The Pavane pour une infante défunte (Pavane for a dead princess) is one of Ravel’s most popular pieces and one that sooner or later comes to the attention of any conductor: it’s relatively simple, with a very linear structure, and it’s scored for a chamber orchestra. The real challenge is hidden in the orchestration and all the nuances that need to emerge by reading through the lines.
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.
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