The case for a reduced Gothic revisited

The case for a reduced »Gothic« revisited

As an interested Australian chorister who might have performed in the Brisbane Gothic had it gone ahead, I would second the idea of a “down-sized” Gothic symphony. I would probably find agreement with BM Hadfield (NL 171) in opining that a fall-back position (of part 1 alone) should perhaps have been suggested to the Brisbane Festival in case the entire work was deemed unfeasible. A “demi-Gothic” might have generated more interest in hearing the whole work, as well as giving exposure to Brian’s fine orchestral music. Brian himself sanctioned this mode of performance, and it is well within the realm of large symphony orchestras with 95 to 100 players.

In the last few years I’ve performed in a Mahler 8th, and Schoenberg’s Gurre-lieder, and in neither case did the expanded orchestra exceed 135 players – numerically short of the composers’ expectations, yet more or less adequate musically. By comparison, the Gothic orchestra with stated “minimum approximately 197” (no disrespect to Prof Rapoport intended, whom I’ve quoted) is a huge obstacle to getting it off the ground. Even the most enthusiastic advocate will be swiftly brought to earth when faced with the financial reality of the work apparently needing 60 players more than its closest rivals.

An orchestra of 197 can hardly be a minimum when it includes a string section larger than the Schoenberg and which could be 10 or 20 players fewer; Brian does not actually write in 56 real parts for all of the brass, so some could surely be dispensed with (as is occasionally done with Berlioz’s extra bands in the Grande messe des morts). So in response to the letters of Messrs Taylor and McNamara, here are two ideas to drastically reduce the orchestral requirements:

(1) Use only two off-stage bands in the Te ergo.

Close analysis of the two big climaxes show they could be played by about 16 fewer brass, 4 timpanists, and 5 fewer percussion. In the Non confundar two spare percussionists would be needed to help execute some timpani rolls, but the texture is mostly reducible to 4 timpanists playing 16 drums; 40 brass players can cover all of the lines. At Et laudamus nomen the 17 percussionists could be reduced to 12 by borrowing four or five choristers to clash all of those extra cymbals – 6 pairs! Orchestra required: about 156, including 64 string players.

(2) Omit the Te ergo, and use no off-stage bands in the Judex.

The Judex is the one movement where the 4 off-stage brass bands are used in alternation, but curiously almost all of their music could be cued in for the on-stage brass, with the exception of two short passages for 8 trumpets. On the negative side, this sacrifices the antiphonal and spatial relationship between the four bands, the two double choirs, and the main orchestra, and would severely tax the brass players at the end of the movement. (And textually, the Te Deum is only just over half-complete.) However, an orchestra of only 136 is required!

On the “pro” side, the choirs would not need to be as large to be heard over the tutti, and would have less music to rehearse; the shortened work comes to a vigorous conclusion at the end of Judex; most importantly, the orchestra is no larger than the number that is currently deemed affordable. Would it be worth relieving the Gothic of its final movement in order to get the work performed more often? Surely the answer, given the Brian “jinx”, is yes.

Philip Legge, Melbourne