Face to Face With Orchestra and Chorus: A Handbook for by Don V. Moses, Robert W., Jr. Demaree, Allen F. Ohmes

By Don V. Moses, Robert W., Jr. Demaree, Allen F. Ohmes

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Szell shot back: “NO! ” Young conductors sometimes give a downbeat, and then wait for the orchestra to play, instead of going on. That will not do. When the orchestra members are playing one beat, you prepare what they are to do next—signalling to them the speed and manner of the next notes they are to play. You should not be conducting with them, but one beat ahead of them; they should be trying constantly to catch up with you. The most frequent complaint young conductors make about orchestras—that they respond late—is invariably a failure of the preparation beat.

As you already know from your experiences with choral music, you must study until you know the proportions and momentum of each movement and passage; with these shapes in your mind, you can choose tempos, observe how climaxes are approached and delivered, and determine how movements are related. You can make preliminary decisions, at least, about such matters as articulation, dynamics, ritards, and phrasing. Judgments about style come easier if you study and learn a lot of music by the same composer and his contemporaries.

One page from a typical Viennese Classical score: Haydn, Nelsonmesse, Kyrie, measures 1–5. your overall aural conception clear in your mind. The whole purpose of a score, after all, is to keep you well oriented throughout the work at hand. Pre-Rehearsal Conferences Once you have a clear, overriding concept of the whole work in mind, you will ¤nd it useful to pass a Violin I part to your concertmaster and schedule Preparing for Rehearsals 29 Example 3. One page from a typical Romantic era score: Brahms, Ein deutsches Requiem, Op.

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