of musical social mobility into
a rich variety of genres, world styles, and historical periods. Like other
institutions such as public listening libraries, sleeve notes can be seen
as a form of generosity of provision that many are grateful for and recognise as contingent upon fragile social
circumstances. It is perhaps
paradoxical that Britain, a country notoriously rigid in class
identification, should be a bastion of paratextual mechanisms designed to share forms of
cultural participation with individuals who might otherwise grow up
without them; or perhaps this part of the 'music appreciation movement'
shares its misguided aims of internal cultural colonisation through its chosen artistic ideals.[137]
In any case, sleeve notes have the potential to get us talking about
particular issues of social class and educational privilege that have remained taboo, or
invisible, for perhaps too long.
|
51
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[1] Christina Bashford, 'Not Just "G.": Towards a History of the
Programme Note', in Michael
Musgrave (ed.), George Grove, Music and Victorian Culture (Basingstoke: Palgrave Macmillan,
2003), 115–42: 117.
[2]
Nigel Simeone, 'Programme Note', Grove Music Online
[3] Bashford, 'Not
Just G', 117.
[4] Catherine Dale, 'The
"Analytical" Content of the Concert Programme Note Re-examined: its Growth and
Influence in Nineteenth-Century Britain', in Jeremy Dibble and Bennett Zon (eds.), Nineteenth-century British Music
Studies, vol. 2 (Aldershot: Ashgate, 2002), 199–222: 199–200.
[5] Christina Bashford,
'Educating England: Networks of Programme-Note Provision in the Nineteenth
Century', in Rachel Cowgill and Peter Holman (eds.), Music in the British Provinces,
1690–1914 (Aldershot: Ashgate, 2007), 349-376.
[6] Bashford, 'Not
Just G', 134.
[7] Simeone, 'Programme Note', section 2, 'Disc notes'.
[8] Colin Symes, Setting the
Record Straight: A Material History of Classical Recording (Middletown,
Connecticut: Wesleyan University Press, 2004), 124.
[9] Ibid., 151.
[10] Allen, Graham, Intertextuality: The New Critical Idiom (London: Routledge, 2000), 103.
[11] Gerald Genette, Paratexts: Thresholds of Interpretation (Cambridge: Cambridge University Press, 1997), 63.
[12] Paratexts comprise 'those liminal devices and conventions, both within the book (peritext) and outside it (epitext), that
mediate the book to the reader'. (Richard Macksey,
Foreword to Genette, Paratexts, xviii; emphases in
original.)
[13] Symes attributes the commercial potential of recording
packaging primarily to the front cover, designed to 'arrest the attention of
consumers in retail environments', and their 'inward-looking' and 'expository'
function more to the liner notes themselves (Setting the Record Straight, 126).
[14] Howard Mayer Brown
discusses the combination of 'scholarly and practical interests' that
characterised early music performance and recording (Howard Mayer Brown,
'Pedantry or Liberation? A Sketch of the Historical Performance Movement', in
Nicholas Kenyon (ed.), Authenticity and
Early Music (Oxford: Oxford University Press, 1988), 27-56: 47); detailed
sleeve notes by performer-directors such as Christopher Page were a particularly
intimate manifestion of this. In contrast, from the
set of 43 symphonic recordings studied for this article, no conductor authored
their own notes, an odd reluctance to speak for one's own interpretation that is
typical in many western art music styles. (Compare footnote 17 on popular music
styles.)
[15] My
thanks to Nanette de Jong for discussing this point
with me.
[16] Beverley Lewis Parker, 'Art,
Culture and Authenticity in South African music', International Review of the Aesthetics and
Sociology of Music, 39 (2008), 57-71: 62 and
66.
[17] The uses of record sleeve text and artwork in popular music styles of the last
few decades are different again, due partly to the focus on the persona(e) of the performer(s). The sleeve design may be a
space for artistic expression for the performers, or merely put together by
designers, but is usually regarded as an iconic part of the creative
statement.
[18] Nicholas Cook, 'The
Domestic Gesamtkunstwerk, or Record
Sleeves and Reception', in Wyndham Thomas (ed.), Composition – Performance – Reception:
Studies in the Creative Process in Music (Aldershot: Ashgate, 1998), 105–117: 109. This article deals primarily
with the pictures, and not the texts, which accompany
recordings.
