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Post by beethoven2 on Apr 14, 2009 20:40:59 GMT 1
Hi all! There are many ways conductors study scores, but one fact is certain, they all study them, and Karajan was no exception. My question is: How did he study the scores, did he mark up every page with different colors symbols like Bernstein, or did he use only a small amount of markings, only where needed? Or even, did he not make any markings on the pages, but keep the information is his head? He was a musical genius and I'm sure had no problem doing that. So what did he do to study a score? Did he listen to the piece, practice conducting it, write out the parts? I'm so curious!
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Rosy
Senior Member
Posts: 540
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Post by Rosy on Apr 15, 2009 0:17:47 GMT 1
Hi Beethoven2!  Argument very charming! Karajan did not sign scores, and he memorized sound not notes. Walter Legge, who consigned him scores, and the Maestro himself, say this. Karajan studied very carefully the scores, sometimes for years, as told Mirella Freni; when everything was in his mind, that was forever! The Maestro has an ideal sound in his mind, however, the score is rehearsed with the piano. At this point, when he heard the sound producted by the Orchestra, he will feel a certain disappointment, ad so the interpreter has to find a painful compromise between the ideal sound and the real sound. You can read something in the thread "The Score and the Interpreter", written by me and Prahcello,but still not completed, in the board "General Music Discussion". The subject is very complex, I hope to have contributed to solving in small part your curiosity! ********************** Best Wishes Rosy |
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Rosy
Senior Member
Posts: 540
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Post by Rosy on Apr 15, 2009 0:30:03 GMT 1
Ah, Karajan studied crouching on the floor like a siamese cat-because he felt relaxed-or lying in bed! ********************** Rosy |
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lee
Senior Member
Posts: 187
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Post by lee on Apr 15, 2009 10:47:44 GMT 1
As Rosy has said, no markings on the score a la Bernstein, no Kleibergrams either, in fact very, very little - Karajan took the secrets of his podium alchemy to his grave. The only clues that we have are the various rehearsal films and an appendix in Richard Osborne's biography which features a Karajan written thesis on the art of the rehearsal - but of course, the scores had been learnt by this point !
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