Musical Conducting: Sergiu Celibidache's Conducting Technique

It is easy to prove, because it is only right and natural, that a human being recognizes and harbors feelings of admiration, gratitude and affection with respect to those who have taught him, formed him and ultimately contributed to him becoming the person he is. However, it is not so often for a teacher to be venerated in such a high regard by a student, as in the case of Sergiu Celibidache by Enrique Garcia Asensio. It is not essential to be Enrique Garcia Asensio Žs friend ? as I am honored to be ? nor to have been his student. How many great memories of that first conducting course at the Madrid Royal Superior Conservatory of Music, with his recently attained position as Professor of conducting, which I attended as a listener! One only needs to have heard him speak from a podium, or in any casual conversation between musicians, to perceive that Maestro Garcia Asensio feels a profound reverence and limitless admiration for the man who was his principal teacher, since he proclaims these feelings repeatedly: he has been doing it for over half a century... (from the Prologue by José Luis García del Busto)

CONTENIDO:

1. General concepts
-The conductor
-Continuity of movement. Control of the weight of the arm
-Euphonic space
-Initial position
-Inflection line (plane of inflection)

2. Basic figures (patterns)
-Definitions
-Types of basic figures (patterns)
-Anatomy of the basic figures (patterns)
-Absorption of the essential points of the basic figures (patterns)
-Anticipations

3. Proportions
-Definition
-Types of proportions
-False proportions

4. Measures
-General terminology
-Measures
-Lining of the score
-Subdivision of measures
-The subdivision of the 6/8
-Subdivision of the 9/8 and the 12/8
-Subdivision on the way

5. Upbeats
-Definition
-General terminology
-Types of upbeats
-Other types of upbeats
-Lining of the upbeats

6. Fermatas
-Rules for fermatas

7. "Accelerando" and "ritardando". "Crescendo" and "diminuendo"
-"Accelerando" and "ritardando"
-Accompanying soloist. The "rubato"
-"Crescendo" and "diminuendo"

8. Principal ideas of the musical phenomenology
-Definition
-Principal ideas

9. The symphony orchestra
-Definition
-Setting the symphony orchestra

Exercises: Collection of recommended technical exercises