[19] Ibid., 115.
[20] Ibid.
[21] This process is
described more extensively in Bethany Lowe, 'On the Relationship Between
Analysis and Performance: The Mediatory Role of the Interpretation', Indiana Theory Review, vol. 24 (2003),
47-94.
[22] Lewis Foreman
commented that note-writers can often, if they ask, often get at least a first
edit to listen to, and Andrew Burn agreed that in such cases writers would then
generally try to gear their comments to that performance. Mark Pappenheim added that recording companies will often keep a
'bank' of notes and recycle them, but this does not seem to take place within
the current set, despite the recurrence of imprints such as Decca, EMI, and
Deutsche Grammophon. My thanks to these and the other
participants of the Society for Music Analysis's 'Music Programme Notes' Study
Day (University of Sussex, 25 November 2006) for their stimulating comments.
[23] Bashford, 'Educating England', 363–373. Several of the
sleeve notes considered here are anonymous, attributed to and copyright of the
record company, and others are recycled, as will be
seen.
[24] 'Record sleeves
transcend their origins in packaging and become part of the product, or at any
rate part of the discursive framework within which the music inside them is
consumed. Seen this way, they function as agents in the cultural process, sites
where meaning is negotiated.' Cook, 'The Domestic Gesamtkunstwerk',
106.
[25] For more background on
Sibelius's Fifth Symphony and its analytical ambiguities, see Bethany Lowe, 'Analysing Performances of Sibelius's
Fifth Symphony: The "One Movement or Two" Debate and the Plurality of the Music
Object', Music Analysis 30 (2011),
218–271: 222–224. More on these
writers will appear in sections IV and V that follow.
[26] The passage's
processes, and the accumulated wisdom of previous analysts, are summed up in James Hepokoski, Sibelius: Symphony No. 5 (Cambridge:
Cambridge University Press, 1993): 58–70.
[27] See Lowe, 'Analysing
Performances of Sibelius's Fifth Symphony', 218–222 and 224–9, where the
methodology and other relevant backgrounds to performance analysis are more
thoroughly explained. For further detailed information on this and related
background topics throughout, see also Bethany Lowe, 'Performance, Analysis, and
Interpretation in Sibelius's Fifth Symphony' (PhD diss., University of
Southampton, 2000).
[28] Dale, 'The
"Analytical" Content of the Concert Programme Note Re-examined',
221.
[29] In these cases the
programme notes focussed variously on general features of the music (sleeve note
to performance by Kurt Sanderling / Berlin Symphony
Orchestra (cassette, GK71218, 1976)), its historical context (sleeve note to
performances by Leonard Bernstein / New York Philharmonic Orchestra, 1966 (CD,
CBS MYK38474, 1988), and Jascha Horenstein / BBC Northern Symphony Orchestra, 1971 (CD,
Intaglio INCD 7331, 1992)), or the personality of the conductor (e.g. sleeve
note to re-release of performance by Kirill Kondrashin / Concertgebouw Orchestra, 1976 (CD, Philips 438
279-2, 1993)). Some did mention the original versions of the Fifth Symphony and
its revisions, but without giving away any structural conclusions (e.g. sleeve
note by Richard Mohr to performance by Georges Prêtre / New Philharmonia Orchestra (LP, RCA Victor SB6775,
1968)). (Notes are anonymous except where indicated, and performance dates are
given after conductor and orchestra details where different from the rerelease
date that follows. All recordings referred to are of Sibelius's Symphony No. 5.)
For more details of these recordings and their note-writers please see next
footnote and Lowe, 'Performance, Analysis, and Interpretation', 248–251.
[30] For more information
about releases, conductors, and the orchestras used in the recordings, see Guy
Thomas, The Symphonies of Jean Sibelius:
A Discography and Discussion (Bloomington: Indiana University Press, 1990).
