Compleat Conducting Pegagogue (Pt 2)

Gunther Schuller:

Remembering the Compleat Conducting Pedagogue

(Part Two)

By George Mathew

Repertoire-specific comments from conducting seminars and orchestra sessions

Beethoven Symphony 5

Remember that each beat has a characteristic feeling within a meter. Everything is either in 2, 3 or 4.
Where are these stresses in a movement (ie. the first movement of the 5th symphony), a movement almost entirely constructed in a 4-bar periodic framework/hypermeter?
Look up the Peter Gülke editions of the Beethoven symphonies.
Read Heinrich Schenker’s analysis of Beethoven’s Fifth Symphony.

Movement 1

The entire piece/ movement – its content is, in fact, the system on which it is constructed.
All 4-bar periods with the two exceptions of 5-bar periods which mark major events.
IMPORTANT: Mark all the parts with the hypermeter.
One must be mindful of the ff at the beginning to leave dynamic room in the beat and sound.
Give m.6 as an anacrusis (upbeat).
At m.18 woodwinds must know that it is anacrusic.
At mm.52-55, careful with the timp (not too ff ). Rehearse balance with the first woodwinds. The brass must not be louder than the w/w can play.
M.2 is the first of a 4-bar period. This is confirmed by the end of the piece and the recap.
M.4 was added between the Stichvorlage (printer’s proof) and the published score.
The 2nd fermata is 1 measure longer. But do not make a one bar fermata cut-off!
Con brio is a driven, energetic con brio =108.
Don’t hold the fermatas so long that the brio disappears from the sound. Not longer than one bow.
Think about the accentuation on the 2nd beat of the first bar of the period. M.6 is a hypermetrical 1.
After the fourth fermata, accentuate the upbeat hierarchy (within the hypermeter). This hierarchy MUST be preserved in the whole piece.
Horns at m. 59 must be light and energetic. Remember that the Eb horn of Beethoven’s time was a small, light, bright instrument. The German 19th century bassoon from this time was a loud, gruff beast!

The second theme is one melody of 12 bars - a Klangfarbenmelodie. Don’t ignore the color scheme of the phrases and the connection.
In the coda, phrase rhythm shrinks from 4 to 2.
At m.83 (84) this is a 10-bar crescendo so grade the beats accordingly.
In m.196 the ‘s have to be long. The w/w have to be thinking here. No rit.
At m.130 it is important for the clarinets to know that they are coming off hyperbeat 1 in the hypermeter.

Movement 2

No dim at m.7.
In m.10 Flute will want to slow down. Don’t!
In m.15 conduct a diminuendo for the violins because they will naturally tend to make a crescendo.
in m.15 the violins require a clearly placed second beat so as to come in together
In m.23, no cresc.
In m.23 don’t worry about the triplet ensemble, conduct the line.
Also Clarinet 1 and Bassoon 1 must be soft enough to hear the horn fifths.
At m.37, this long dim. is one of the hardest for the trumpets and horns to do without compromising their intonation.
Measure 41 must have a very special pp.
The canon at m.185 must be heard.
8 mm before the end, the rising arpeggio must be heard.
In m.131 slurs to the downbeat are not Beethoven’s.
At m.185 This canon between the w/w and the violins must be heard but that is only possible if the brass play less than ff.
At Reh. E the ends of w/w phrases must not be clipped.

Movement 3

This is not the ultimate Greek tragedy. It is a light melancholia. The Horns are triumphant not violent.
Come scritto. Plan the rit.’s exactly at the beginning.
No tempo change at the horn . entrance.
With the subito sfz and subito p. Space vs. preparation. Don’t prepare the subito dynamics.
M.19 These ff’s on the horn should be light, bright, nobilmente. The attacks should be articulate and energized.
The Scherzo is all in 4-bar periods but the trio is not. So have it all accounted for – off-beat accents and the whole works.
The Scherzo must never be slower than the Finale in Beethoven.

Beethoven Symphony 7

Movement 1

First beat should not go too far down. The opening chords have weight and length.
No tempo deviation in the introduction. None!
No ritards before the second theme in the slow intro.
At mm.15-16. it is a single 4-octave scale. Vc/Cb and Violin 1 must be aware of this.
Canon in m.34 between first violins and w/w must be heard. Use your breath after canonic answer in the winds to highlight this.
In the Vivace, one must know the difference between the various iterations of the dotted rhythm.
One must be on guard that the dotted rhythm does not turn into .
In the Vivace, do not make a gradual crescendo after the first subito p (in m.68).

Movement 2

In the first chord, the balance must be set to make the 2nd horn, the bass of the 6/4 chord audible.
Strings in mm.3-4. Violas here have to set the standard of articulation. Lengths have to be set at the outset of the rhythm.
Insist on the tenuto in the first note of the theme.
Concentrate on the main theme. The melody will drape itself naturally over it.
Grace-notes are always on or before the beat. One must experiment and not automatically exclude the notion that the grace-notes could go before the beat.
In this movement the rhythmic layers become a kind of rhythmic counterpoint. Consider also counterpoints of dynamics, rhythm, tempi, etc.
In m.75 the last note in the second violins must be heard.
At m.75 look at the vc/vla and emphasize the triplets for distinctiveness.
At m.101 the dolce must be sensitive, pp, transparent.
M.130 is a 5-bar crescendo. Don’t blow it too soon!
At m.138 the Horn should have a tiny bit of vibrato to carry this beautiful G over the barline.

Brahms Symphonies

Brahms was obsessed with two things

The rhythmic interaction between 2 and 3
The tensile struggle between the metric frame and the syncopes

Brahms Symphony 1

Study the Brahms songs for the metronome markings and their association with Italian tempo indications.

