The very first phrase of Wagner’s Prelude to Act 1 of Parsifal holds in itself the germs of dramatically important leitmotifs recurring throughout the whole opera: the Redemption, the Wound, and the spear motif.
Schubert’s Unfinished Symphony is an open door to romanticism: why was it left incomplete? What was wrongly changed by an editor?
Beethoven’s Symphony n.2 is a piece that sooner or later becomes part of every conductor’s repertoire. In this post, we’ll go through an analysis of its 1st movement, its structure, and phrasing with, of course, some technical tips.
Although one of the most recognizable pieces of all classical western music,
Mozart’s symphony n.40 K550 remains, like most of Mozart’s music, full of traps, even though it doesn’t seem so difficult to conduct from a technical point of view.
In this article we’ll tackle the first movement of this immortal work, its structure, and phrasing, the “G minor key” aspect, and, of course, some technical tips.
Dvořák’s Symphony n.9 “From the New World” is mandatory learning for any conductor: here we’ll go through an analysis of its first movement, looking at structure, harmony, the “American” aspects of the music, and, of course, a few conducting tips.
A milestone for every conductor, Tchaikovsky’s Symphony n.5 is full of different motives: here’s an analysis of the 1st mov. from a conductor’s perspective.
For a conductor, Mendelssohn’s The Hebrides is a really fun piece to perform, with its changes in dynamics and its ascending/descending lines being perfect spots for registration and fluidity of gestures.
A FREE video series with an analysis of structure, phrasing, and, of course, conducting tips of repertoire works: from Mozart to Brahms, from Beethoven to Debussy. A new episode every week!