(Herbert Blomstedt's and Andrew Davis's performances
post-date Thomas's 1989 discography, and use the San Francisco Symphony and the
BBC Symphony Orchestra respectively.) Dates in this table have been mostly based
on the original release dates given in Thomas (except where I have discovered
more accurate dates), but in fact the dating of recordings is a highly
approximate science. Invariably the same musical performance gets released more
than once, probably in different formats and/or in different countries under
different record labels, and these releases may be given entirely different
sleeve notes. Unlike books or journals, many recording packages do not give
dates, and what datings do appear tend to represent
the copyright year of performance, often different from the release date due to
the complications of the process and the nature of multiple re-releases. Table 1
aims to be as informative as possible but inevitably partakes of some of this
complexity (and uncertainty). Various rereleases have been used where the most
available (and given a later date in round brackets after the note-writer's
name) but where no date is given after the sleeve note author's name, the note
is presumed to be more-or-less contemporaneous with the recording. Where a note
is explicitly given a date, this is provided in square brackets.
[31] A key source here is
Simon Parmet, The Symphonies of Sibelius: A Study in
Musical Appreciation, trans. Kingsley A. Hart (London: Cassell, 1959), first publ. 1955 (in Swedish), which
describes an early performance of the work with a short break between the first
two 'movements' (70).
[32] Dictionary definitions
for the term 'hedge' typically reflect both of these 'neither' and 'both'
possibilities: e.g. '[noun, 3] a word or phrase used to avoid overprecise commitment',
'[verb, 3] protect oneself against loss on (a bet or investment) by making
balancing or compensating transactions' (Oxford Dictionaries,
at http://oxforddictionaries.com/definition/english/hedge, accessed 23 August
2013).
[33] The locus classicus is Hepokoski, Sibelius: Symphony No. 5: 7 and 29–30,
and passim.; also see Eric Kujawsky,
'Double-Perspective Movements: Formal Ambiguity and Conducting Issues in
Orchestral Works by Schoenberg, Sibelius, and Carter' (DMA diss., Stanford
University, 1985).
[34] Dale describes how
George Macfarren (1818–87), the note-writer for the
Philharmonic Society concerts, was typically 'less interested in simply
describing forms than in observing the ways in which the composer deviates from
the accepted model' ('The "Analytical" Content of the Concert Programme Note
Re-examined', 215–7).
[35] Tovey, perhaps the most famous or definitive British note
writer (discussed below in Section IV), maintained that he addressed his
writings to the 'naïve listener' rather than the scholar or expert, even though
'his technical analyses presuppose a considerable degree of musical literacy'
(Catherine Dale, 'Towards a Tradition of Music Analysis in Britain in the
Nineteenth Century', in Bennett Zon (ed.), Nineteenth-century British Music
Studies, vol. 1 (Aldershot: Ashgate, 1999),
269–302: 283).
[36] A simpler one-movement
outline can be seen in Example 4. These recordings, the derivation of the
graphs, and their interpretation in movement terms are explained at length in
Lowe, 'Analysing Performances of Sibelius's Fifth Symphony', 224–239.
[37] Cecil Gray, sleeve
note to Robert Kajanus / London Symphony Orchestra
(1932), (78s, HMV DB1739-42, 1932), 15, emphasis added. The materials
accompanying this pioneering 'Sibelius Society' recording (intended to 'give to
every music lover an opportunity of hearing and studying the music of a man
who[...] is one of the greatest composers of all time', n.p.) constitute an extensive package which includes both
'An Introduction to Sibelius' by Ernest Newman (3–9) and 'Symphony No. 5 in E
flat major' by Cecil Gray (15–19).
[38] Brendan Wehrung, sleeve note to Robert Kajanus / London Symphony Orchestra, 1932 (CD, Koch
Legacy 3-7133-2, 1992), unnumbered 3.
[39] Cecil Gray, Sibelius: The Symphonies (London: Oxford
University Press, 1935), discussed in section IV
below.
[40] Malcolm Rayment, sleeve note to Alexander
Gibson / Scottish National Orchestra, 1983 (CD, Chandos CHAN 8388, 1985),
3.
[41] Decca, sleeve note to Alexander Gibson / London Symphony Orchestra,
1960 (LP, Decca SPA122, 1971).
[42] The deliberate quality
of this performance decision, together with the possible reasons for its
percolation through the performing tradition, can be found discussed in Lowe,
'Analysing Performances of Sibelius's Fifth Symphony', 239–249 and 267 n.
70.
[43] Michael Kennedy, sleeve note to John Barbirolli / Hallé Orchestra, 1959
(CD, EMI CDM 7641392, 1991), unnumbered 2.
