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nized every dctail, commcnting on gestures which could be uscd to con-vey the conductor’s conviction about the composer’s intent. A slight, dark-haired fcmale conductor commented on Mueller’s coaching: “He never re-sponded to any of us in the same way, but used an approach appropriate to each of us.’’ The young man next to her added, “Mueller has developed the art of conducting in a very scien-tific way, and without losing the art he’s expanded the science.” Another participant agreed: “Mueller was a morał force reminding us that the composer is foremost; we are only the middle person between composer and audience.’’

In Sergiu Comissiona’s approach, the participants were aware of his attention to baton technique and body movements. “If I had had the early training in a conducting in-stitute such as this,’’ Comissiona told the group, “I would be a much better conductor than I am. This institute is one of the greatest experiences for young conductors.”

Evening discussions

The guest conductors also partici-pated in informal evening discus-sioas and special activities. At one such session Jesse Rosen of Affiliate Artists discussed the problem of eval-uating the aspiring conductors who apply for Affiliate Artists grants. Ex-plaining the Exxon Conductors' Program, Rosen mentioned the role of a new conducting assistance project which is designed to prepare young conductors for entry into the Exxon program.

Morton Gould not only talked about how to conduct, but dcmon-strated his own style while performing his own musie (his Jekyll and Hyde Variations was the composition chosen for study and rehearsal during his visit). “Don't let me hear what I cali ‘the plumbing,’ ” he said to one young conductor. His analysis of the changes in composition which he has witnessed during his career provided the ground foran informative discus-sion during one evening session. “Ali

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Morton Gould, participam Steven Larsen, and Harold Farbernan

Participant Kate Tamarkin rehearsing orchestra

conductors have a responsibility to all kindsof musie. Remember that, in your futuro. The wonderful rapport that you’ve established with each ot her isa seeding ground for the mak-ing of musie.’’

As important as forma.¹ instruc-tion and informal leeturesand discus-sions prcved to be, another instruc-tional aid received a great deal of attention from institute personnel. While the young conductors were en-gaged on the podium, a Yideotape camera upstage focused to capturc their movements. The guest instruc-tor often demonstrated behind or alongside the trainee, and the tapes

were later replayed and analy/ed. As Mueller reminded evervone, “Each gesture should mean something.”

The institute orchestra was patiem and responsive to each indi-vidual. The musicians encour-agement contributed to the positive atmosphere generated during the en-tire three weeks. Commcnts from both the orchestra members and the conductor-participants included these observations:

“This has bcen a verv comfort-able 3tmospherc in which to learn and consider changes in your own conducting style.’’

Contmued on next paąe