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Week 4 / 2008: A no-nonsense conductor
The conductor of a symphony orchestra is a phenomenal talent, a maestro whose every move is followed in awe. True or false?
For Anu Konttinen, who has recently completed her doctoral dissertation in musicology, dispelling the myth of “a great conductor” was the very starting point of her work. “What could then be the other side of the coin? The practical core of conducting. And what is that? Mostly what a conductor does with his or her hands.”
Konttinen’s research focused on Jorma Panula’s conducting class at the Sibelius Academy from 1973 to 1993. According to Konttinen, the gestures that form the communication between the conductor and orchestra are not only an interpretation of the score or visual actions, but also social gestures.
In terms of the latter, the Finnish model differs significantly from some other traditions, such as those of Central Europe. “Finnish conductors look different when conducting. Here, we concentrate on the methods of conducting rather than the myth,” says Konttinen.
Although conducting has been taught in earnest in Finland since the 1940s, it was not until Panula's time that the training acquired a systematic structure. “Panula had the right attitude, and he ignored certain norms," Konttinen says. “He saw the potential in his young students, and gave them plenty of latitude.”
For Panula, breaking myths was key: the conductor was but an equal member of a group. The legacy of his “methodless method” still lives on. “I don’t know any other place in the world where the conductor class would form such a close-knit group,” Konttinen says.
In addition to the no-nonsense approach and good group dynamics, Panula’s most important contribution to conductor training is the use of a rehearsal orchestra and video in teaching. “Until mannerisms and unnecessary gestures are pruned, no unique and personal conductorship can evolve.”
Text: Kai Maksimainen
Photo: Sibelius Academy / Tuuli Heikki
www.helsinki.fi/digitalcommunications
Translation: Valtasana Oy
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