[44] Decca, sleeve note to
Vladimir Ashkenazy / Philharmonia Orchestra, 1981 (CD,
Decca 430-749-4, 1992), unnumbered 2–3, latter emphasis
added.
[45] Jack Diether, sleeve note to Colin Davis / Boston Symphony
Orchestra, 1975 (cassette, Philips 420 013-4, 1975) unnumbered 4–5, latter
emphasis added.
[46] Douglas Pudney, sleeve note to Herbert von
Karajan / Berlin Philharmonic, 1978 (LP, HMV ASD3409, 1978).
[47] Anon., sleeve note to
Eugene Ormandy / Philadelphia Orchestra, 1956 (LP, Philips ABL3084, 1956),
emphasis added.
[48] Richard Freed, sleeve
note to Eugene Ormandy / Philadelphia Orchestra, 1979 (LP, RCA RL 12906, 1979),
emphases added.
[49] Gerald Abraham, sleeve note to Simon Rattle / Philharmonia Orchestra, 1982 (CD, EMI CDC 747006-2, 1982),
4.
[50] Bayan Northcott, sleeve note to Leonard Bernstein / Vienna
Philharmonic Orchestra, 1987 (CD, DG 427 647-2, 1987),
3.
[51] Julian Haylock, sleeve note to Paavo Berglund / Helsinki Philharmonic Orchestra, 1986 (CD,
EMI 72435 68647 26, 1996), 4.
[52] More about the
structural implications of this and the other performances can be found in Lowe,
'Analysing Performances of Sibelius's Fifth Symphony', 256–8.
[53] Here the tempo
continues steadily until the point of movement division and then begins to
increase at a constant rate through to the end, though without a disjunct central tempo transition. See Lowe, 'Analysing
Performances of Sibelius's Fifth Symphony', 254–6.
[54] Graphs of all these
recordings can be found for consultation in Appendix 4 of Lowe, 'Performance,
Analysis, and Interpretation in Sibelius's Fifth Symphony',
282–323.
[55] Radio Three announcer, live introduction to performance by Andrew
Davis / BBC Symphony Orchestra (10 October
1996).
[56] Anon., sleeve note to
Anthony Collins / London Symphony Orchestra, 1955 (LP, LXT 5083, 1955).
[57] Ilkka Oramo, sleeve note to Esa-Pekka Salonen / Philharmonia Orchestra, 1987, (CD, CBS MT 42366, 1987), unnumbered
3.
[58] Ingrid Grimes, sleeve note to Malcolm Sargent / BBC Symphony Orchestra, 1959 (CD, EMI CDM 7630942,
1989), 5.
[59] Wadham Sutton,
sleeve note to Alexander Gibson / Scottish National Orchestra, 1975 (CD, EMI CD
CFPSD 4763, 1995), unnumbered 2.
[60] Anon., sleeve note to Neeme Järvi / Gothenburg
Symphony Orchestra, 1983 (CD, BIS CD222, 1983), 4–5.
[61] Bernard Jacobson, 'The
Hard Parts of Human Nature', sleeve note to Colin Davis / Boston Symphony
Orchestra, 1975 (CD, Philips 446 157-2, 1995), 3. (Jacobson wrongly assumes that
the first two of Sibelius's four 'movements' were the Tempo molto moderato and Allegro moderato of
the completed score, but it is shown to be otherwise by Hepokoski, Sibelius:
Symphony No. 5, 54–56.)
[62] 'Programme and CD
notes by Ates Orga',
http://www.cadenza.org/library/atesorga.php, accessed 23 August 2013. The site
lists Orga's previous note-writing appointments, and
gives some well-deserved commendations: 'Ates Orga's richly detailed notes' (Gramophone, 1998) and 'Orga's are a model for what annotations should be'
(Fanfare).
[63] Ateş Orga, sleeve note to Loris Tjeknavorian / Royal Philharmonic Orchestra, 1976 (cassette,
RCA RK 11747, 1976).
