JAVS Fall 2000

43

ORCHESTRAL TRAINING FORUM: WAGNER'S OVERTURE TO TANNHAUSER

Since the traditional viola audition excerpt occurs in the 1845 overture, I will hereby refer only to the 1845 lettering system until the end of this article. Before I discuss technical prepara tion of the excerpt, I would like to mention a few details about the content of the music. The motive at H is one of several Bacchanale motives. (A Bacchanale is a ritual-drinking dance that was celebrated by a cult headed by the Greek god, Bacchus). Such a form occurs in other famous operas such as Orpheus in the Underworld by Offenbach and Samson and Delilah by Saint-Saens). The third and fourth bars ofH represent music associated with nymphs and sirens. The material at I is none other than Tannhauser's song praising the goddess Venus. (The tune actually appears earlier in the overture at E.) The doubled eighths and upcoming triplets provide busywork accompaniment to this song. The motive at K is another Bacchanale motive. Once again, the third and fourth bars ofK represent music associated with nymphs and sirens. The fifth and sixth bars correspond to the first and second. The seventh and eighth bars correspond to the third and fourth. The motive at the ninth of K is again another Bacchanale motive. The material nineteen before L is the expansion of the dance of sirens. So much for musical analysis! Make certain that you know the exact passage that you are expected to prepare for your audition and be aware of the fact that there are several versions and editions. The traditional passage that all viola candidates should know is designated below as (a). Should it be ambiguous what to prepare for your audition, I suggest that you contact your audi tion coordinator for clarification. For starters, try playing the entire passage at the piano before trying it on the viola. Find someone who will play it on the piano together with you as you practice it on the viola. The pas sage is loaded with diminished triads and seventh chords in the tonality of E major and B major, which is difficult for intonation. Wagner was not a string player! Let's discuss details. 1) Ultimately, the passage at H should start at a tempo set at G (i.e., somewhat slower than the Allegro at Bas suggested by the "un poco riten." directly before G). 2) At H, notice the molto espressivo and the accents on the first note of the bar. Observe the eighth rest at the end of each bar, which is often overlooked by audition candidates. 3) The third bar should start without an accent at a minimum volume making the crescendo easier to execute. (If your edition has a printed accent, it is probably a misprint.) 4) The concept of the first four bars of H applies to the upcoming four bars. 5) The ninth bar of H should start softly. Make a ten-bar crescendo as well as a ten-bar gradual accelerando until four before I. 6) Practice I in single notes simple detache with a bold full sound without scratching. Start by practicing slowly. Later, add the double notes. My suggestion is to stay on the string since spiccato could sound rough. 7) The triplets should also be practiced in simple detache. Try playing them going between third and fourth position as well as in the first position and/or half position. Certain vio las and violists do better one particular way. (I personally prefer the former fingering for my viola and me.) 8) Avoid hitting adjacent strings from I throughout the triplet passage. When ready, try the triplets spiccato just below the middle of the bow. (The ideal spiccato point will vary from bow to bow.) 9) Three before K, try both first and third position; two before K, try the three fingerings that I have suggested. 10) K is abruptly faster as suggested by the Molto vivace marking. Make note of the accents and crescendos. Play accents where marked and don't play accents where not marked. In the third bar of K, make sure to play three distinct e's followed by one distinct c# fol lowed by eight distinct e's followed by four distinct d's. (This bar should not sound like