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Paul Rardin
Temple University
Texas Choral Directors Association Convention
Tuesday, July 23, 2013, 2:30 p.m. Henry B. Gonzalez Convention Center
San Antonio, TX
INTRODUCTION
What is a conductor? Three definitions
Conductor as conduit between
Conductor premise:
The printed score is an approximation. There is always music
implied but not notated , and its my job to illuminate that music for
my ensemble.
Conductor goals:
a. Recognize that performance practice musical techniques that are implied
but not notated is an important source of off-the-page music, particularly
with respect to articulation and phrasing.
b. Learn basic principles of performance practice for the historical eras of
whatever music Im conducting.
c. Use singer movement in rehearsal to bring these principles to life in rehearsal
and performance. This movement acts as a living conduit to past practices as
found in scholarly treatises.
RENAISSANCE
Victoria O quam gloriosum (1572)
Guiding principles: steady tactus , expressive cadences
Conductor Issue: If there are multiple editions of the piece I want to conduct, which one
should I choose?
Choose one with a constant unit of duration (i.e., does not change between 3/4
and 6/8), so that we honor the Renaissance rule of keeping the tactus constant.
All tactus [are] measured and regulated by the length of the first tactus; that is,
that the amount of time occupied by the first tactus be occupied [by] each of the
ones that follow, so that no more time elapses in one than in the other.
Fray Toms de Santa Maria (Libro llamado arte de taer fantasia, 1565)
Conductor Issue: If the printed music shows four quarter notes per bar, should I conduct
quarter notes or half notes?
In general, follow the harmonic rhythm of the piece (if harmony changes
approximately every half note or less, conduct the half note).
If the pace of the dissonances and their resolution occurs basically every half
note, the half note is the tactus of the composition. Likewise, of the pace of
harmony proceeds by whole notes, the whole note is the tactus.
Dennis Shrock, Phrasing in the Music of the Renaissance
Conductor Issue: Should I maintain the same dynamic and tempo throughout?
When the intensity of the music rises and falls through melody, textual meaning,
or (especially) harmony it is necessary to vary dynamics and tempo accordingly.
Sometimes one uses a certain way of proceeding in the composition that cannot
be written down such as to sing piano and forte, and to sing presto and tardo,
moving the measure according to the words to demonstrate the effects of the
passions of the words and of the harmony.
Nicola Vicentino (Lantica musica ridotta alla moderna prattica, 1555)
And the cadence is very necessary in the harmonies, because when there is none,
they lack a necessary and great ornament, both to distinguish the parts as well
as to separate the portions of the text.
Gioseffo Zarlino (Le Istitutioni harmoniche, 1558)
In order for resolution to be felt, tension must precede it. Tension must build to
and relaxation must be a characteristic of all cadences.
Dennis Shrock, Phrasing in the Music of the Renaissance
page 3
CLASSICAL
Haydn Te Deum in C, H. XXIIIc:2 (1800)
Guiding principles: clarity, refinement, elegance
Conductor Issue: In general, how should this music be articulated?
For music that is faster (allegro style) and/or characterized by repeated notes,
separate the notes somewhat.
All the notes in execution, whether ornamented or not, are partly in hold and
partly in silence; which means that they all have a certain length of sound and a
certain length of silence, which united make the whole value of the note.
Bdos de Celles, organ treatise (1766), Part 4, Chapter 4, Section 2
For music that is slower (cantabile style), connect the notes.
In performance it is important to distinguish between cantabile and allegro
music. In cantabile passages, the transition from one note to the next must be
made so perfectly that no interval of silence is perceptible between them; in
allegro passages, on the other hand, the notes should be somewhat detached.
Trk, clavier treatise (1789), Rules for bowing
page 4
Conductor Issue: How should individual, sustained notes be sung and played?
The classical era favored elegance, clarity, and smoothness. Singers and players
were encouraged to begin a pitch softly, add a smooth crescendo, and conclude
with an equally smooth diminuendo. This technique was known as messa di voce
(literally the placing of the voice), and is considered one of the most important
musical devices in both the Baroque and the Classical eras.
Every tone, even the strongest attack, has a small, even if barely audible, softness
at the beginning of the stroke; for it would otherwise note be a tone but only an
unpleasant and intelligible noise. The same softness must be heard also at the end
of each stroke.
L. Mozart, violin treatise (1756), Chapter 5 How, by skillful control of the Bow,
one should seek to produce a good tone on a violin and bring it forth in the
proper manner
page 5
ROMANTIC
Brahms O schne Nacht, Op. 92 No. 1 (1877)
Guiding principles: expression, flexibility, contrast
Conductor Issue: How do I know which notes in a melody should be emphasized?
Treatises in the nineteenth century list dozens of guidelines here, most important
of which are those notes that are highest in a phrase (tonic accent), longest in a
phrase (agogic accent), bearing word emphasis, or exceptional notes, such as
those foreign to a key, approached by leap, or appearing after a rest
A high note rising by a wide interval must be accented.
Mathis Lussy, Trait de lexpression musicale (1874)
Now it is precisely these unexpected, irregular, exceptional, and, as it were, illogical
notes which more especially have the faculty of impressing the feelings. They are the
notes that engender expression, because they are the elements of stimulus, movement,
force, fire, and contrast.
Lussy (1874)
In vocal music strength and sonority mustbe made subordinate to the sense of the
words.
Lussy (1874)
Not all accents are equal or identical. Phrase accents override metrical accents, and
expressive accents override phrase accents.
Richard Williamson, citing treatises by Lussy, Carl Czerny, Manuel Garcia, Hugo
Riemann, and Alfred John Goodrich
Conductor Issue: At which points should the performer add a crescendo or diminuendo?
Again, many rules are cited. In general, apply a crescendo for:
repeated notes
ascending lines
notes approaching downbeats
notes approaching unexpected changes in harmony
harmonic motion away from tonic.
Apply a diminuendo for:
descending lines
notes following downbeats
harmonic motion toward tonic (such as at a cadence)
page 6
[Crescendo for ascending and diminuendo for descending is] the most universal
of all rules pertaining to performance.
Hugo Riemann, Katechismus des Klavierspiels (1874)
Unexpected changes of harmony, especially interrupted [deceptive]
cadencesmust be prepared at least by a slight crescendo.
Riemann (1874)
page 7