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Tlie G)nductors Institute

A ncw suinnier program fills an American training gap

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The Institute site at W. Yirginia Universitv’s Creative Arts Center: a training ground

Seated in a modified semicircle on thestageof theconccrt hall, thirty conductors from various American orchestral settings studied their scores in preparation of the day’s rehearsal. Thcy were participating in the first annual Conductors Institute, spon-sored jointly by the Conductors' Guild of the American Symphony Orchestra l^cague and West Yirginia Univcrsity’s Division of Musie in Morgantown, West Yirginia.

Sclected by a panel of conductors, the men and wotnen represented various levcl$ of conducting experi-ence. Unfortunately for most American conductors, no structured training program exists to prepare them for a professional or acadcmic conducting position. Many who finish college or conservatory training have to rcly on a coinbination of luck, op-portunity, and actual performance situations to develop their skills. As

En id Pal lani is a professor of corn-mumcatwn at West Yirginia l hiiuersity in Morgantown; she is the co-author of Pho-nctically Speaking, and Communi-cating Norwerbally.

the Conductors’ Guild envisions it, the goal of the institute is to provide a training ground. Distinguished mcm-bers of the conducting profession serve as instructors and lecturers, ar.d participants have the opportunity to gain from their wide professional cx-periences while working with the resi-dent orchestra.

As I larold Farberman, dircctor of the institute, explained, “'Fhe three divisions of the program as we set it up are discovery, training, and professional experience. Discovery in-volves the sclection of talented American conductors to participate in the institute. Training is the employment of outstanding conductors and master teachers to internet both formally and informally with participants within the organized Schedule. 'Fhe professional experience refers to actual practice and performance of the principles learned during the insti-tute.”

Close proximity

For the first week of rehearsals, a string orchestra composed of mu-sicians from orchestras throughout

West Yirginia provided the performing ensemble. Fach conductor was given a generous time allotmcnt to work through the assigncd repertoire. For the remaining iwo weeks, a fuli orchestra was employed. Fvcry par-ticipant was givcn the opportunity to work with the orchestra, and this fea-ture alone helped to solidify the non-competitive atmosphere.

Standing in close proximity to the conductors each day, a master tcacher provided vcrbal and visual instruction.

“Just a minutę, now. What did you do in the fourth measurc?”

“'Feli mc, ladies and gentlcmcn, what you hear. Please—sing it for me.”

“Stop! Where is the baton? Here, likc this, not like th is. . .

Fach maestro approachcd the participants dilferently. Guest conductors irwited during the three-week session included Otto-Werner Muel-lerofYale University, Mauricc Abra-vanel, and Morton Gould. Fach was tesponsible for working daily with conductors in front of the orchestra.

Ot to-Wer ner Mueller scruti-