Observation Paper II
I attended a lab orchestra rehearsal at Kulas Hall on November 21, 2014. I
observed three conducting students working on Debussy’s Prelude to the
Afternoon of a Faun, the first two movements of Mozart’s Symphony No. 35, and
the first movement of Mozart’s Symphony No. 46.
The first conductor started with the Debussy. From the very beginning,
balance was the main issue. Even though all the instruments have same
dynamics, “it is important to recognize whether a composer writes general
dynamics for the whole orchestra, or specific dynamics for each section or at
times each player.” In this case, it was obvious that the main melody should
come out much more than the accompaniment. In order to make the
accompaniment less, Maestro Topilow said that the conductor’s gestures should
be clearer. When the crescendo to forte came, Maestro Topilow suggested the
conductor to start less for bigger effect.
This piece frequently has long rests, so Maestro Topilow said that it is
important to visibly clarify the rhythm at the rests. Then, when the French horn
played the main melody, it did not sound as the French horn was leading the
orchestra. Maestro Topilow asked the conductor who the main melody was and