[64] For instance Ingrid
Grimes (sleeve note to Sargent 1959, 1989) and the
anonymous writer for Collins (1955) refer to the middle movement as 'the slow
movement', whilst John Amis (sleeve note to Herbert von Karajan / Philharmonia (LP, Columbia 33CX1047, 1953)) speaks of it as
'the andante'. The actual tempo
marking, Andante mosso, quasi allegretto, points at the inherent
ambiguity of the music's nature, as identified by Richard Freed: 'an artful
compromise between a conventional slow movement and a scherzo' (sleeve note to
Ormandy 1979) – avoiding attributing scherzo qualities to the latter portions of
the first movement as do many writers. Other programme-note writers partake of a
limited pool of words to evoke the second movement (such that one suspects
mutual plagiarism), notably 'sunny', 'relaxed', and 'simple', as well as
describing it as a theme-and-variations, a category that perhaps warns them off
a simple designation as slow movement. Thus Orga's perception of 'dance-like' qualities stands out in leaning towards the brisker
side of the tempo spectrum.
[65] Orga, sleeve note
to Tjeknavorian, emphasis added.
[66] Kujawsky explores these and other perceptual signals which
indicate the possibility of movement breaks ('Double-Perspective Movements',
4–14).
[67] Gerald Abraham, 'The
Symphonies', in Gerald Abraham (ed.), Sibelius: A Symposium (London: Lindsay
Drummond, 1947), 14-37: 28–30. Abraham explains how 'the whole great [first]
movement' (30) is compounded from 'first-movement-pure-and-simple' and
'first-movement-cum-scherzo' (28), but discusses the middle and final movements
separately (30–31).
[68] In fact the analytical
account which most closely approximates this perspective is that by Lionel Pike
which appeared only two years later, and which emphasizes the integration of
speeds into an arch form across the three movements and a network of
rhythmic/motivic micro-gestures and tonal centres that
draws the whole symphony into one unified argument (Lionel Pike, Beethoven, Sibelius, and the 'Profound
Logic' (London: The Athlone Press, 1978),
130–145).
[69] Personal communication by email, 8th November
2000.
[70] This idea is aired in
Jerrold Levinson's 'Performative vs. Critical Interpretation in Music' (in
Michael Krausz (ed.), The Interpretation of Music Philosophical
Essays (Oxford: Clarendon Press, 1993), 33–61), but more fully explored in
Lowe, 'On the Relationship between Analysis and Performance'.
[71] Bowen has referred to Tjeknavorian as an ideologically motivated conductor
who also claimed to be the only one to take the composer's metronome markings in
his recording of Beethoven's Fifth Symphony (José Antonio Bowen, 'Tempo,
Duration, and Flexibility', Journal of
Musicological Research 16 (1996), 111-156: 135), showing this conductor's
interest in such issues.
[72] Personal communication, 15th April 2010. Abraham's
book and other written sources that were influential will be discussed below in
sections IV and V.
[73] Herbert von Karajan / Berlin Philharmonic Orchestra, 1965 (cassette, DG 439 418-4, 1994).
[74] 'In Sibelius' first
model for the symphony this movement was made up of two separated parts, but in
the final version they form an organic whole.' (Anon., trans. William Moore,
sleeve note to Jorma Panula / Helsinki Philharmonic Orchestra, 1969 (CD, Finlandia 4509-95842-2,1994).
[75] Geoffrey Crankshaw, sleeve note to Gennadi Rozhdestvensky / Moscow
Radio Symphony Orchestra, 1980 (LP, HMV Melodia ASD3780, 1975), emphasis in original.
[76] See Lowe, 'Analysing
Performances of Sibelius's Fifth Symphony', 249–254, and Bowen, 'Tempo,
Duration, and Flexibility', 137–149, where this tempo pattern also appears in
Russian conductors' performances of other symphonic works.
[77] Kenneth Shenton, 'Geoffrey Crankshaw:
Music critic whose writings spanned eight decades', obituary in The Independent, Thursday
12th March 2009 (http://www.independent.co.uk/news/obituaries/geoffrey-crankshaw-music-critic-whose-writings-spanned-eight-decades-1642999.html,
accessed 23 August 2013).
[78] John Lowerson, 'An Outbreak of Allodoxia? Operatic Amateurs and Middle-Class Musical
Taste Between the Wars', in Gender, Civic
Culture and Consumerism: Middle-Class Identity in Britain, 1800–1940, ed.
