Linda Sherman wrote:
Speaking strictly as an audience member, the most reliable factor that
always seems to separate the good conductors from the not-so-good is how
they use tempo. The good ones just seem to have the right feel for the
tempo and the general flow of the music, while the not-so-g
PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Linda Sherman
Sent: Tuesday, October 10, 2006 8:04 AM
To: The Horn List
Subject: Re: [Hornlist] Conductors etc
hans wrote:
>What makes a good conductor
>
>
Speaking strictly as an audience member, the most reliable factor th
In a message dated 10/10/2006 16:09:28 GMT Daylight Time,
[EMAIL PROTECTED] writes:
"He conducted a very well known amateur orchestra in the north Cheshire
commuter belt where many of the Manchester professional community (medical
practitioners, lawyers, university lecturers, senior busine
Message text written by The Horn List
>he used to yell and bawl
> at his players and more than once I saw grown men and women
> crying behind their stands. <
Dear All
This is very similar to a conductor (once a leading horn player and now
deceased) for whom I played both as a student and in my
In a message dated 10/10/2006 10:41:01 GMT Daylight Time,
[EMAIL PROTECTED] writes:
And your point is what?
Wendell Rider
My point is that in this particular case once the conductor was calmed down
the performances suffered. I've seen similar things happen with sportsmen.
Cheers,
La
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[mailto:[EMAIL PROTECTED] On
Behalf Of Linda Sherman
Sent: Tuesday, October 10, 2006 2:04 PM
To: The Horn List
Subject: Re: [Hornlist] Conductors etc
hans wrote:
>What makes a good conductor
>
>
Speaking strictly as an audience member, the most reliable
factor
hans wrote:
What makes a good conductor
Speaking strictly as an audience member, the most reliable factor that
always seems to separate the good conductors from the not-so-good is how
they use tempo. The good ones just seem to have the right feel for the
tempo and the general flow of
:00 AM, [EMAIL PROTECTED]
wrote:
> message: 3
> date: Mon, 9 Oct 2006 10:48:11 EDT
> from: [EMAIL PROTECTED]
> subject: Re: [Hornlist] Conductors of amateur ensembles
>
> I used to help out with a local amateur orchestra, the
conductor of
> which was notorious - he used to yell
Jonathan West wrote:
> > 3) Hold your instructive comments until a substantial
> portion of the
> > piece has been played-- better, wait until the movement is
> finished.
> > Then go over your long list of comments with everyone.
-snip-
> I don't think this is necessarily the case. I have
> 3) Hold your instructive comments until a substantial
> portion of the piece has been played-- better, wait
> until the movement is finished. Then go over your
> long list of comments with everyone. My biggest gripe
> is aimed at conductors who stop every time they have
> some comment to make-
Company politics are so important, I just can't justify wasting time on
the job I was hired to do.
-Original Message-
From: [EMAIL PROTECTED]
To: horn@music.memphis.edu
Sent: Mon, 9 Oct 2006 7:00 AM
Subject: RE: [Hornlist] Conductors etc
Two observations on what Steve said, as t
-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Monday, October 09, 2006 3:48 PM
To: horn@music.memphis.edu
Subject: Re: [Hornlist] Conductors of amateur ensembles
I used to help out with a local amateur orchestra, the
conductor of which was notorious - h
That´s what I said allready in my letter. Critizism must be
positive & not destructive. A conductor who yells to the
orchestra or at a certain player, will lose his last value
the very same moment.
And for the amateurs: less (challenging) is often more
(quality) and thus more enjoyment.
-Orig
my long-winded way of saying that, in my opinion, you raised a very
good point, Bill. :)
-S-
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On
> Behalf Of [EMAIL PROTECTED]
> Sent: Monday, October 09, 2006 9:48 AM
> To: horn@music.memphis.edu
> S
Lawrence Yates wrote:
> I used to help out with a local amateur orchestra, the
> conductor of which was notorious - he used to yell and bawl
> at his players and more than once I saw grown men and women
> crying behind their stands. The concerts were terrific!
>
> Eventually, the managemen
rformances. It's
got to be more than just being "nice" or just being "demanding."
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Monday, October 09, 2006 9:48 AM
To: horn@music.memphis.edu
Subject: Re: [Hornli
I used to help out with a local amateur orchestra, the conductor of which
was notorious - he used to yell and bawl at his players and more than once I
saw
grown men and women crying behind their stands. The concerts were terrific!
Eventually, the management took him to one side and told hi
In my view, many of the same characteristics are needed for a conductor of
amateur groups as for professional, but perhaps not in such concentrated
form.
One key difference is that amateurs play for enjoyment, and if they stop
enjoying themselves they will stop playing or go elsewhere. That means
ve. On to other things hope you all can sort
through it. Better yet just delete it.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of hans
Sent: Monday, October 09, 2006 4:17 AM
To: 'The Horn List'
Subject: RE: [Hornlist] Conductors of amateur ensem
EMAIL PROTECTED] On Behalf Of
Steve Freides
Sent: Sunday, October 08, 2006 9:28 AM
To: 'The Horn List'
Subject: RE: [Hornlist] Conductors etc
Hans Pizka wrote:
> I try it again to incend a fire(works) about conductors &
> their means of interpretation, as the first attempt resu
As I conduct an amateur group by myself since many years
(even a horn ensemble) I may add a few words here:
These preconditions of handing out the music in advance etc.
is just normal & we will not talk about these self-evident
things.
