The Score and the Interpreter

[Rosy]

These few sentences are taken from my small Book that I delivered to an Italian conductor who loves Herbert von Karajan.
This book is dedicated to the italian Maestro and to all conductors. The title is " Il Proposito Infranto " "My broken intention".

************************

The importance of conductor :

The Music is separate of the other Art because it needs an interpreter. The risk is a masterpiece that could be misinterpreted. This doesn't with other Arts. The composer needs " medium "to realize his idea, understand and respect it. The Composer abandons ( reluctantly ) his " creature ", the interpreter will take with him to make it live forever. The idea now lives in the mind of the interpreter, that assimilates it. During the execution, the Orchestra, the singers, everyone, with armony, attempt to steal the wish absolute. This, I believe, is the moment of truth and perhaps, the slow but inexorable decline of Illution. The interpreter seems to be the incarnation of the Author, so the essence of the opera, may be unvelied. But often it meets only a disappointment. This travail is repeated at every execution. I'm fascinated that incessant pushing that pursued the Maestro (= the wishes of the Compositor ), brecks his soul; but it make it wonderul,because inside him, they agitate the sublime minds of the Genius of the Past, attempting with arrogance or with sweetness to be revealed again and again...

......................continues.....................

[Rosy]

...The Art of conducting, I attract the incessant chasing the "Impossible Dream", although knowing how such. This is the work of conductor: he has ideas and indications, finely processed; he tries with gestures, words, movements, transmit to other minds, many minds!, which in turn imbibe with their sensitivity and useing instruments strangers to human body. How many passage!!!

******************************************************************************

What remains of Initial Idea? How can a good and rigorous conductor, satisfied with what he hears that and that will not be like never had imagined? This is the charm of his continuous illusion and disappoint of the results. Then, there is his elaboration, his belief that it is more closely at the possible intention of the Author

******************************************************************************

But do the Author approve what the coscenzioso* conductor has studied with such passion, love, doubt, an half certainty (illusory certainty)? Who can say it? Perhaps instinct, sensitivity, or something that trascends human understanding? It's a bet. As the existence of God, to put it as a Pascal!

*=(who act querying the conscience)

..............continues..........

[Rosy]

It seems to me appropriate to bring back to this thread my post, which is on the Board "General", Thread "Music in physical terms", a very interesting idea, created by brillant minds of Darkehmen. Of course, even these phrases are taken from my little book.

******************************************************************************

When I read music books and when I go to the "Lesson- concert" held by conductor of Orchestra, I remain fascinated by their special way to treat the issue. They too have difficulty: the music is not seen, not touched! The music evokes, but doesn't describe. The conductor adopt a language that is so effective so that musicians understand their intent. The "Lesson- concert" that I listent to with great pleasure, are very enlightening, especially for those who cannot read music and has not familiar with notes and many rules that must follow those wishing to learn this fascinating field.

...............continues..............

[prahcello]

If I'm not mistaken, Karajan did use scores when conducting operas.

Certain performers find the presence of a score unnecessary, and even a source of disturbance, whereas others NEED it to be there, even if they can perform without it. It's a personal thing.

As Walter Legge writes in his memoir, and as Rosy noted, Karajan studied the score meticulously, and keeping everything in his head without the need to note things down physically in the score.

Of course, that act in itself does not make Karajan a genius. His work AFTER he studied the scores is, as you know, what made him a special interpreter.

[Rosy]

Dear Paul,
I remove the post that I wrote yesterday, because it doesn't belong to the content of my little Book. I wrong to post here! Please, can you remove your reply? I find another Thread where I'll put my post and you can write your reply. Sorry.....

Thank you very much Rosy

[Rosy]

....Unfortunately I couldn't find the thread where we talk of following topic, namely Karajan and Bach Suite, because the posts are a large amount, for this reason I put it here again, with my apologize to Paul. It's true, I'm too fussy!
So this post should be read before one written by Paul. Thank you!

*************

Everyone knows that Herbert von Karajan conducted the Orchestras preferably without the score, but sometimes you may notice Karajan with the score in performance. Fact quite rare ; you have surely noticed in Bach, Suite (Overture) N°2, 1968, which supported the small score on harpsichord, he didn't watch it and and not turn the page; perhaps he does it only once! It was probably a director's idea. Maybe sometimes he could be useful for a quick check, but he was not a conductor who knew to work (I'm not referring to the rehearsals), showing the notes on a page; in fact, ever during the rehearsals, he didn't have much need to follow the entrate of instruments etc..keeping the score.

_____________________________________

Walter Legge said that Karajan mostly used the score that gave him, well, when the Maestro re-delivered them, they are intact: there was no a note, a reference, a sign. Nothing. It seemed that he had not even look up! The study, the assimilation of the score was in his home; he usually stretches out on the bed in a belly down, supported on elbows or lying on the floor on his side (there are several photos that portray him so). During those moments, his mind gave whole work by heart, with no effort. So, even if the score was on the lectern, this didn't mean that the Maestro didn't know the entire work in his mind!

********************

Rosy