Book contents
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- PART ONE The Conductor's Mind
- PART TWO The Conductor's Skills
- PART THREE The Conductor's Hands
- 14 Baton
- 15 Beat
- 16 Behind-the-Beat Playing
- 17 Directing from the Harpsichord
- 18 Economy of Gesture, Cueing, Use of the Left Hand
- PART FOUR The Conductor and the Musicians
- PART FIVE The Conductor and the Instruments
- PART SIX The Conductor, the Composer, and the Score
- PART SEVEN The Conductor and the Audience
- PART EIGHT The Conductor and “the Business”
- PART NINE Inside the Conductor
- Suggested Reading
- Musical Example Credits
- A Note on the Illustrations
- Index of Conductors
15 - Beat
from PART THREE - The Conductor's Hands
Published online by Cambridge University Press: 05 September 2013
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- PART ONE The Conductor's Mind
- PART TWO The Conductor's Skills
- PART THREE The Conductor's Hands
- 14 Baton
- 15 Beat
- 16 Behind-the-Beat Playing
- 17 Directing from the Harpsichord
- 18 Economy of Gesture, Cueing, Use of the Left Hand
- PART FOUR The Conductor and the Musicians
- PART FIVE The Conductor and the Instruments
- PART SIX The Conductor, the Composer, and the Score
- PART SEVEN The Conductor and the Audience
- PART EIGHT The Conductor and “the Business”
- PART NINE Inside the Conductor
- Suggested Reading
- Musical Example Credits
- A Note on the Illustrations
- Index of Conductors
Summary
The conductor Pierre Monteux told a story about a visit to the Berlin Philharmonic. The program included Dukas's Sorcerer's Apprentice, which begins with a pizzicato (plucked) note in the violins. Monteux couldn't get it together, despite his crystalclear upbeat and downbeat. Some time later he attended a concert conducted by the chief conductor, Wilhelm Furtwängler, which began with the same piece. Furtwängler produced his characteristically vague and wobbly downbeat, and the pizzicato came absolutely together. It's an unjust world.
Conducting technique isn't just a matter of making the right gestures. What you do with your hands has to start from inside you. The musical feelings in your heart, the rhythm in your guts, and the knowledge in your mind all need to inhabit your hands, however unorthodox your style, and then get across to the orchestra. This ability to communicate and energize is a gift, not unlike an actor's ability to “reach” an audience; the best baton technique in the world is inadequate without it. Any conductor blessed with this priceless gift needs to make the most of it by developing his art and craft to the full.
Most conductors start by learning a basic way of beating, then adapt or abandon it with experience. Their styles vary widely, because they've developed them in different ways. A strict textbook style inhibits our artistry and self-expression, although it was necessary while we were finding our feet. In our own way, we begin by conducting the beats and end up conducting the music.
- Type
- Chapter
- Information
- Inside Conducting , pp. 66 - 78Publisher: Boydell & BrewerPrint publication year: 2013