This entry is in response to the TEDTalk Lead Like the Great Conductors by Itay Talgam.
I liked his discussion of how such a small gesture can create order, and how "noise becomes music". I think this really sums up the importance of the conductor's guidance to a band or choir. As well, he illustrated on how the various "moods" shown by each composer can influence the band - such as Riccardo Muti, whom Talgam described as "commanding",which was very evident from the video clip.
As well, I enjoyed his use of contrast between different composers. It was interesting to note the different styles of each person - some conductors convey a lot of emotion through their body movement or facial expressions, which other conductors like Strauss have far less facial expression. Much like when performing, each person has their own unique style of conducting, and it's interesting to see how vastly different styles can both be effective. Herbert von Karajan's take on conducting was very interesting: "Yes, the worst damage I can do to my orchestra is to give them a clear instruction. Because that would prevent the ensemble, the listening to each other that is needed for an orchestra." I feel like this is a very unique outlook, as in the conducting classes I had taken during my music degree, I was always encouraged to be as clear and concise as possible. I'm not sure if I necessarily agree with his methods, but it's fascinating nevertheless, and it definitely works for him and achieves the effect that he wants.
His contrast of conducting styles also brought up the subject of how conductors and players are on each other, such as when he was discussing Carlos Kleiber, "You're not really given any instructions, but the forces of the process itself keep you in place.That's what he does. The interesting thing is of course the rollercoaster does not really exist. It's not a physical thing. It's in the players' heads. And that's what makes them into partners. You have the plan in your head. You know what to do, even though Kleiber is not conducting you. But here and there and that. You know what to do. And you become a partner building the rollercoaster, yeah, with sound, as you actually take the ride." It was intriguing to see how all of the conductors used various methods to express what they wanted, regardless of whether it was considered standard conducting practice or not.
I liked his discussion of how such a small gesture can create order, and how "noise becomes music". I think this really sums up the importance of the conductor's guidance to a band or choir. As well, he illustrated on how the various "moods" shown by each composer can influence the band - such as Riccardo Muti, whom Talgam described as "commanding",which was very evident from the video clip.
As well, I enjoyed his use of contrast between different composers. It was interesting to note the different styles of each person - some conductors convey a lot of emotion through their body movement or facial expressions, which other conductors like Strauss have far less facial expression. Much like when performing, each person has their own unique style of conducting, and it's interesting to see how vastly different styles can both be effective. Herbert von Karajan's take on conducting was very interesting: "Yes, the worst damage I can do to my orchestra is to give them a clear instruction. Because that would prevent the ensemble, the listening to each other that is needed for an orchestra." I feel like this is a very unique outlook, as in the conducting classes I had taken during my music degree, I was always encouraged to be as clear and concise as possible. I'm not sure if I necessarily agree with his methods, but it's fascinating nevertheless, and it definitely works for him and achieves the effect that he wants.
His contrast of conducting styles also brought up the subject of how conductors and players are on each other, such as when he was discussing Carlos Kleiber, "You're not really given any instructions, but the forces of the process itself keep you in place.That's what he does. The interesting thing is of course the rollercoaster does not really exist. It's not a physical thing. It's in the players' heads. And that's what makes them into partners. You have the plan in your head. You know what to do, even though Kleiber is not conducting you. But here and there and that. You know what to do. And you become a partner building the rollercoaster, yeah, with sound, as you actually take the ride." It was intriguing to see how all of the conductors used various methods to express what they wanted, regardless of whether it was considered standard conducting practice or not.
No comments:
Post a Comment