The absence of control on the rebounce of hand -and arm- after the beat is one of the most frequent defects and difficult to eradicate. My students very well know this problem. The pattern of two in animated tempos is undoubtedly the most difficult, and the rebounce after second impulse potentially can create more problems.… Continua a leggere Control on the rebounce of the hand
Ennio Nicotra 28/09/2016 In the technique of the orchestra conducting there are dozens of basic gestures which can be applied in corresponding contexts.The codification of these gestures by Ilya Musin is of great help to resolve certain moments. Solutions that aren’t banalities or arid technicalities , but always stand out for being able… Continua a leggere How (and when) to realise the split or stressed attack?
By Ennio Nicotra 14/10/2016 Ilya Musin firmly argued that any technical issue had its gestural solution. In front of steps which for us students constituted real brain teasers the solutions that he found left us always speechless. The symphonic repertoire, as students well know, is strewn with cryptic passages, from the second movement… Continua a leggere Every technical issue has its gestural solution. Two examples.
By Ennio Nicotra 17/10/2016 A pattern is correct if the beats inside it are all of the same and neutral character. We often encounter patterns that connect vertical gestures to lateral diagonal gestures, to the left and to the right, and even others, that provide in the final part a “Christmas tree” which narrows upwards:… Continua a leggere Orchestral conducting technique: a pattern is correct if…
What do we usually mean with the term attacks? The attack is a signal that indicates the start of any action. We could, for example, consider the gunshot that characterises the start of a race as an attack: all competitors acknowledge an impulse that they must start at the same time; even the green at… Continua a leggere Orchestral conducting technique: subsequent attacks
Ennio Nicotra 16/05/2016 Orchestral conducting technique has been the subject of numerous discussions for several years. There are many different schools on this subject: some are very dedicated to anecdotes, others to the spirituality of music and to listening and watching the conductors of the past, because they’re convinced that they must shape the… Continua a leggere Does orchestral conducting technique exist?
By Ennio Nicotra 09/01/2016 The conductor is first and foremost a musician performer. As an instrumentalist he has to revive the process of reincarnation in the piece with his whole being, from the musical conception to the motor and emotional sphere (Ilya Musin). This phrase is by my teacher- but that could also… Continua a leggere Theatricality and technique: the gestural and emotional aspects of orchestral conducting
By Ennio Nicotra 23/07/2016 The conductor is the reference point of all orchestral musicians. All of them receive a series of information from him, that is then consciously or unconsciously transformed into sound, in a performance that reflects the interpretation of the piece that the conductor has reconstructed in his mind after a careful… Continua a leggere Orchestral conducting technique: the lesson by Carlos Kleiber
Ennio Nicotra 16/08/2016 Very frequently an orchestra is asked to perform a clear and sharp attack, especially in the Forte. The gesture that offers most chances to suggest and obtain this effect is the held back attack.This is one of the most important basic gestures, and to master this attack is very useful… Continua a leggere One of the most useful basic gestures for a conductor: the held back attack