the art of conducting

[pianistimo]

was just rereading the preface by eugene ormandy and he says 'a mozart allegro differs by far from a tchaikovsky allegro.  similarly, a forte in haydn is an entirely different matter from a wagner forte.'

although we know this in our hearts - perhaps it would be advantageous for teachers to occasionally play a video of the practice performances of the times just for ideas.  i mean the average young student wouldn't know one allegro from the other.  also, regarding period instruments - and the softer forte sounds.

i like what he says about 'pacing progress.'  listening objectively to the work, pacing it's progress, spacing it's climaxes, deriving a general aural concept of the musical architecture, and evaluating its merit as it will be heard by the public.

and, also, 'he must be prepared to instantaneously make any adjustments, large or small, in the actual performance required for the fullest realization of his inner concept.'

guess that i like his description of what a conductor should do.  it seems very similar to performing artists (piano or any instrument for that matter).

[pianistimo]

also, if you want a great laugh - look at pages 10 and 11.  the recommended ways to hold a baton on page 10 and the 'not recommended'  ways on page 11.  one hold looks like a fencing position. another, like holding a violin bow. i rarely see conductors holding batons at all any more.  is it passe?

maybe it was just the pop's concerts over the summer.