Panula On Conducting by Jorma Panula
Panula On Conducting by Jorma Panula
Panula On Conducting by Jorma Panula
Jorma Panula
Questions are pouring forth while examining the score. It is worth exploring for a lifetime
(Zecchi). Because you always find something new if you are open for changes, an innovative
musician. Yet, we haven't even talked about beating or rehearsal technique. That is already
a new subject.
When you open the score, there is the name of the work. Opus number, composer, key
maybe, tempo? And the menu…instrumentation. Where do you begin? You relate notation to
tempo. For example, if there is no tempo mark (older music) look at bass lines, they cannot
go very fast. Think carefully before starting, otherwise the pulse will not live. It is most
important. Everything is movement, rhythm. Everyone has their own pulse. Find with it the
pulse of the work, the composer. Does it reject it.. .or?
In older music, markings were not so necessary. Dances were known, and the suites are in
their tempos. Menuet, allemande, gavotte, sarabande, etc., how many can dance them? it is
worth taking some courses. One has to only listen to tango or waltz to know that they are
played too fast. In the beginning of the waltz, women had long skirts, not miniskirts (waltz
musette). Men had heavy uniforms. These just as hints for the tempo of these times.
Now we are only in the tempo marking. Easy but dangerous path is to listen to the masters'
recordings. Accelerated course to surface gliding. Examine the score yourself The notation
gives the answer, the piece will bring itself into focus. Character will also be found in the
instrumentation. Read the whole work in your chosen tempo. Now you have a picture of the
work in your head. Leave it there to stew in its own juices. You can take pictures of other
works. Take the same works out after a week. You note that you remember many parts and
at the same time you can deepen the whole. Also those places
you were wondering about at prima vista have cleared. Now starts slower and deeper
exploration. Maybe tempo changes and modulations will clear, if not, do it more times. If you
can't hear it in your head, play it on your instrument until you can hear the harmonies in your
head. Explore the phrases, bowings, balance. There you can find problems because quite
few composers were masterful in instrumentation. On the other hand, the strength and
colour of the instruments have changed over time. For example, corno has doubled in
power, French bassoon has changed to Heckel I have observed countless poor
balances. Many places don't function without changing them a little. Even Mozart has a
couple of spots. Why only every hundredth conductor corrects? Don't they hear or dare?
Beethoven sounds "dumpier" than Mozart. Brahms sounds too often brass heavy. Sibelius
doubles too much (many octave and fifth pedals). In Berg it is already a question of colour. . .
.difficult... For example the use of tuba and timpani in Sibelius is an eternal drag. One can't
leave them out but dynamics must be changed. Could it have been Kajanus imposing his
Germanness? More difficult case are the low notes of oboe and bassoon. Not many players
can play them ppp as marked. Second oboists are afraid among other things of Dvorak
cello concerto second movement. It can be played by the way by English Horn. The same
with Sibelius in many places for example in the Fifth Symphony second movement long low
notes. Tchaikovsky Fifth and Sixth are also troublesome in this way. Try different kinds of
bowing if possible. With famous orchestras it is no longer possible but.. .(Berglund). Ask
experienced concert masters, don't trust tradition. There you can find only many bad habits.
Funtek was a skilful violinist in his time, but his fingerings in countless Bruckner passages
didn't go through anymore in the sixties. In Prokofiev's and Stravinsky's scores are bowings
and other markings of which only part is in use anymore. Punta d'arco for example in
Sibelius has been erased in many spiccato places. One must find a sound vision in the
notation. It is more important than the marked way of playing.
The tempos of the work are more important than one would believe in the beginning of the
studies. A young person is in a Sturm und “Restaurant” period for many years and tempos
go up and down (as it should be), but they settle into their own little by little. They become
personal. There probably are not two people who think exactly the same way. Above we
mentioned already the transition to Sibelius 2 Finale. More examples of "mis"understanding:
Brahms 2 first movement Tranquillo towards end - before that is rallentando, ok, but later
again rallentando, but sempre tranquillo - so more but rallentando may not go under tempo.
And then new tempo. Mamma mia! There are countless of these. Explore for example
Sibelius' use of al !!?? There is not always where to. Then also he marks A Tempo and
Tempo Primo. It looks like it is meant to be the same but no. Valse triste for example. Read.
There are also many misprints, mainly missing dynamics. Not all conductors even know the
difference with A tempo, they pronounce it wrong, like "ay" tempo. What then is B Tempo or
C Tempo? I noticed this again and as recently as May 21, 1997. Unknown markings are also
piu and sometimes meno. Sibelius' meno is in many places not observed, even on
recordings. Explore Sibelius 1, meno andante = faster....
Situation comedy lightens heavy work, but there are limits. Too many jokes
(especially stupid ones) make the atmosphere heavy. Be sensitive to when a situation is
helped by a break. If is becomes uncomfortably hot or especially if you become sweaty,
don't start scratching, clawing, poking and all kinds of antics, this gives an unsure, apelike
impression. Simply call for an extra break.
Rehearsal continues in a friendly spirit while still maintaining a pure, artistic
working atmosphere. Staying fresh and creative, not routine, stimulates the rehearsal if
the orchestra absorbs things fast, it's not necessary to make them play just to kill time.
Players are very sensitive to this and the atmosphere drops. In the dress rehearsal, if there
is time, orchestras like to play through the whole program without breaks (as with opera
and theatre). This way they know how to use their energy and concentration and best
focus it in the concert. If the program is too tiring for some winds or brass, you can invite
them to save themselves for the concert. Again: HELP, BUT DON'T GET IN THE
WAY!!
4) Beginning
- 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.
5) Stopping
- 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!
So......