Inside Conducting

Front Cover
University Rochester Press, 2013 - Biography & Autobiography - 268 pages
Exactly what does a conductor do in front of an orchestra? Internationally renowned conductor Christopher Seaman offers lively and informative answers in this wise yet humorous book.

What does a conductor actually do? How much effect does he or she have? Can the orchestra manage without one? Why don't the players look at the conductor more? Is it necessary for the conductor to play every instrument? What about interpretation? What happens at rehearsals? Why do some conductors "thrash around" more than others? Who's the boss in a concerto: the soloist or the conductor?
These are some of the questions that receive lively andinformative answers in this book by renowned conductor Christopher Seaman. Composed of short articles on individual topics, it is accessible and easy to consult. Each article begins with an anecdote or saying and ends with quotations from musicians, often expressing opposing views.
There are many books on the art of conducting, but none like this. Music lovers wondering what the figure on the podium actually does, and aspiring conductors eager to learn more about the art and craft of leading an orchestra, will all treasure this wise yet humorous book.

Christopher Seaman has been successful at both ends of the baton. After four years as principal timpanist of the London Philharmonic Orchestra, he was appointed principal conductor of the BBC Scottish Symphony Orchestra and has enjoyed a busy international conducting career for over forty years. He is now Conductor Laureate for Life of the Rochester Philharmonic Orchestra, New York, and he continues to bring great music and wise words to audiences, students, and readers around the world.

 

Contents

The Conductors Mind Background
3
Harmony
6
Memory
10
Perfect Pitch
13
Training Conductors
15
Youth Orchestras
21
The Conduetors Skills 7 Balance
27
Choral Works
32
The Conductor the Composer and the Score
155
Composers
157
Learning Scores Interpretation
161
Marking Parts
168
Performance Practice
174
Shape and Structure
185
Tempo and Metronome
191
The Conductor and the Audience
201

Concerto Accompaniment
37
Ear
41
Eye Contact
43
Opera
46
Rehearsing
50
The Conductors Hands
61
Baton
63
Beat
66
BehindtheBeat Playing
79
Directing from the Harpsichord
83
Economy of Gesture Cueing Use of the Left Hand
86
The Conductor and the Musicians
93
Auditions
95
Chamber Orchestras
99
ChiefConductor
101
Friend or Boss?
105
Orchestral Playing
107
Role of Concertmaster
115
Solos in an Orchestral Piece
118
Stage Settings
121
The Conductor and the Instruments
129
Strings
131
Winds
142
Timpani and Percussion
148
Addressing the Audience
203
Applause Platform Demeanor Coughing
205
Program Planning
208
The Conductor and the Business
211
Career and Agents
213
Critics
216
Gender
218
Guest Conducting
220
Orchestra Managements
223
Recording
225
Travel and Packing
228
Inside the Conductor
233
Concentration
235
Control and Power
237
Ego
240
Languages
243
Nervousness
245
Some Ancestors and My Links with Them
247
Suggested Reading
255
Musical Example Credits
259
A Note on the Illustrations
263
Index of Conductors
265
Copyright

Common terms and phrases

Bibliographic information