Dear Readers,
While our orchestral Bill of Rights has been around a while, discussion arose last week in class about orchestral needs and wants as they pertain directly to our conducting. Here are the questions I posed:
What conducting does the orchestra NEED?
What conducting does the orchestra WANT?
And what conducting do we do because we think it's cool?"
Please take a day or two to consider, then I'll share with you the ideas we assembled. I hope you will consider this a discussion, not a test or a statement of dogma. I just think it is an interesting concept, and we came up with specific responses from both the class and our string quartet "orchestrina." NOTE: No violists were harmed in the writing of this post.
Regards to all. Elgar sends his best.
MG
While our orchestral Bill of Rights has been around a while, discussion arose last week in class about orchestral needs and wants as they pertain directly to our conducting. Here are the questions I posed:
What conducting does the orchestra NEED?
What conducting does the orchestra WANT?
And what conducting do we do because we think it's cool?"
Please take a day or two to consider, then I'll share with you the ideas we assembled. I hope you will consider this a discussion, not a test or a statement of dogma. I just think it is an interesting concept, and we came up with specific responses from both the class and our string quartet "orchestrina." NOTE: No violists were harmed in the writing of this post.
Regards to all. Elgar sends his best.
MG
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