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154 the contrary, the application of such methods will enable the conductor to secure a much higher degree of artistry in the public performance because, by avoiding any waste of time in rehearsing, he will be able to put the musicians through the music more often, and thus not only arouse greater confidence on their part, but be enabled to emphasize more strongly the interpretative, the artistic aspect of the music. Most of the rehearsal hour is often spent in drilling upon mere correctness of tone and rhythm, especially in the case of amateur organizations.

In order to make these matters as concrete and practical as possible, we shall give in the remainder of this chapter a series of somewhat unrelated suggestions about conducting an ensemble rehearsal, trusting that the reader will forgive the didactic (and possibly pedantic) language in which they are couched.

Do not make the mistake of attempting to study your score at the same time that your singers or players are learning it. Study your music exhaustively beforehand so that at the rehearsal you may know definitely just what you are going to do with each selection and may be able to give pointed directions as to its rendition. This will enable you to look at your performers most of the time, and the freedom from the score thus allowed will make your conducting very much more effective and will enable you to stir your singers out of their state of inertia very much more quickly. Weingartner, in writing upon this point (with especial reference to the public performance) says: "He should know it [the score] so thoroughly that during the performance the score is merely a support for his memory, not a fetter on his thought." The same writer in another place quotes von Bülow as dividing conductors into "those who have