Dear Friends,
That is what the air quality index was in Beijing at 6:00 am this morning. We are all wearing masks today. And yet, in spite of the bad air, it is good to be back here. I'll be working with 17 aspiring, eager conductors this week at Central Conservatory, and probably another two dozen next week at China Conservatory, on the north side of town. Sandwiched in between is a masterclass at the Tianjin Grand Theater (look it up, it's pretty grand!) on Mozart and Verdi Requiems (a few conductors, w. chorus and piano) this Friday.
It was a busy fall, as many of you know, with highs and lows. The Philharmonia performed everything from Mondonville to Carousel, Schoenberg to Rachmaninoff, Bach to Madama Butterfly. Along the way was an Elgar 1 (I still believe in the piece, even though we didn't really do justice to this incredibly difficult score) and Mahler 7 (great perf. led by my friend and colleague, Ulrich Nicolai!).
On my desk now is Salome, but even she must await the conclusion of The Beat Stops Here, which is due to Oxford on Jan. 15. Eek! Just around the corner. Most of the writing is done; there is still a lengthy chapter on conducting Des knaben Wunderhorn. I have to finish up a few chapters (last mvmt, Scheherazade, very ending of Dvorak Scherzo Capriccioso, Brahms Tragic Overture, Manon/DesGrieux duet) and the metronome chapter. Then proofing, back material, front material and the daily prayers offered up to the publishing gods/goddesses.
In the course of a lot of thinking about conducting, I do want to iterate a few basics, if you don't mind:
1) One is down, usually ;-)
2) Cross on two, at least sometimes ;-)
3) "The orchestra has the right to expect that the conductor knows the score at least as well as they do." - Herbert Blomstedt
4) Protocols for opera study: a) write out text, b) speak text, c) translate text, d) sing text
5) Going from a long note value from a short note value requires…say it with me…"an EXTRA PIECE OF INFORMATION."
6) Once you rebound vertically, you lose any influence on sound. Stay off of the trampoline!
7) Establish PULSE, then surf the sound!
Will try to write every day that I am here; there is much I want to share about our craft and our "horrendous profession." Take care, and best wishes for the holidays. Now to find that darn mask…
MG
That is what the air quality index was in Beijing at 6:00 am this morning. We are all wearing masks today. And yet, in spite of the bad air, it is good to be back here. I'll be working with 17 aspiring, eager conductors this week at Central Conservatory, and probably another two dozen next week at China Conservatory, on the north side of town. Sandwiched in between is a masterclass at the Tianjin Grand Theater (look it up, it's pretty grand!) on Mozart and Verdi Requiems (a few conductors, w. chorus and piano) this Friday.
It was a busy fall, as many of you know, with highs and lows. The Philharmonia performed everything from Mondonville to Carousel, Schoenberg to Rachmaninoff, Bach to Madama Butterfly. Along the way was an Elgar 1 (I still believe in the piece, even though we didn't really do justice to this incredibly difficult score) and Mahler 7 (great perf. led by my friend and colleague, Ulrich Nicolai!).
On my desk now is Salome, but even she must await the conclusion of The Beat Stops Here, which is due to Oxford on Jan. 15. Eek! Just around the corner. Most of the writing is done; there is still a lengthy chapter on conducting Des knaben Wunderhorn. I have to finish up a few chapters (last mvmt, Scheherazade, very ending of Dvorak Scherzo Capriccioso, Brahms Tragic Overture, Manon/DesGrieux duet) and the metronome chapter. Then proofing, back material, front material and the daily prayers offered up to the publishing gods/goddesses.
In the course of a lot of thinking about conducting, I do want to iterate a few basics, if you don't mind:
1) One is down, usually ;-)
2) Cross on two, at least sometimes ;-)
3) "The orchestra has the right to expect that the conductor knows the score at least as well as they do." - Herbert Blomstedt
4) Protocols for opera study: a) write out text, b) speak text, c) translate text, d) sing text
5) Going from a long note value from a short note value requires…say it with me…"an EXTRA PIECE OF INFORMATION."
6) Once you rebound vertically, you lose any influence on sound. Stay off of the trampoline!
7) Establish PULSE, then surf the sound!
Will try to write every day that I am here; there is much I want to share about our craft and our "horrendous profession." Take care, and best wishes for the holidays. Now to find that darn mask…
MG
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