Book contents
- Frontmatter
- Dedication
- Contents
- Foreword
- Preface
- Acknowledgments
- PART ONE The Conductor's Mind
- PART TWO The Conductor's Skills
- 7 Balance
- 8 Choral Works
- 9 Concerto Accompaniment
- 10 Ear
- 11 Eye Contact
- 12 Opera
- 13 Rehearsing
- PART THREE The Conductor's Hands
- 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
13 - Rehearsing
from PART TWO - The Conductor's Skills
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
- 7 Balance
- 8 Choral Works
- 9 Concerto Accompaniment
- 10 Ear
- 11 Eye Contact
- 12 Opera
- 13 Rehearsing
- PART THREE The Conductor's Hands
- 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
When a chief conductor leaves his orchestra, the players usually present him with a gift. One conductor had been driving the musicians crazy at rehearsals by stopping every bar to work on details, without ever playing a piece straight through. Their parting gift to him was a free three-hour rehearsal on any one bar of his choice from any Beethoven symphony. Apparently, he was not amused; his sense of humor was no laughing matter.
Bruno Walter used the word knack to describe the art of rehearsing. Conductors have to find and develop their own knack; no two will go about it in the same way because of their different personalities and musical ideas. But most experienced conductors would agree on a number of basic principles to pass on to their younger colleagues:
The most important thing about a rehearsal is that it's not an end in itself. Everything a conductor does must aim at a good performance “on the night.” It takes experience to learn how to give your all yet to keep something in reserve. You have to be involved without performing and objective without being detached.
This balance is hard to strike because you obviously want to show your involvement in the music. The players need to see that you believe in a piece with every fiber of your being and are confident in your interpretation. If you can convey that, they'll feel inspired and really work with you. If you're not convinced, you'll never convince them.
- Type
- Chapter
- Information
- Inside Conducting , pp. 50 - 59Publisher: Boydell & BrewerPrint publication year: 2013