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The Cambridge Companion to Conducting 1st Edition by Jose Antonio Bowen ISBN 0521527910 9780521527910

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The Cambridge Companion to Conducting Cambridge Companions to Music Bowen Digital Instant Download

Author(s): Bowen, José Antonio
ISBN(s): 9780521527910, 0521527910
Edition: Illustrated
File Details: PDF, 5.51 MB
Year: 2003
Language: english
SKU: EB-29288220 Category: Tags: ,

The Cambridge Companion to Conducting 1st Edition by Jose Antonio Bowen – Ebook PDF Instant Download/Delivery: 0521527910, 9780521527910
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Product details:

ISBN 10: 0521527910 
ISBN 13: 9780521527910
Author: Jose Antonio Bowen

In this wide-ranging inside view of the history and practice of conducting, analysis and advice comes directly from working conductors, including Sir Charles Mackerras on opera, Bramwell Tovey on being an Artistic Director, Martyn Brabbins on modern music, Leon Botstein on programming and Vance George on choral conducting, and from those who work closely with conductors: a leading violinist describes working as a soloist with Stokowski, Ormandy and Barbirolli, while Solti and Abbado’s studio producer explains orchestral recording, and one of the world’s most powerful managers tells all. The book includes advice on how to conduct different types of groups (choral, opera, symphony, early music) and provides a substantial history of conducting as a study of national traditions. It is an unusually honest book about a secretive industry and managers, artistic directors, soloists, players and conductors openly discuss their different perspectives for the first time.

The Cambridge Companion to Conducting 1st Table of contents:

Part I: Practice
1 The technique of conducting
The baton
Beating patterns and tempo
The left hand
Eye contact
The podium
Preparation and interpretation
Conducting from memory
Training and career opportunities
2 Conductors in rehearsal
Preparing for the first rehearsal
Tempos
Marking parts
Know the instruments
Seating
Tuning
Starting the rehearsal
Rehearsal strategies
At the end
3 Studio conducting
“Live” vs. “dead”
Seating
Acoustics
The conductor in the studio
The producer
Opera in the studio
Concertos
The business of recording
4 The conductor and the soloist
Eugene Ormandy
John Barbirolli
Leopold Stokowski
Preparing for the soloist
5 Choral conducting
The choral tradition
Analysis is architecture
Analysis in action
Text
Choral colors and registration
Breaking the orchestral sound barrier
Soft singing
Baroque idioms
The choral rehearsal
The orchestral rehearsal
Mastering the baton
Balancing the orchestra and chorus
The first orchestra rehearsal
Combined chorus/orchestra rehearsals
Be yourself
Choral director resources
6 Opera conducting
Working with singers
Training for the opera house
Making the debut
Premieres
Manuscripts and editions
Recordings
Period performance
The dramaturge and the casting of an opera
Removing a singer
Coaching and accompanying
Rehearsal requirements
Acoustical balance in the house
Language and supertitles
Conflict between stage andmusic directors
Looking back over fifty years
7 The orchestra speaks
The rehearsal
Power and respect
The great conductor (for an orchestra)
Reminders from the players
Our common objective
Part II: History
8 The rise of conducting
Early leadership
Keyboard and violin leaders
Gewandhaus
Divided leadership in England
Spohr and the baton
Weber
Spontini in Berlin
Mendelssohn and the consolidation of power
Liszt and the new vocabulary of gesture
Wagner
9 The Central European tradition
Bülow
Levi, Richter, and Mottl
Damrosch, Seidl, and Muck
Mahler,Weingartner, and Strauss
Nikisch
Mengelberg
Walter, Klemperer, and Furtwängler
Karajan
Karajan’s contemporaries and successors
10 The French tradition
Early practice
Habeneck
Berlioz
Pasdeloup, Lamoureux, and Colonne
Monteux and Munch
Boulez
11 The Italian tradition
The role of the conductor to the end of the eighteenth century
Audience and orchestra in the early nineteenth century
The baton
The succession to Mariani
Toscanini
After Toscanini
12 The American tradition
New York from Thomas to Toscanini
Boston
Chicago and Cleveland
Philadelphia
New York from Toscanini to Bernstein
Conducting after Bernstein
13 The English tradition
The Germans: Manns, Hallé, and Richter
Wood, Beecham, and Boult
Barbirolli and Klemperer
Gardiner, Norrington, and Rattle
14 The Russian tradition
Illustrious visitors: the nineteenth century
Composer-conductors: bridging the gap
Beginnings of the Russian school: Tcherepnin and Malko
Soviet developments
Mravinsky in Leningrad
The next generation: Svetlanov, Rozhdestvensky, and Temirkanov
After glasnost: success, disarray and regeneration
Part III: Issues
15 The conductor as artistic director
Conductors and directors
The modern music director
Conducting the ensemble: musical leadership
Creating the ensemble: personnel
Curating the ensemble: programming
Period performance
Educational programming
Contemporary music
Commissioning new works
Musical integrity
16 Women on the podium
Early women conductors
“New women” and their orchestras
Boulanger
United States
England
Europe
Australia, Asia
Barriers
Future
17 Conducting early music
Control
Authority
Changing priorities
Conducting as progress
Conducting as tyranny
Interpretation and history
Why conductors might benefit from performance-practice studies
Conducting as an information technology
18 Training Conductors
Pulse and music
Early training
Twentieth-century methods
The “born conductor” and the apprentice
Skill sets
Charisma
The virtuoso orchestra
Contemporary training
An alternative conductor training program
Conductor variety
19 The composer-conductor and modern music
The return of composer-conductors
Bernstein and Boulez
Preparation: notation
Preparation: beat patterns
Preparation: physical demands
Preparation: technical demands
Working with composers
20 Managers and the business of conducting
From impresarios to managers
A variety of skills
Finding management
Choosing a manager
The responsibilities of the conductor
Planning a conducting career
Orchestra relations and the re-invitation
Reviews
The music director
21 The future of conducting
Conducting as a profession
The conductor as musician
New standards
The contemporary predicament
Creating a concert community
Rethinking concerts

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Tags: Jose Antonio Bowen, Cambridge Companion, Conducting