Alan Kidd and David Nicholls (Manchester and New York: Manchester University
Press, 1999), 198–99, with reference to Bourdieu's sense of culture moyenne but with a less derogatory flavour when
transplanted to the context of British culture.
[79] Ross McKibbin, Classes and
Cultures: England 1918–1951 (Oxford: Oxford University Press, 1998), 386–9.
[80] Jennifer Doctor, The BBC and Ultra-Modern Music, 1922–1936: Shaping a Nation's Tastes (Cambridge:
Cambridge University Press, 1999), 133, quoting H. A. Scott, 'This Modern
Music!: Product of an Age of "Stunts"', Radio Times 20 (31 Aug. 1928):
370.
[81] Ernest Newman's
regular broadcast talks were at the front line of this campaign: 'The point is that modern music is here. It has come to stay,
and you will have to reckon with it, whether you like it or not. [...] It does
exist, and you must get used to it now or later.' (BBC script for 'Next Week's
Broadcast Music, no. 6', 3 Nov. 1928; quoted in Doctor, The BBC and Ultra-Modern Music,
133.)
[82] Laura Gray, '"The
Symphony in the Mind of God": Sibelius Reception and English Symphonic Theory',
in Veijo Murtomäki, Kari Kilpeläinen, and Risto Väisänen (eds.), Sibelius Forum: Proceedings from the Second
International Jean Sibelius Conference (Helsinki: Department of Composition
and Music Theory, Sibelius Academy, 1998), 62–72: 63.
[83] Doctor, The BBC and Ultra-Modern Music, 226.
[84] Thomas, The Symphonies of
Jean Sibelius, 37, 41, &
32.
[85] Scott Goddard,
'Sibelius's Second Symphony', Music &
Letters 12 (1931), 156–163: 156.
[86] Laura Gray, 'The Symphony in the Mind of God',
62.
[87] Simeone, 'Programme notes: 1. Opera and concert
programmes'.
[88] Donald Francis Tovey, 'Sibelius: Symphony in E Flat Major, No. 5, Op. 82',
in Essays in Musical Analysis, vol.
II (London: Oxford University Press, 1935), 125-9.
[89] Newman, sleeve note to Kajanus (1932), 'An
Introduction to Sibelius, by Ernest Newman', 4. The unattributed
introduction to the sleeve notes attributes the recent 'widespread interest in
Sibelius's music' largely to 'Mr. Ernest Newman's freely and frequently
expressed admiration' along with 'Mr. Cecil Gray's admirable study' (under
heading 'The Sibelius Society', n.p.).
[90] 'In this development
[his Fourth Symphony] Sibelius is following a tendency very apparent among some
of the more throughtful modern composers; Schoenberg
is trying to do the same kind of thing, but not doing it so well.' (Newman,
review in Birmingham Daily Post, 2
Oct. 1912; quoted in Laura Gray, 'Sibelius and England', in Glenda Dawn Goss
(ed.), The Sibelius Companion (Westport, Connecticut and London: Greenwood Press, 1996), 281-296:
285.)
[91] Rosa Newmarch, Jean
Sibelius (Leipzig: Breitkopf and Härtel, 1906); Rosa Newmarch, Jean Sibelius: A Short Story of a Long
Friendship (Boston, Mass.: Birchard,
1939).
[92] See for instance
Philip Ross Bullock, The Correspondence
of Jean Sibelius and Rosa Newmarch, 1906–1939 (Woodbridge: The Boydell Press, 2011), 1–10 and passim.
[93] Dale, 'Towards a Tradition of Music Analysis', 269, 271–8, and
285–9.
[94] Ibid., 270–1 and
279.
[95] Ibid., 295.
[96] Ibid.,
295.
[97] Dale, ‘The "Analytical" Content of the Concert Programme Note Re-examined’, 213.
[98] Bashford, 'Not
Just "G."', 116 and 134 n. 4.
[99] Ian D. Bent,
'Analysis', in The New Grove Dictionary
of Music and Musicians, ed. Stanley Sadie (London: MacMillan, 1980), vol. 1,
340-88: 364.
[100] More about the content
of these texts can be found at Lowe, 'Performance, Analysis, and Interpretation in Sibelius's Fifth Symphony',
105–130.
