Beyond the Sounds

conductors' weekends · Konrad von Abel (director)

For participants of the International Master Classes for Orchestral Conducting with Konrad von Abell, in order to enable them to create more coherence and continuity in their studies, all their activities will be interlinked. The pieces we work at the Conductors' Weekends on one hand, and the pieces of the Orchestral Conducting Courses on the other will be harmonized, so that the detailed work with the quartet or sextet is in a perspective of conducting the same pieces later on in front of the orchestra.

For those who are new to Konrad von Abel's approach to music: you are welcome to participate in the conductors' weekends which take place in Munich, Paris, Bucharest, Madrid and other European cities.

Excerpts of the Conductors' weekend in Munich, May 2010 Video online: > HERE

Upcoming Conductors' Weekend 2012

Several Conducting Sessions with small ensemble will take place
Monday, March 26 - Thursday, April 5, 2012 in Craiova, Romania
particularly on the weekend March 31/ April 1

In 2012 there will be continously organized Conductors' Weekends in Munich.
Please contact us for more information.

Recent Conductors' Weekends 2010/2011

September 30 - Oc tober 2, 2011 in Craiova, Romania
Work with choir and work chamber ensemble
Repertoire
with quintet:
HAYDN Symphony nº 85 "La Reine" B major (2., 3. u. 4. movement)
Beethoven 2. Symphony, (2. movement)
Mozart Concert for oboe and orchestra KV 314
Ravel Ma Mère L'Oye (2. movement, evtl. also 1. movement)
with piano:
R. Strauss Don Juan
R. Wagner Tannhäuser Ouv.

June 2nd - 5th, 2011 in Munich, Germany
Work with choir and work chamber ensemble
Repertoire
with choir:
Josquin Desprez Tu pauperum refugium
Heinrich SchÜtz Also hat Gott SWV 380
Hugo Wolf Resignation de : 6 Geistl. Lieder
Paul Hindemith Verger de : Six Chansons

with instrumental ensemble:
Mozart 39 2nd & 3rd mvt.
Beethoven 5th 2nd. mvt.
Brahms 1st Symphony 2nd + 4th mvt.

March 19 - 21, 2010 in Craiova, Romania
This conductors' weekend is the intermission of the rehearsals for the concert on the 26th with Konrad von Abel.
Work with Sextet
REPERTOIRE
Mozart, Symphony A major KV 201
Beethoven, Symphony no. 2 D major, mvts. 1 – 3
Mendelssohn, Symphony no. 4 A major (“Italian”), mvts. 2 and 3

May 6 - 9, 2010 in Munich, Germany
Work with quartet
Mozart, "Linzer" Symphony
Schubert, Der Tod und das Mädchen, 1st and 3rd mvt.
Tschaikowsky, Serenade für Streicher, 1st and 3rd mvt.

June 3 - 6, 2010 in Bolzano (Bozen), Conservatorio di Musica ,Italy
Work with quartet
Bach, Art of the Fugue: Fuga no. 2
Haydn, Symphony no. 99 E flat major, 1st mvt.
Mozart, Symphony no. 29 A major KV 201, 1st and 2nd mvt.
Mozart, Symphony no. 36 C major KV 425 "Linz", 4th mvt.
Beethoven, Symphony no. 2 D major, 1st, 2nd and 4th mvt.
Schubert, String Quartet in d minor "Death and the Maiden", 1st mvt.
The place: www.bolzano-bozen.it

July 18 to 22, 2010, in Brunete (Spain)
Master Class for Chamber Music and Conducting
> contact antoniopeces @ gmail.com

October 29 - November 1, 2010 in Mons, Belgium
Conservatoire Royal de Mons
Work with quintet + piano and flute
Mozart, Adagio and Fugue c minor KV 546
Beethoven, Symphony no. 1 C major
Schubert, Symphony no. 5 B flat major
The place: www.mons.be/home.aspx

