Re: Good Conductor's rehearsals?

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Posted by Chris Beard on July 17, 2003 at 17:17:04:

In Reply to: Good Conductor's rehearsals? posted by MP on July 17, 2003 at 11:20:04:

But what is the highest ability of the ensemble: from the standpoint if we hypothetically never heard a recording of a work even premier a work.

I believe a good conductor has the ability by the "Sound" he has within be able to get the band/orchestra/whatever to have his ideal sound.

A good example is Eugene Ormandy and his collaboration with the Philadelphia Orchestra
generally Ormandy really went for more of a "covered" sound with the brass which allowed the orchestras strings and woodwinds to prevail and be more at center stage which brilliantly captured a rather lush dark overall sound.

In contrast Georg Solti really took from the strengths of the Brass and trasferred the energy that he pulled from the brass to the woodwinds and Strings making for a very sonorous and incredibily OPEN orchestral balance... In other words no one is holding back.
I appologise I guess I got a little off topic but that to mean helps to define a great conductor neither is wrong that is their interpretation of what a group should sound like.
A good conductor selects programming that a particular group has strengths with and will add in things that are a bit more foreign for development.
I.E.--Wagner, Mahler, Bruckner, Strauss, Stravinsky are composers that helped make the Chicago Symphony Legendary because that was/is there backbone(I understand I left some out) at the same time there are current ultramodern works by composers like Aaron Jay Kernis, Pierre Boulez and so on that are added for that challenge prospective.
Programming is not only what the audience desires, there are thoughts behind it to improve and build the orchestra like bringing orchestras to international tours.
Well I guess I have kinda through out alot for you all to hear.

Chris Beard

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