http://www.felconference.info/assets/ExploringConducting.pdf
http://tinyurl.com/5652nv
MEASURE FOR MEASURE
Exploring the mysteries of conducting.
The American conductor Robert Spano raised his eyebrows and his
baton, and the Atlanta Symphony Orchestra dug into a smoky,
“Bolero”-like dance. He was nearing the end of two tense and
fatiguing days of recording a new opera, “Ainadamar,” in the
orchestra’s concert hall, a half-buried concrete box. The base of
his spine twitched to the beat, as if jolts of current were
running through it. He grinned at the cellos, giving them a quick
thumbs-up, and cued the trumpets by pretending to flick a
cigarette butt at them.
When the music stopped, his body kept going. In the seconds
before the next take, he accompanied his instructions to the
players with a rapid series of gesticulations that even a
musician sitting out of earshot could have understood. He made as
if to squeeze an orange. (The message: “Give me a succulent
tone.” ) He then mimed sliding a toy car down a ramp (“But don’t
drag; push right into the next beat”), whisking eggs (“Keep the
sound vibrant”), and swatting a Ping-Pong ball (“Give the phrase
a sharp, light bounce”)...
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http://www.felconference.info/assets/ExploringConducting.pdf
http://tinyurl.com/5652nv
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