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This series of articles expands on notes taken by Nicholas Smith in lessons with Roland Berger in 1977.
Then he asked if I had ever worked on Siegfried’s “Long Call” to which I told him no, because most American auditions use the so called “short call” since most orchestras only play the various excerpts from Wagner’s operas. However, I told him I would really love to work with him on it and related that I felt his rendition of the solo was absolutely the best and that is what encouraged me to see if I could get some lessons with him. This brought a warm smile to his face. I played the first phrase and he promptly stopped me. He explained that the dotted rhythm of the first beat should still have a triplet feel and that most players (including those from Vienna) spend too much time on the top-line g” and too little on the following 16th (written e”). This makes the top g” stick out too much. He had me play just the first beat over and over without the dotted rhythm in straight eighths, at first slowly and then gradually faster. Then, he told me to do the rhythm as written, starting slowly and then getting faster. I did this for several minutes and when he was satisfied, he told me to go back and start the passage again. He said the rhythm should feel like you are using the c” as a spring to jump to the top g” each time. He commented that the first three bar phrase doesn’t need to be real loud but should be clear and with a good sound (not “edgy”). Hold the high g” about 5 – 7beats. Wait approximately 8 beats and begin the second phrase (bar 4) softly with just a slight crescendo and accelerando. The holds over the dotted quarters d” and g’ should be 2 and 3 beats long. Wait approximately 5 – 6 beats before starting the third phrase in bar 9 which starts at a piano dynamic but crescendos to a forte at bar 14. Again, the dotted quarter notes in bar 14 (written e” to e’ octave) should each be held 2 beats with an extra beat for the lower e’ tied from bar 13 into bar 14. Wait approximately 9 beats (feels like an eternity), to let the previous sound clear and to prepare for the contrasting material starting with the pick-up to bar 16. This is the only real contrast in the whole call and must be played soft and sweetly from bars 20 through 22. Take a quick breath at the end of bar 22 and accelerate and crescendo to a forte in bars 23 through 26. Play the sustained e”s proportionally while getting softer and slowing just a bit to the last sustained e” in bars 27 – 28 which are traditionally played gestopft. Wait approximately 7 – 9 beats before starting from bar 30 to the end of the solo. The start of this part of the solo (bar 30) should not feel hurried although it must be played with authority. Berger warned that the crescendo starting in bar 30 is too soon and shouldn’t start until bar 34 and to be careful to not accelerate too quickly. However, the tempo can begin to pick-up starting in bar 34 but should be very gradual all the way through bars 43 and 44. Theoretically, the passage should only have a huge breath before the start of the passage at bar 30 to the end of bar 44. Take a “snatch” breath before the g’ in bar 44 and do not change tempo (get faster) at this point where your dynamic is fortissimo. At this point Berger said he would always shorten the g’ in bars 44-46 (3 beats instead of 5) for a bit more rest before playing the pick-up to bar 47. This motif is “Siegfried’s Sword” and must be played with abandon but deliberately. Again, Berger takes away two beats of the g” in bar 49 – 50 to allow for a little extra rest and a good breath before beginning the last passage up to the High c”’ starting at a piano dynamic. Make sure you have enough air to make it to the end (the tempo will need to accelerate) and let the rising line to the high c”’ govern your crescendo. While it is nice to hold out the high c”’ beyond the written quarter note, just getting it to speak is the most important thing.
Siegfried’s “Long Call” from Wagner’s Opera Siegfried
Numbers in parenthesis denote number of beats held for notes with holds or rests.
The recording of Berger playing the “Long Call” is available from DECCA records
#478 8370 of the entire “Ring Cycle” operas and the “call” is on CD 9, the 3rd track.
The series will continue next with a look at playing on a Vienna horn.
