When I had to play "Capriccio" by Richard Strauss, quite a demanding
chamber opera (libretto by Clemens Krauss) with many delicate soli
for the first horn, I was warned by my elder colleague days before the 
only rehearsal, a run through, as we had the piece in our repertory.
My colleague warned me special about 7/16 & 5/8 rhythm in rapid change.
Ferdinand Leitner, a very well known conductor & famous lied accompanist
on the piano, conducted the rehearsal. My colleagues had warned me, that
the conductors breaks things at a certain spot. When we came near to this 
delicate
spot, I whispered: "Soon he will break, very soon, watch out !" - And Leitner
broke it. He was so confused by my whispering, that he stopped & exclaimed:
"Was ist los ?" (what´s the matter ?) - I responded: "Just the nerves, just the 
nerves !"
- I was just 25 that time, in my first year with the State Opera.
"yeah, yeah, I know, let´s try it once more". After this small funny incident, 
we 
established a very good relation full of respect each other. He conducted the 
most
lyrical "Elektra" I ever played, a great "Ring" and was 100% secure in his 
performances.

He was able to play the piano reductions of all imaginable operas, when 
studying the 
pieces.
#################################################
 
Am 28.05.2011 um 19:49 schrieb Steven Mumford:

> 
> 
> Oh but at least most conductors are very good at 5/8 and 7/8:
> 
> 1,2,3,4,5,(and) comes out just like 6/8
> or
> 1,2,3,4,5,6,se-ven comes out just like 4/4
> 
> No problem!
> 
> - Steve Mumford
> 
> XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
> Hans wrote:
> Wrong, we would all be happy if they would follow that pattern (Henri Kling: 
> Dirigentenschule), 
> but how about these living composers works ? 17/19, 7/15, 11/6 ???? 
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