Orchestral conducting technique. Technique = interaction. Let’s analyze a passage from Beethoven’s Coriolan

As we have seen in one of the previous articles we can identify two categories of attacks, the initial and the internal ones.

The internal attacks, correspond to the musical movements in the bar and of course the gestures of the pattern used at that time.

They have a very important role, if not even more so than the initial attacks, because they

contribute to drive the evolution of the musical discourse, making evident not only the temporal link, but also the expressive link between the beats of the bar and, consequently, of the phrases and the piece.

Ilya Musin, as I have said several times, educated us through meticulous study with the piano duo, and then, of course, with the orchestra, to manifest our musical thinking and our interpretation, in a clear and evident way that could not leave misunderstandings, in order to achieve perfect harmony and interaction with the orchestra.

WARNING! technique = interaction!

(pattern, attacks etc etc. that can be learned in a few weeks, are only the first step of the study of the technique / interaction. If these basics are not learned in a perfect way you can not progress to a higher level).

The extreme situation taken into consideration was that of being ready to go to conduct a concert without rehearsals; you will say: Impossible! but I can assure you that it really happened to me and some of my study colleagues.

Musin himself said that he had conducted more than 30 concerts without rehearsals with the Leningrad Philharmonic in Kislovodsk during the summer of 1936.

The passage we are considering today is taken from Beethoven’s Coriolano bars 102-106: here the difficulty consists in having to give internal attacks on the third movement in a rather fast time. It is a situation that generally puts young people (and others) in difficulty.

Musin’s solution consists in giving a clear and sharp attack on the first movement of the bar.

In the video that follows you can see the moment of analysis in class of the passage in question.

It is also true that many teachers would say that the orchestra would play alone, and it is more or less the truth;

the question is to distinguish if you are in charge and want to influence on/ interact with their performance in order to obtain a particular sound reaction, or you are content with what comes out.

We watch and listen carefully to the same passage with the orchestra

Next annual course in Italy, Palermo/Rome November’18 – June’19 in collaboration with  Opera in Rome Symphony Orchestra

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