The twentieth century, as it progressed, presented serious challenges for the listener. But not only audiences were tested by this complex ‘new music’; the job of conducting these scores demanded a whole new raft of techniques. There were complicated cross-rhythms: strange new time signatures: There were aleatoric scores with their chance elements, graphic scores that sometimes […]
The way we listen to music these days would shock (maybe even horrify) a music lover from 1870 or earlier. For them, unless, like Nikolaus Esterházy, they were rich enough to hire their own performers, it was either attendance at church or at a rare public concert – though the notion of the ‘public concert’ only really […]
At first glance Stravinsky seems to have got it pretty much covered – it’s the first dance, the Danse des Adolescents, of the Rite of Spring we’re talking about here – the precision of a metronome mark… () … a clear dynamic ( f for the strings and sf for the eight horns), articulation marks (. = […]
You’ve studied the score, understood the ‘topography’ of the piece, decided on the ‘correct’ tempo for each movement, and so on. Now it’s time to put the whole thing together and, working with the orchestra, sort out details of articulation, dynamic, ensemble and balance, and how to negotiate any difficult corners that the work presents. Here, […]
The original design of Mälzel’s clockwork metronome endured for years and years; it’s only now, in this electronic age, that it’s been replaced by something that looks more like this: But, whether clockwork or electronic, it has become, as a means of establishing and (maybe just as importantly maintaining) the tempo of a piece, an […]
HIPsters? No, not what you’re thinking, but a word – I’m rather proud(?) of it – that I’ve coined myself. HIPsters are people who favour Historically Informed Performance (aka ‘authentic’ performance or period performance). Notice the inverted commas around the word ‘authentic’. They’re there because, as critics of the term point out, before the invention of the wax cylinder, […]
Of course it’s pretty vital that a conductor has an overall sense of a work. A composer’s (sometimes!) carefully constructed opus – a climax here, rest points there – can easily be wrecked by maladroit stick waving and/or misplaced peaks or troughs. So, if there’s no handy composer around to ask (they’re pretty often dead); and, while […]