[101] Megan Prictor, 'To Catch the World: Percy Scholes and the English Musical Appreciation Movement
1918-1939', Context: a Journal of Music Research, 15-16 (1998), 61-71: 65–7.
[102] Abraham, Sibelius: A Symposium,
7.
[103] Robert Layton, Sibelius (London: Dent, 1965).
[104] Robert Simpson, Sibelius and Nielsen: A Centenary Essay (London: British
Broadcasting Corporation, 1965), 25–26.
[105] Joseph Kerman famously
remarked that Tovey's target listener must have 'at
least a pass degree from Oxford University' (Dale, 'Towards a Tradition of Music
Analysis', 283, quoting Kerman, 'Tovey's Beethoven',
in Alan Tyson, ed., Beethoven
Studies, vol. 2 (London, Oxford University Press, 1997), 175).
[106] Eero Tarasti's impressive semiotics monograph which partly
discusses Sibelius (Myth and Music: A Semiotic Approach to the Aesthetics of
Myth in Music, especially that of Wagner, Sibelius and Stravinsky (The Hague: Mouton, 1979)) and Tim Howell's published PhD (Jean Sibelius: Progressive Techniques in the
Symphonies and Tone-Poems (New York and London: Garland, 1989)) continue
this trend, but arrive relatively late in the tradition and are surprisingly
few; journal articles during the earlier period tend to be very general in
nature. (The nationally-evocative prose of Charles Maclean's 'Sibelius in
England' (Zeitschrift der Internationalen Musikgesellschaft 8 (1908), 271–3) is only an extreme
point in this tendency; programme-note-style analysis such as that of David Cherniavsky's 'The Use of Germ Motives by Sibelius'
(Music and Letters 23/1 (1942), 1–9)
is one form of exception.) This account of the major English-language analytical
writings does not include the biographical material that quietly flourishes
alongside the analytical writings, amongst which the Finnish musicologist Erik Tawaststjerna's five-volume biography Sibelius (Helsinki: Otava, 1966-88, in Swedish and Finnish though with English
translations) is the towering giant.
[107] Hepokoski, Sibelius:
Symphony No. 5, prefatory material, ii.
[108] From this point the
tide turns, as the 1990s produce too many scholarly collections to mention,
perhaps stimulated also by the first International Sibelius Conference at the
Sibelius Academy, Helsinki, in August 1990.
[109] Goddard, 'Sibelius's Second Symphony', 156. (For more
discussion of the role of early recordings in helping to promote Sibelius
amongst the listening public, see Lowe, 'Performance, Analysis, and
Interpretation', 187–193.)
[110] Harold Johnson, Jean Sibelius: A Definitive Critical
Biography (New York: Knopf, 1959), 172.
[111] Gray, Sibelius: The Symphonies, 47–48.
[112] Gray, Sibelius: The Symphonies, 48–55, cf.
Gray, sleeve notes to Kajanus 78s (1932),
15–19.
[113] See Lowe, 'Analysing
Performances of Sibelius's Fifth Symphony', 229 and 265 n.
49.
[114] Personal communication, 15th April 2010.
[115] Abraham, CD sleeve
note to Rattle (1982), 4.
[116] Layton, Sibelius, 49.
[117] Richard Mohr
pre-echoes this opinion in his sleeve note for the 1968 recording by Georges Prêtre: 'Sibelius fiddled with the score off and on
for more than three years, finally subjecting it to a drastic and final
revision'– though he is mistaken in implying that the four-movement form of May
1918 was the final revision (cf. Hepokoski, Sibelius: Symphony No. 5, 52–57).
[118] Later editions of
Layton's book (such as the expanded fourth edition of 1992, 83–84) excise the
issue of the explicit formal controversy and the comments of Gray, Parmet and Furuhjelm in support of
the movement division,and begin with a historical account of how much 'trouble' the work gave the composer
before launching in to his analysis. Thus Layton's habit of rewriting and
entrenching his programme notes is mirrored in his more formal
publications.
[119] The one-movement
scheme strongly propounded by Layton here supports a traditional
sonata-form-type construction, and this may be so that Sibelius can be construed
as a traditional symphonist (rather than an experimental modernist). Certainly
most of the other composers in which Layton specializes, for his reviews in Gramophone magazine, belong to the
vintage of Tchaikovsky and older, a tradition he may be keen to connect Sibelius
with, and one which would tend to appeal to the likely middle-brow
audience.
