ON CONDUCTING

Jorma Panula

May this introduction be an intimidation-stimulus-encouragement. The curious will of course

continue. How will you be able with your being and hands to express everything going on in
your head. You are impatient. You want to bring out all your knowledge and explain your
vision in any way possible. It is good to have a vision, not just stand there beating away. That
too the orchestra senses. Whether the performance machinery is ensemble, choir, opera,
symphony orchestra, whatever, there are in the group many artists behaving in a different
way who also have their own opinion of the piece at hand. Let's take for example a
symphony where there is usually four movements. Have you thought of their relationship to
each other? How much silence between the movements do you want and why? For example
Brahms 1, where transition to the Finale must be sensed exactly, or Sibelius 2 the transition
to Finale. Are you slowing down under the tempo of Finale? Rather not, because Romantic
tempos go al next tempo.

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....

SOME HINTS TO THE CONDUCTOR

by JORMA PANULA
I assume you know the scores and their secrets. To many the score looks like a
secret code. Learning the score is the first requirement to leading an orchestra.
Nevertheless, the most difficult part begins with the orchestra rehearsal. As your
instrument, you have a living machinery, complicated to handle, not some old fashioned
band in an officer's command. We are all musicians, doing teamwork. My pedagogical
motto is:

HELP, BUT DON'T GET IN THE WAY

REHEARSAL TECHNIQUE: There are some aspects which must be known and planned
in advance. You will know how much rehearsal time you have but when the soloist shows
up, time can be limited. Player's absences and illnesses complicate the flow of rehearsals,
as does the state of players' instruments, acoustics, air conditioning, etc. The degree of
difficulty of the works is anyway the most important thing to consider in dividing the
rehearsal time between pieces. Surprises will pop up from one place or another.
COMING TO THE REHEARSAL: You will have become familiar in advance with the
city's sights and cultural characteristics, and you know the VIP names. More important is
to find out who the orchestra "divas" are, which are to be found in every orchestra.
The first contact with the orchestra is decisive. What kind of picture do you give
of yourself? You can't give any other than what you are. Pretensions and false images
will show through sooner or later. If you try more than you are capable of it shows.
Some conductors have all kinds of equipment with which they pretend to show
their importance: towels, attention arousing stuff like baton cases, watches and other junk
to get extra notice. Avoid all of this. Be a player among players. Speak clearly and
calmly. Respect people. Don't imitate the player's mistakes. Keep talking to a minimum.
Posture should be as natural as possible, characteristic of the music, same with
gestures. In some cases it is enough to beat time without expression or nuance; the
musicians also have music which they have to read, not just sit around staring at you. So,
feet and legs then: not bent and crooked, squatting or hammering the floor. Audible extra
sounds and speech disturbs both the musicians and audience, and can get in the way of
recording. Many recording sessions need to be redone because of the conductor. Hands'
position, neck stiffness, expression and looks are revealing and have an effect on the
performance. It's worth studying yourself not in a mirror, bur rather with video.
By playing the work you come to find the inner core. Minimize therefore your
speech, always focus your words to the people farthest in the back, but not personally
unless you want to thank them for a beautiful solo. In any case, wait for silence before
speaking. If there is some uncertainty regarding bowing, give time to the concert master.
This is his/her important job. Be sure to notice that pencils are in use. When addressing a
concern, first acknowledge the group/player, call attention to the place in question, and
then give the changes/corrections you want. When beginning from a new place, say the
place only once. This sharpens concentration.
Acknowledge wrong notes with a pokerface (show no expression). Everyone
makes mistakes. If and when you stop the orchestra, ask yourself of its necessity, don't
just show that you noticed something. Start from the same place a maximum of three
times. If after the third time there is still a problem, you need to change the gesture. You
always have to have new technique up your sleeve. When you rehearse an unknown piece
measure by measure, every now and then play the large section. If you take a technically
difficult section under tempo, don't hammer out the beats, just listen (don't get in the way).
Measure numbers are difficult to find when not every measure is numbered the way they
are in many newer works. For this reason it is best to take new starts in the middle of the
movement from or near rehearsal numbers or letters or tempo changes.
Show with your fingers what pattern you will beat. While playing it is also
possible to do so, but show well ahead of time. Warn players of a dangerous place ahead
by raising your hand, without baton, usually the left. When it is a question of meter and
pattern change, show the change with fingers ahead of time.
Nuances and tempo change the first time through is best exaggerated, second time
conduct as you would in concert. While playing you can call out directions, but it is
useless to try to speak or shout during forte sections. You can call attention by pointing
to a player or group when helpful, but it is not necessary to stop the orchestra.

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!!

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.
- regular conductor
- intendant
- tours
- take notice of orchestra “divas”, concertmasters, principals, librarian,
organizers, intendant and stage manager.
- 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.
- tuning

3) In front of the orchestra

- opening words
- work order
- "product description" of the work at hand

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!

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 times, etc.
- 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 rehearsal 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

So......