Debbie, I have no experience with Giulini, but did several concerts with Leinsdorf & Solti. So I cannot agree with you, that they were not verbose, in contrary, both could explain very well how they wanted the things, very illustrative indeed. Well, we had no problems to understand Leinsdorfs fine nuances in the language as we all spokethe same language as mother language, which might make a big, a very big difference. And Solti, I think that German was also his second mother language. He was the boss of my orchestra after WW2. You should have heard him explaining R.Strauss´ Don Juan. Never heard it explained better. Or watch the "Golden Ring" documentary with the VPO. But you need to understand the fine nuances in German. Or Bernstein ? Just two words explained everything. If the right words are used, just few words will make it. And these calibers were full of fun. Fischer-Dieskau once asked Klemperer if he could attend one of his concerts, but Klemperer asked why. I will conduct Schuberts Great ! Let me check my calender (Klemperer), yes, yes, I might be free that night, but, but I have to attend George Solties "Liederabend", sorry.
Sawallisch knew when & where & why singer errors could happen during a performance, but he could repair them BEFORE they happen. I have witnessed that on many occasions. Kleiber did not help, - speaking of Carlos -, but he studied the things very well for himself first, even inserting special instructions into the several parts by himself, - and he could talk colours enormously, even his German vocabulary was very short, but he had just the right terms. Watch his Fledermaus, Woyzzeck, Rosenkavalier, Tristan, Freischuetz, Othello (nearly all his repertory regarding opera), oops, he did two Bohemes & one Madame Buterfly with us without rehearsal. You could read everything from his face (I played both Bohemes). Another performance (La Traviata) was cancelled due to a singer illness (the tenor had to leave the stage & the famous aria was jumped, when we did the first of the La Traviatas in that series) and Kleiber asked for a change in the program, Pavarotti was in town and sang Rodolfo, can you imagine that excitement. The audience really boiled but came to tears (no exaggeration !) & we too. We were so moved. It was the music, the great singers AND Carlos Kleiber. Muti uses a thin vocabulary but all words are placed right, and his great discipline when conducting. The greatest advantage of these great conductors is their ability to LISTEN, to listen what´s coming from the various players in the pit or on stage and just use what´s being offered to them or even fine tuning the one or the other phrase or voice. ============================================================ ============================================================ ========== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, October 08, 2006 5:05 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Conductors etc Hans, I agree conceptually, but let's talk about an older generation of conductors so as not to offend, Leinsdorf, Solti and Guilini none of which in my experience in rehearsal were colorful or verbose. All were passionate all could move you and the audience. So I would suggest that there is an unspoken chemistry between conductor and orchestra and an unspoken respect that goes both ways that also comes into play. Debbie _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