[120] Layton remarks that Salonen 'moves to a quicker and (to my pulse)
unrelated tempo' and that 'this, I am afraid, is where Salonen loses me' (Gramophone, December 1987, http://www.gramophone.co.uk/). The Salonen is a
complex two-movement recording combining elements of the recapitulatory and diagonal structural tendencies with a
notably long and pronounced transition section (see Lowe, 'Analysing
Performances of Sibelius's Fifth Symphony', 245, 255, and 257 n. 96).
[121] Gramophone, March
1990.
[122] Symes, Setting the Record Straight,
185.
[123] Ibid.,
199.
[124] Ibid.,
199.
[125] Genette, Paratexts, 370 (also referenced
in Symes, Putting the Record Straight, 124.)
[126] Bashford, 'Not just "G."', 127: 'responses to the question of
how to find the right form of words inevitably varied, depending not only on the
type of work described[...] but also on the writer's sensitivity to audience
"level"'.
[127] Bashford, in 'Writing (British) Concert
History: The Blessing and Curse of Ephemera' (Notes: Quarterly journal of the Music Library
Association, 64 (2008), 458-473), discusses the 'blessing and curse' of
working with ephemera (458).
[128] Though, in some
earlier contexts, concert programme notes were not intended to be ephemeral or
disposable: during 1889-90 the Hallé published theirs
in the local newspaper the morning before the concert to enable preparatory
study (Bashford, 'Educating England', 372-3), and
those from the Crystal Palace orchestral season of 1897 were designed to be kept
and bound for later reference (Bashford, 'Not Just G',
131).
[129] For Bashford they are symptomatic of 'a cultural desire in
Britain that was voiced increasingly as concerts and listening publics grew in
the nineteenth century, like cheap print, with astonishing rapidity' ('Not Just
G', 115); beginning in earnest in the 1840s, 'by the end of the nineteenth
century the provision of analytical concert programme notes was no longer the
exception but the norm in Britain' (Dale, 'The 'Analytical' Content of the
Concert Programme Note Re-examined', 220), though of course it has persisted
into the twentieth century and beyond.
[130] Symes, Setting the Record Straight,
247.
[131] Bashford, 'Not Just "G."', 117, quoted above in section I.
[132] William Kinnally, Anamarcia Lacayo, Steven McClung and Barry Sapolsky, 'Getting Up on the Download: College Students'
Motivations for Acquiring Music via the Web' (New Media Society 10
(2008), 893–913).
[133] David Beer, 'The
Iconic Interface and the Veneer of Simplicity: MP3 Players and the
Reconfiguration of Music Collecting and Reproduction Practices in the Digital
Age' (Information, Communication &
Society, 11/1 (2008), 71–88) explores some of the felt implications of a
non-physical music collection.
[134] Symes remarks that 'the current technologies of information
preservation and distribution that are now commonplace [in 2004] might render
the recording obsolete, as many of its functions and facilities are "colonized"
by the personal computer' (Setting the
Record Straight, 248).
[135] Alternative 'bundlings' of music and information are being tried that may
turn out to be characteristic of the 21st century: the BBC invites us
to 'watch an analysis' online (actually a piecemeal performance with spoken
commentary http://www.bbc.co.uk/radio3/discoveringmusic/videolibrary/pix.shtml,
accessed 2 August 2013); some orchestras upload their own programme notes prior
to a concert; and some have experimented with releasing real-time musical
guidance to audience's smartphones via Twitter
(http://www.musicalamerica.com/news/newsstory.cfm?archived=0&storyid=29643&categoryid=7,
accessed 2 August 2013).
[136] The
official body in charge of radio audience measurement for the UK, RAJAR (Radio
Joint Audience Research), estimates weekly listeners to Classic FM at 5.6
million (= 11% of the adult population) with comparable figures for BBC Radio
Three at just under 2 million (= 4% of the adult population). (These
figures are for the quarter from March to June 2013. See
http://www.rajar.co.uk/listening/quarterly_listening.php, with explanation at
http://www.mediauk.com/article/33506/how-do-radio-listener-figures-work;
accessed 15 August 2013.)
[137] Prictor explores both of these angles in 'To Catch the
World'.
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