A word from the maestro herself

Article Abstract:

It can be very difficult to break free from traditional gender stereotypes, according to conductor Marin Alsop. However, she feels that for her there is no gender issue. She believes that the conductor has a responsibility to know why every note is there and what story each piece aims to tell. She also feels that it is necessary to get to know a composer before you can conduct that composer's work. Conductors must be in a position to free players to perform as well as they possibly can.

Alsop, Marin

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The reluctant maestro

Article Abstract:

Conductor Mark Wigglesworth feels that people should only be interested in the music he conducts, not in him as a person. He is very uncomfortable about publicity which focuses on him, and is much more concerned to convey his ideas about tempo and musical phrasing. He avoids reading reviews, as he does not like to think that audiences' views of him are influenced by what critics write. His views are reflected in his undemonstrative conducting technique.

Wigglesworth, Mark

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Gestures speak louder than words

Article Abstract:

Christoph Eschenbach became interested in conducting at an early age, but has also become a highly respected pianist. He began his career in music as a pianist, having won the Munich International Competition in 1962 and the Clara Haskil Competition in 1965. He made his conducting debut in 1972 with Bruckner's Third Symphony. He has since early childhood regarded music as the best way to express his true feelings.

Eschenbach, Christoph

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