November 12 - 16, 2010 in Craiova, Romania
This conductors' weekend is the intermission of the rehearsals for the concert on the 19th with Konrad von Abel.
We recommend to prolong your stay andattend the rehearsals and concert
Work with Sextet
Program
Telemann, Suite "Don Quichotte"
Bach, Art of the Fugue: Fuga no. 4
Haydn, Symphony no. 99 in E flat major
Mozart, Symphony no. 35 in D major KV 385 "Haffner"

February 25 - 27, 2011 in Munich, Germany
Work with Quintet and flute
Program
Haydn, Symphony N. 44
Schubert, Symphony N. 5
Beethoven, Symphony N. 4
Ravel, Tombeau de Couperin
Mozart, Symphony N. 38 "Prague" (with double wind quintet)

ACCOMODATION
We assist you in finding hotels for reasonable prices. For Munich we can offer private accomodation.

TRAVELLING
Contact us for further information

CONTACT Musikproduktion Höflich · phone +49 (0)89 52 20 8 · hoeflich@musikmph.de

Frequently asked questions

Question: "What does it mean if it is “expected to know the composition by heart”?"

Answer "To know a composition by heart does not mean that one has to memorize the piece intellectually on a material level – no one will be tested and no one is expected to write the composition down as if notes are the equivalent to memorized vocabulary.
However, everyone should know a composition by heart in such a way that one can at all times consciously relate to the over all form of the piece. It is clear that one’s ability to freely interact with the orchestra increases the more one is able to detach from the score. How else would a free musical experience, spontaneous hearing and acting, and a truly alive contact with the orchestra be possible if the composition is not known and the score not studied? The better one is prepared in this regard the more one can gain and achieve through the work with the orchestra – one should really be aware of this! For some conductors who are less experienced it can be helpful to only focus on self selected parts of the program so that these parts can be studied and prepared with much greater detail and intensity. To conduct by memory does not necessarily mean to conduct without a score. Any conductor can use the score on the podium – this is not the core question – however, it is of utmost importance to thoroughly know the piece on an internalized level."

Question: "What happens in stage I and II"

Answer: "How can musical ideas and intentions be applied to an orchestra? In part I we will work on the musical possibilities as they appear in the phenomenological context. With examples that can be consciously experienced and with specific exercises we will gradually develop an understanding of phenomenological principles and their application to music. In simple terms, the core question in a phenomenology of music is how can I allow sound to work within and on me? The question is not anymore what I can do with sound. What are the principle laws of sound and how do they impact me? It is impossible to answer these questions theoretically – they can only be approached through the actual musical experience. The laws of sound lack any ambiguity, they are clear and hence, they are not dependent on any “interpretation”. I can either become aware of these laws or I can ignore them. If I become aware of these laws, I will naturally attempt to communicate all relationships and proportions that constitute these laws to the orchestra through my conducting. In this way, the musician is inspired and motivated to realize these very same relationships and proportions musically. The so called technique of functional conducting is the core tool with which a conductor approaches music in a phenomenological manner. Functional conducting is based on the natural weight of the free arm. This is as simple as it sounds. There are conductors that use this technique instinctively but there is no school or outlined methodology that teaches this technique. With very basic exercises we can consciously experience the laws of sound as they are tied to what we actually hear. In the beginning, we will use a piano; later, we will work with a string quartet. Intentionally, no generic theory will be created for the second week that could possibly become a burden or limitation. In front of the orchestra, one can only work with those tools and aspects that are given and that consciously appear in the present moment. Each conductor can experiment and learn how the technical tools studied in part I can be applied to the orchestra – in other words, each conductor can then experience the orchestra as a mirror of one’s own gestures. Each active participant can work at least 20 minutes with the orchestra each day."

Question: "Why is there no final concert?"

Answer: "Intentionally, the course will not end with a concert. Everyone should use the given time, energy, and courage to work with a new awareness and attentiveness. One has a direct chance to focus on the application of the newly gained phenomenological understanding of the musical happening. Naturally, the results will further grow and develop.This mode of working represents a rare adventure which would be limited if the course ended with a formal concert."

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