The Cambridge companion to conducting [electronic resource] / edited by Jose Antonio Bowen.

Contributor Bowen, José Antonio, editor.

ImprintCambridge : Cambridge University Press, 2003.

Description1 online resource (xviii, 346 pages) : digital, PDF file(s).

Note:Title from publisher's bibliographic system (viewed on 09 Nov 2015).

Note:PART I. PRACTICE -- The technique of conducting / Raymond Holden -- Conductors in rehearsal / Charles F. Barber -- Studio conducting / Michael Haas -- The conductor and the soloist / Joseph Silverstein -- Choral conducting / Vance George -- Opera conducting / Sir Charles Mackerras -- The orchestra speaks / Robert L. Ripley -- PART II. HISTORY -- The rise of conducting / Jose Antonio Bowen -- The central European tradition / Jose Antonio Bowen, Raymond Holden -- The French tradition / David Cairns -- The Italian tradition / Michael Rose -- The American tradition / Jose Antonio Bowen, David Mermelstein -- The English tradition / Stephen Johnson -- The Russian tradition / David Nice -- PART III. ISSUES -- The conductor as artistic director / Bramwell Tovey -- Women on the podium / J. Michele Edwards -- Conducting early music / Bernard D. Sherman -- Training conductors / Harold Farberman -- The composer-conductor and modern music / Martyn Brabbins -- Managers and the business of conducting / Stephen Wright -- The future of conducting / Leon Botstein.

Note:In this wide-ranging inside view of the history and practice of conducting, analysis and advice comes directly from working conductors, including Sir Charles Mackerras on opera, Bramwell Tovey on being an Artistic Director, Martyn Brabbins on modern music, Leon Botstein on programming and Vance George on choral conducting, and from those who work closely with conductors: a leading violinist describes working as a soloist with Stokowski, Ormandy and Barbirolli, while Solti and Abbado's studio producer explains orchestral recording, and one of the world's most powerful managers tells all. The book includes advice on how to conduct different types of groups (choral, opera, symphony, early music) and provides a substantial history of conducting as a study of national traditions. It is an unusually honest book about a secretive industry and managers, artistic directors, soloists, players and conductors openly discuss their different perspectives for the first time.

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