Beruflich Dokumente
Kultur Dokumente
(She does mention Adolphe Appia, but not is feuilletonistic criticism of the highest de-
whether Brecht would have been familiar gree; one can hardly fault her for including
with his work.) She concludes, in character- it here. Still, one wishes one had seen more
istically postmodern fashion, with her own of Brecht at the opera prior to that.
experiences as a spectator at two non-literal
opera productions in Berlin, both from Stephen Luttmann
2005. She is a keen observer, and the result University of Northern Colorado
MUSICAL INSTRUMENTS
to see that the new tubas were ready. He music calling for Wagner tubas and the
notified Wagner in a letter dated 25 Sep- closing of many of Germany’s largest in-
tember 1874 that they had been ordered strument manufacturers, it appeared that
from Munich brass maker Georg Otten- there was no future for them.
steiner. The first concert in which they While most readers will probably have at
were used took place the following March. least a nodding familiarity with the outline
Melton provides detailed analyses of how of the story told so far, the last chapter,
the new instruments functioned dramati- “Revival,” comes as a surprise. Composers
cally. Unfortunately, Ottensteiner’s tubas in the 1960s, including Friedrich Cerha,
were technically deficient and had poor in- Einojuhani Rautavaara, Bernd Alois
tonation. Moritz made better ones in 1877, Zimmermann, and Hans Werner Henze,
and Alexander better ones still in 1890. began to find new uses for Wagner tubas in
Several other firms subsequently made large-scale works, some using twelve-tone or
Wagner tubas, but the Alexander models avant-garde techniques. The rest of the
turned out to be definitive. twentieth century witnessed Wagner tubas
Chapter 5, “The Disciple,” is devoted to in film music, chamber music, and even
Anton Bruckner, who first heard the new solo pieces. Far from the heroic or brood-
instruments at Bayreuth in 1876 and de- ing character of Wagner’s or Bruckner’s
cided to use them in each of his last three tuba parts, this more recent music often
symphonies. Melton analyzes the role of includes humorous pieces like Thomas
the tubas within the symphonies and Goss’s The Seven Deadly Sins (of a Dog). New
chronicles their earliest performances, manufacturers have begun not only making
some of which to Bruckner’s disappoint- Wagner tubas, but tinkering with the design.
ment omitted the tubas. No one yet specializes in playing Wagner
The next chapter, “Wagner’s Heirs,” tubas; they are still played by hornists.
opens with a discussion of the use of the There is no sign that they are becoming
tubas by the next generation of German permanent members of the orchestra. They
composers. Most of the composers and still appear in a small proportion of the
their music have dropped out of sight, but music by the composers who write for them
Richard Strauss used Wagner tubas exten- at all. Signs are, however, that the death-
sively in works between Guntram (1893) watch is over. A small but steady stream of
and Die Frau ohne Schatten (1919). Begin- new music for Wagner tubas seems likely to
ning with Elektra (1909), he demanded the continue indefinitely.
utmost virtuosity of them. The chapter con- This story is certainly worth telling. I just
cludes with a more general consideration wish it were better written and better orga-
of performances of music with Wagner nized. The narrative is arranged in a
tubas outside of Germany (where tonally chronological sequence. Whenever Melton
less robust instruments like saxhorns were identifies an area where earlier scholars
substituted) and the state of manufacturing have made assumptions that are unsup-
tubas in Germany. Once all of the German ported by documentation, he mentions the
opera houses had sets of tubas, there were errors within that sequence. He also details
many manufacturers and virtually no mar- his own findings within that sequence.
ket until military bands all over Germany Many authors assert that Wagner collabo-
adopted them early in the twentieth century. rated with Franz Strauss in designing his
“Modern Voices,” chapter 7, traces the tubas. There is no evidence of this, and
use of Wagner tubas in the music of Arnold as the two despised each other, it seems un-
Schoenberg, Igor Stravinsky, Béla Bartók, likely. Melton brings up the point on p. 21.
Gustav Holst, Leoš Janáček, and two little- The chapter about Richter begins on the
known Danish composers. None of these next page, with the implication that he,
composers used the tubas in more than two not Strauss, was Wagner’s technical advisor.
works, and although several of the works Melton nowhere says so directly. The first
are concert staples, they have often been explicit mention of Richter‘s role comes
performed with other instruments substi- almost in passing on p. 34.
tuting for the Wagner tubas. Only a few Melton brings up another common but
were composed after World War I. By the undocumented assertion, that Moritz made
end of World War II, with hardly any recent the first Wagner tubas for the 1869 pre-
Book Reviews 789
miere of Das Rheingold, on p. 27, at the end multiple endnotes in virtually every para-
of chapter 2. We do not learn who the first graph. Unfortunately, they are not limited
manufacturer actually was, or the perfor- to bibliographic references. Considerable
mance at which the new instruments were information that should have been inte-
first used, until p. 46 in chapter 4. It would grated into the text is hidden in the notes.
probably have been helpful to enumerate There is no separate bibliography, which
all of the important problems with the ear- will make it unnecessarily difficult for any
lier literature and a brief statement of what scholar who wants to follow up on Melton’s
he found in his sources in one place as part work.
of a general introduction. That way, the Anyone interested in Wagner’s music,
material would be easier to find, and the the development of orchestration, or the
details about common errors would not in- history of brass instruments will find much
terrupt his primary narrative. of interest in Melton’s book. The organiza-
Throughout the story, Melton attempts tional problems will not get in the way of
to cram in as many details as possible, no casual reading. They make careful study
matter how tangential. Until I got to the more difficult than it needs to be, but on
last chapter, I was beginning to think that the whole, this book is a welcome addition
he was padding to make up for not having to the literature.
enough important information to justify a
book on the subject.
There are more than one hundred end- David M. Guion
notes in six of the eight chapters. There are University of North Carolina at Greensboro