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Handbook of Conducting - Hermann Scherchen

Handbook of Conducting

Paperback Published: 14th December 1989
ISBN: 9780198161820
Number Of Pages: 264

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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 ZA1/4rich 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.

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

On Conductingp. 1
The Teachable Technique of Conductingp. 1
Imagination and reproductionp. 1
Learning how to conductp. 3
The student's curriculump. 4
Exercises for developing musicianshipp. 6
Conductingp. 14
Clarity of conducting gesturesp. 14
Idiosyncrasies of Conductingp. 16
Representation of worksp. 16
The performer's standardp. 17
The problems of conductingp. 19
The executant's responsibilityp. 20
Orchestral Playing and Conductingp. 21
The orchestra's idiosyncraciesp. 21
Intensificationp. 24
Limitation and enrichmentp. 27
Song the basic law of all musical reproductionp. 28
The Science of the Orchestrap. 32
The Bow Instrumentsp. 32
The leader and his dutiesp. 32
Tuning-inp. 32
Collocation of the orchestrap. 32
Rehearsing accommodationp. 34
Idiosyncracies of bow-instrument techniquep. 35
Finger- and bow-accentp. 35
Legatop. 38
Changes of bowing, position, and stringp. 42
The non-legato strokep. 49
Pizzicatop. 51
Vibratop. 54
Col legno, sul tasto, sul ponticello, tremolop. 56
Final remarksp. 58
Technique and its applicationsp. 58
Preparedness in musicp. 59
Leader and orchestrap. 60
The Wind Instrumentsp. 61
The Woodwindp. 61
Tone production and breathingp. 61
Varying the tonep. 67
Aids to variation of tonep. 75
Maintaining the natural volumep. 88
Purity of pitchp. 92
Tone-colorationsp. 93
Apportioned melodic patternsp. 94
Final recommendationsp. 95
Repertory of woodwind solip. 96
The Brassp. 97
General remarksp. 97
Technical idiosyncrasies of brass instrumentsp. 103
Late attacksp. 103
Detaching by breathingp. 105
Double-tonguingp. 107
'Lightening'p. 108
Avoiding a dropping of the tonep. 111
Avoiding wrong crescendip. 113
Extensionp. 114
Listening while playingp. 115
Passing on a phrasep. 118
The onward urgep. 120
Mutingp. 122
Equal volume of all notes in chordsp. 122
Grouping of instrumentsp. 124
Performance and interpretative possibilitiesp. 125
The Percussionp. 127
Use and significance of the percussion groupp. 127
The playersp. 127
The instruments and how to use themp. 128
Conductor, players, and timpanistp. 129
Instruments with definite pitchp. 129
The timpanip. 129
Bells, celesta, gong, and xylophonep. 132
Instruments without definite pitchp. 133
Drumsp. 133
Cymbalsp. 133
Tamtam, triangle, castanets, and tambourinep. 134
The percussion in orchestral playingp. 136
The Harpp. 147
Marking the partsp. 150
Conductor and Musicp. 151
The Technique of Conductingp. 151
The basic types of conducting by gesturesp. 151
Whole bar, half-bar, triple-time, and quadruple-time beatingp. 152
Beating four, six, eight, nine, or twelve quaversp. 155
Preliminary upbeatp. 156
The pause and the endbeatp. 163
The general pausep. 173
The caesurap. 174
Pause and caesura in the interpretation of melodyp. 177
Uses of upbeat and endbeat movementsp. 179
Motif upbeatp. 180
Motif endbeatp. 182
Period-division by means of upbeats and endbeatsp. 183
The natural starting-point of the motions of conductingp. 186
The conductor's bearingp. 187
Clarity of conductor's motionsp. 188
The Applied Technique, or Practice, of Conductingp. 188
Conditions of teachingp. 189
Method of tuitionp. 190
Practical Examplesp. 192
Beethoven: First Symphonyp. 192
Adagio molto and Allegro con briop. 192
Andante cantabile con motop. 213
Menuetto, Allegro molto e vivacep. 217
Adagio, and Allegro molto e vivacep. 219
R. Strauss: 'Till Eulenspiegel'p. 221
I. Stravinsky: 'L'Historire du Soldat'p. 227
Table of Contents provided by Syndetics. All Rights Reserved.

ISBN: 9780198161820
ISBN-10: 0198161824
Audience: Professional
Format: Paperback
Language: English
Number Of Pages: 264
Published: 14th December 1989
Country of Publication: GB
Dimensions (cm): 22.2 x 15.7  x 1.5
Weight (kg): 0.36