MEMORANDUM TO PANULA'S ORCHESTRAL CONDUCTING STUDENTS

 

 February 10, 1987

 

 

1) Choice of repertory and contact with the orchestra

     -in choosing repertory one must take into account the level and working efficiency

     of the orchestra, which depends upon, among others, the following things:

-circumstances of rehearsals and concerts such as space, acoustic, and whether or not it is a concert hall or all-purpose space, etc.

            -regular conductor

            -intendant

            -tours

            -take notice of orchestra `divas,' concertinasters, principals, librarian, organizers, intendant and

stage manager.

            -make sure that the parts are in good shape in every possible way!

            -arriving to the location = orientation

 

2) Arriving to the rehearsal

            -prepare to meet those who try to get out of rehearsals, complainers, flatterers, latecomers

            -"morning worship"   speech to the orchestra

            -clothing, walk, expression, voice, and content of your speech have an influence on the image

the orchestra forms of you.

            -tuning

 

3) In front of the orchestra

            -opening words

            -work order

            -"product description" of the work at hand

 

4) Beginning

-commentary in words and gesture - posture - wait - hands - wait - speech when needed, ready into motion!

            -decide whether you will run the whole section or in parts

            -will you conduct like in performance or rehearsal (exaggerated gestures)

            -use your ears - eyes, remember what happens both in the playing and reaction.

             React with your expression, gesture, words.

 

5) Stopping

            -WHY DO YOU STOP? THERE BEGINS THE REHEARSAL!!

            -possible praise and criticism

            -to what extent do you listen to concert master, principals, and players' comments?

 

6)             Rehearsal method

            -broad or precise approach?

            -by section, stand, or individual? Do you demand alertness from others?

            -missing instruments  = your ability to arrange

 

7)         Coffee break

            -time it in a suitable moment

            -decide whether you use the break for rest, work, contacts (see #1) or talk rubbish

            -the orchestra's fatigue/concentration depends upon your efficiency!

 

8)         After the rehearsal

             -decide how you will use the next rehearsal

            -agree on rehearsal times and other details with possible soloist or choir

            -be ready for surprises: change of program, change of soloist, change of rehearsal

times, etc.

            -how do you use your spare time?

 

9)         Dress rehearsal and before concert

            -do you want audience at the dress or how do prepare if it is already sold?

            -review the dress in your mind afterwards, figure out possible confusion in advance

(unclear transitions, rhythm, intonation problems, other technical problems) but

concentrate only on the message of the composer

            - REST: NO EXTRA WORK. NOISE. ALCOHOL. ETC.!!

 

 

               Are you considerably nervous before a concert?

 

                   WHY?? There's the whole problem!

 

                             Are you unsure - Why?

 

                 Don't try to be more than you are, it shows

 

                           Breathing - yoga - relaxation

 

                                 So......