Handbook of Conducting

By: Hermann Scherchen

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Paperback | 14 December 1989

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260 Pages

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21.59 x 13.97 x 1.5

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Herman Scherchen (1891-1966), the distinguished German conductor, was largely self-taught in music. He played the viola in the Berlin Philharmonic (1907-10) and in 1918 founded the Neue Musikgesellschaft in Berlin. He was an ardent champion of twentieth-century music, especially that of Schoenberg, with whom he toured. From 1928 to 1933 he was in charge of music for the Konigsberg Radio and in 1933 settled in Switzerland and led for six years the Zurich Radio Orchestra. A number of Scherchen's classic recordings from the 1950s and early 1960s are again available, now on compact disc. Handbook of Conducting offers an admirably full and clear analysis of the techniques of conducting. First published in 1933, it is still of immense value to all students of conducting. It will be of interest as well to all musicians and anyone who listens to orchestral music.

Industry Reviews

By far the most absorbing and demanding book on conducting ever published ... a veritable Bible for generations of conductors, it is both utterly visionary and rivetingly interesting ... His book will never cease to instruct, to inspire, and above all to enthral.' Norman Del Mar Tthis book has nothing to do with early music whatsoever; it was written in 1929, so this is hardly surprising. It is, however, the best instruction book ever written for conductors, and therefore its renewed availability is of the first importance... If those of you who conduct can do everything in this book, no music will ever daunt you, from Monteverdi to Maxwell Davies. If you can't, buy it and study it... the ideal manual.' FoMRHI

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On Conducting	p. 1
The Teachable Technique of Conducting	p. 1
Imagination and reproduction	p. 1
Learning how to conduct	p. 3
The student's curriculum	p. 4
Exercises for developing musicianship	p. 6
Conducting	p. 14
Clarity of conducting gestures	p. 14
Idiosyncrasies of Conducting	p. 16
Representation of works	p. 16
The performer's standard	p. 17
The problems of conducting	p. 19
The executant's responsibility	p. 20
Orchestral Playing and Conducting	p. 21
The orchestra's idiosyncracies	p. 21
Intensification	p. 24
Limitation and enrichment	p. 27
Song the basic law of all musical reproduction	p. 28
The Science of the Orchestra	p. 32
The Bow Instruments	p. 32
The leader and his duties	p. 32
Tuning-in	p. 32
Collocation of the orchestra	p. 32
Rehearsing accommodation	p. 34
Idiosyncracies of bow-instrument technique	p. 35
Finger- and bow-accent	p. 35
Legato	p. 38
Changes of bowing, position, and string	p. 42
The non-legato stroke	p. 49
Pizzicato	p. 51
Vibrato	p. 54
Col legno, sul tasto, sul ponticello, tremolo	p. 56
Final remarks	p. 58
Technique and its applications	p. 58
Preparedness in music	p. 59
Leader and orchestra	p. 60
The Wind Instruments	p. 61
The Woodwind	p. 61
Tone production and breathing	p. 61
Varying the tone	p. 67
Aids to variation of tone	p. 75
Maintaining the natural volume	p. 88
Purity of pitch	p. 92
Tone-colorations	p. 93
Apportioned melodic patterns	p. 94
Final recommendations	p. 95
Repertory of woodwind soli	p. 96
The Brass	p. 97
General remarks	p. 97
Technical idiosyncrasies of brass instruments	p. 103
Late attacks	p. 103
Detaching by breathing	p. 105
Double-tonguing	p. 107
'Lightening'	p. 108
Avoiding a dropping of the tone	p. 111
Avoiding wrong crescendi	p. 113
Extension	p. 114
Listening while playing	p. 115
Passing on a phrase	p. 118
The onward urge	p. 120
Muting	p. 122
Equal volume of all notes in chords	p. 122
Grouping of instruments	p. 124
Performance and interpretative possibilities	p. 125
The Percussion	p. 127
Use and significance of the percussion group	p. 127
The players	p. 127
The instruments and how to use them	p. 128
Conductor, players, and timpanist	p. 129
Instruments with definite pitch	p. 129
The timpani	p. 129
Bells, celesta, gong, and xylophone	p. 132
Instruments without definite pitch	p. 133
Drums	p. 133
Cymbals	p. 133
Tamtam, triangle, castanets, and tambourine	p. 134
The percussion in orchestral playing	p. 136
The Harp	p. 147
Marking the parts	p. 150
Conductor and Music	p. 151
The Technique of Conducting	p. 151
The basic types of conducting by gestures	p. 151
Whole bar, half-bar, triple-time, and quadruple-time beating	p. 152
Beating four, six, eight, nine, or twelve quavers	p. 155
Preliminary upbeat	p. 156
The pause and the endbeat	p. 163
The general pause	p. 173
The caesura	p. 174
Pause and caesura in the interpretation of melody	p. 177
Uses of upbeat and endbeat movements	p. 179
Motif upbeat	p. 180
Motif endbeat	p. 182
Period-division by means of upbeats and endbeats	p. 183
The natural starting-point of the motions of conducting	p. 186
The conductor's bearing	p. 187
Clarity of conductor's motions	p. 188
The Applied Technique, or Practice, of Conducting	p. 188
Conditions of teaching	p. 189
Method of tuition	p. 190
Practical Examples	p. 192
Beethoven: First Symphony	p. 192
Adagio molto and Allegro con brio	p. 192
Andante cantabile con moto	p. 213
Menuetto, Allegro molto e vivace	p. 217
Adagio, and Allegro molto e vivace	p. 219
R. Strauss: 'Till Eulenspiegel'	p. 221
I. Stravinsky: 'L'Historire du Soldat'	p. 227
Table of Contents provided by Syndetics. All Rights Reserved.

Handbook of Conducting

At a Glance

Paperback

Industry Reviews

Shipping

How to return your order

Defective items

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