MEMORANDUM TO PANULA'S ORCHESTRAL CONDUCTING STUDENTS
February 10, 1987
1) Choice of repertory and contact with the orchestra
-in choosing repertory one must take into account the level and working efficiency
of the orchestra, which depends upon, among others, the following things:
-circumstances of rehearsals and concerts such as space, acoustic, and whether or not it is a concert hall or all-purpose space, etc.
-take notice of orchestra `divas,' concertinasters, principals, librarian, organizers, intendant and
-make sure that the parts are in good shape in every possible way!
-arriving to the location = orientation
2) Arriving to the rehearsal
-prepare to meet those who try to get out of rehearsals, complainers, flatterers, latecomers
-"morning worship" speech to the orchestra
-clothing, walk, expression, voice, and content of your speech have an influence on the image
the orchestra forms of you.
3) In front of the orchestra
-"product description" of the work at hand
-commentary in words and gesture - posture - wait - hands - wait - speech when needed, ready into motion!
-decide whether you will run the whole section or in parts
-will you conduct like in performance or rehearsal (exaggerated gestures)
-use your ears - eyes, remember what happens both in the playing and reaction.
React with your expression, gesture, words.
-WHY DO YOU STOP? THERE BEGINS THE REHEARSAL!!
-possible praise and criticism
-to what extent do you listen to concert master, principals, and players' comments?
6) Rehearsal method
-broad or precise approach?
-by section, stand, or individual? Do you demand alertness from others?
-missing instruments = your ability to arrange
7) Coffee break
-time it in a suitable moment
-decide whether you use the break for rest, work, contacts (see #1) or talk rubbish
-the orchestra's fatigue/concentration depends upon your efficiency!
8) After the rehearsal
-decide how you will use the next rehearsal
-agree on rehearsal times and other details with possible soloist or choir
-be ready for surprises: change of program, change of soloist, change of rehearsal
-how do you use your spare time?
9) Dress rehearsal and before concert
-do you want audience at the dress or how do prepare if it is already sold?
-review the dress in your mind afterwards, figure out possible confusion in advance
(unclear transitions, rhythm, intonation problems, other technical problems) but
concentrate only on the message of the composer
- REST: NO EXTRA WORK. NOISE. ALCOHOL. ETC.!!
Are you considerably nervous before a concert?
WHY?? There's the whole problem!
Are you unsure - Why?
Don't try to be more than you are, it shows
Breathing - yoga - relaxation