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Raphaël Pichon © François Sechet Hailed by many as the face of the new generation of young...
“Always a great conductor, his performances in these last years were transcendent, and we all feel privileged to have witnessed them,” Rattle described.
“You see: they don’t need me. They do perfectly well by themselves,” says Leonard Bernstein, as he strolls away from an orchestra that blithely continues to play Brahms’s First Symphony. So begins one of his legendary Omnibus episodes, entitled “The Art of Conducting,” in which he provides a (so to speak) unbeatably clear guide to the practicalities of conducting an orchestra, from how to read a score to how to beat in time. So, then. Why does the orchestra need him, when they can apparently get by—even in a large-scale work like the Brahms—on their own?
A journalist who attended his rehearsal asked him why he ended the programme with Parsifal since the music was more difficult for a broad audience than Tristan. He replied: "What can be done after redemption?"
"What does a conductor do, anyway?" Most classical musicians have likely fielded this question from well-meaning but perplexed family and friends. To help you flesh out your answer, we're pulling back the curtain and diving into a world many music lovers rarely get the opportunity to explore: the rehearsal.
Next week, we'll be celebrating Evgeny Svetlanov's birthday and streaming the last two rounds of the 4th Evgeny Svetlanov International Conducting Competition. We're kicking off our special Svetlanov in the Spotlight series with a fun list of things you may not know about the legendary Russian conductor...