The first thing & most important for any conductor is it, to
Hans, We agree they were not verbose
I said "Leinsdorf, Solti and Guilini none of which in my experience in
rehearsal were colorful or verbose." I used the word NONE.
I used them as an example and purposefully excluded Bernstein because I took
your initial remarks
Which were;
Vocables as
"lo
, October 08, 2006 6:56 PM
To: 'The Horn List'
Subject: RE: [Hornlist] Conductors etc
Hans Pizka wrote:
-snip-
> ... 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
t; 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
> gen
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 we
appear after a
while.
==
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Steve Freides
Sent: Sunday, October 08, 2006 3:28 PM
To: 'The Horn List'
Subject: RE: [Hornlist] Conductors etc
Hans, I did not respond
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
Hans Pizka wrote:
> I try it again to incend a fire(works) about conductors &
> their means of interpretation, as the first attempt resulted
> in zero effect but one single reply. Are you to cautious to
> talk about conductors ? Because a few lure around in several
> lists ? What to fear ? Is
That is an interesting question...who are these 'gems' that you are thinking
of? Simon Rattle had a great reputation when with City of Birmingham...does he
enjoy the same in his years at Berlin?
Thanks, Fred
- Original Message
From: hans <[EMAIL PROTECTED]>
To: The Horn List
Sent:
Hi all,
If you are interested in reading about conductors and how they (often)
behave, you should read this book by Norman Lebrecht: "The Maestro Myth".
He takes the gloss off most of them.
Per Ottar
- Original Message -
From: "Hans.Pizka" <[EMAIL PROTECTED]>
To: "'The Horn List'"
Interesting. . .
I do note that one major symphony in the US has made it the business policy
not to hire "top of the line" conductors. They look for a conductor that
can work well with the orchestra to produce solid music, but not demand so
much money that it diverts funds from musicians and othe
I frequently cross over to the dark side and it has made me a better
hornist.
Carl Bangs
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I've held back as long as I can, but no more Mister
nice guy.
I am a horn player AND a conductor, and proud of
it.
In fact, I enjoy the conducting more than the
playing, but God has been kind, and at age 59 I can
still pop out those high e's above the staff. I'm
good to the bottom of the horn
: [Hornlist] Conductors
On Monday, May 30, 2005, at 01:43 PM, Bob Gibson wrote:
> GOD Help us from ex horn players turned
> Conductors(?) !
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
>
http://music.memphis.e
Behalf Of
[EMAIL PROTECTED]
Sent: Monday, May 30, 2005 12:58 PM
To: 'The Horn List'
Subject: RE: [Hornlist] Conductors
Whom do you have in mind ? Joseph Keilberth (+), Barry
Tuckwell, Michael Hoeltzel, Michael Thompson, Radek Baborak,
Sebastian Weigle (ex solo horn State Opera Berlin,
On Monday, May 30, 2005, at 01:43 PM, Bob Gibson wrote:
GOD Help us from ex horn players turned
Conductors(?) !
___
post: horn@music.memphis.edu
unsubscribe or set options at
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I
Whom do you have in mind ? Joseph Keilberth (+), Barry
Tuckwell, Michael Hoeltzel, Michael Thompson, Radek Baborak,
Sebastian Weigle (ex solo horn State Opera Berlin, excellent
conductor & nice fellow, conducts Berlin State Opera,
Dresden, Barcelona, Tokyo, etc.), ...
-Original Message--
riginal Message -
From: "Paul Kampen" <[EMAIL PROTECTED]>
To: "The Horn List"
Sent: Tuesday, May 24, 2005 8:35 AM
Subject: RE: [Hornlist] Conductors
Message text written by The Horn List
Personally, I have respect for anyone with the brass
to get in front of a bu
Message text written by The Horn List
>Personally, I have respect for anyone with the brass
to get in front of a bunch of musicians who by their
very nature can be rather unforgiving.<
Dear All
But does brass neck always lead to the best talent emerging?
Whilst at Opera North, I played for all t
Hi,
With all the talk about conductors, I figure I might
as well jump in.
Personally, I have respect for anyone with the brass
to get in front of a bunch of musicians who by their
very nature can be rather unforgiving. It's pretty
safe to say that the vast majority of us will never
swing a stick.
@()
[EMAIL PROTECTED]
(520) 403-6897
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Monday, May 23, 2005 4:30 PM
To: horn@music.memphis.edu
Subject: Re: [Hornlist] Conductors
Was it the Saint-Saens symphony 3?
-William
In a mes
Was it the Saint-Saens symphony 3?
-William
In a message dated 5/23/2005 6:29:25 P.M. Central Daylight Time,
[EMAIL PROTECTED] writes:
Yep, the rule is to keep your eyes on the conductor, but the truth is you
gotta know when NOT to look at the conductor.
War story. I was playing 3rd horn
Yep, the rule is to keep your eyes on the conductor, but the truth is you
gotta know when NOT to look at the conductor.
War story. I was playing 3rd horn and had the important solo at the
beginning of the 3rd movement of a symphony which I now can't remember the
name of. I very much had to em
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