Movement 1

For the Intro/ Allegro, is a good metrical relationship. There may be multiple ways to get there. Remember the introduction was written after the rest of the music.
Keep the opening f focused. Don’t let it get too spread out in the conducting. Be careful to stay non-crescendo in these first 3 measures.
In mm.1-8, timpani should not pound the hell out of the repeated eighth notes. The eighths should be mf and long (cf. Cloyd Duff [1] ).
Flutes should compensate for register in mm.1-3
Rehearse the woodwinds, Horns 3 and 4, and violas alone first.
In the Intro, conduct only the long notes. Clickless beat.
In m.9 define beats 1 and 4 clearly. Preserve the integrity of the 6/8. Brahms specified the difference between the displaced downbeat/meter and the looser syncopes of mm.17-18 .
In m.9 don’t click too hard on the 2nd beat but make clear, large beats on 1 and 4 to make the metrical grid clear.
At m.11 the c flat has to be dark and mysterious, Do it by making very little click in the beat.
Give the tiniest breath/space before the c flat in m. 11.
At Reh. A, it must be like nothing, pale and transparent.
At m.25 the basses should play their repeated eighth notes as a beautiful, beautiful melody.
At m.25 and onward, (also at the beginning) cellos and violas have to be aware of their voiceleading clashes in register and not fizzle out on the dissonances.
At m.37 the B natural must linger for the full length of the .
mm.180 note the different lengths and articulation in w/w and strings.
In m.90 vs. m.97, differentiate between the staccato and the wedges (Keilen).

Movement 2

Andante (!!) sostenuto (!)
Warm in m.1 so that there is room for pp in m.3. No cresc. in m.1.
Aim the tempo to be in the 70s, but no less than 60.
Rhythms must be exact in mm.6-8.
Warm in m.1 so that there is room for the pp in m.3.
No cresc. in m.1.
In m.3 Horn, gestopft is really a kind of “half-stopped”. Don’t jam the right hand into the bell. The sound should be beautiful and dark.
In mm.6-8 figure out the composite rhythm. It must be moving in order for the composite, contrapuntal rhythm to be evident.
In m.7-8 the second eighth note in each pair in the Violin 2 part has to be rhythmically substantial.
In mm.10 and 11, the seventh of the chords is in the Violin 2 and Viola. They should be made aware in the parts.
In m.12. rf is generally poco forte and the tempo must be moving.
In m.12, clarify the w/w cresc. and the big dim. following the string rinforzando at mm.9-11. The second violin and viola notes have to be heard
M.16 the C natural in the cellos is a precious thing.
In mm.22 the oboe cresc. must be conducted. (with the eyes perhaps too).
At Reh. A the violins will foul the rhythm, so subdivide a little to help.
Mm.18-19 crescendo in the accompaniment (Cl 2, Horns, and 2nd violas), should go to the suspension on the downbeat of m.19 rather than dim too early. Conduct the violas.
At Reh. A, it is alright to subdivide here so that it doesn’t rush. Give the first violins the maximum attention so they do not make a crescendo in the first two bars of Reh. A.
At m.58 the counterpoint and harmonies are lifted from the Matthäuspassion. The C# pedal must burn through.
At one before Reh. B, be sure to stretch out the dim. over the full measure.
At Reh. B subdivide here to safeguard the syncopes.
At m.50 the subito p has to be observed especially by the high flute.
In mm.57-58 make sure the Vc/Cb pedal C# is espressivo and strong all the way.

Movement 3

At mm.16-18 encourage the imitation in Cl. 2 and Flute.
Gypsy music at Reh. B needs to swing, even laterally.
At 2 before Reh. D, don’t encourage anybody!
At m.258, the should be shortened slightly for the continuous stream of triplets to be heard. The timpani should not be too loud. The Vc/Cb should be f+.

Movement 4

Conduct the Adagio in 4. The tempo relationships are real and have to be observed.
At M.5 there should be no rit.
At the Piu Andante, check the horn and trombone balances carefully.
Pace the stringendi in mm.8-12. Almost no accelerando in m.8 and 9 so that there is room to move in the next two bars.
Differentiate between stringendo poco a poco and stringendo molto (4 vs 2 measures).
Aim for = 52 for the first few times you conduct the piece.
In m.13, b natural and c must crunch between the trumpet and the tune. Also the same with the F# and G in the first full bar.
At m.6 (in later pizzicati too) the violas and celli are very rarely heard. Conduct them, not the violins.
Upbows always better sustain the harmonic crunches against the G pedal point in the first phrase.
At m.5 no rit.
In m.20 the a tempo is on the 2nd beat. Clarify both the < and the > especially the dim.
At m.13 the pedal is in the trumpet. The dissonances against the pedal must be heard.
Between m.22 and 24 make a tiny accelerando to about 60.
At the timpani 32nd roll in m.28 make a tiny rit to about 40 (eighth=80).
The tempo transition at mm.29-30 is an exact metrical modulation. Triplet 32nds become triplet 16ths.
At m.31 the hairpin is really only for the second horn.
In m.30 the horn must not be brazen, but a light, elegant carrying f.
At m.279 make sure the violas are heard.
In mm.297 and 301 calando and animato are not by Brahms.
I have a rule – if there are 32nds in the music and it’s in 4/4, there’s a good chance I might want to do it in 8. This applies at m.20 and after.
At Reh C, Trombones can play this in one breath. Also Horns must play only poco f or you will never hear the flute.
At Reh M, Timpani must not play too loud on the half notes.

Brahms Symphony 4

Movement 1

In mm.1-8 the lengths of the w/w staccato quarters under the slur should be in the 75% -85% range of full quarters. The attack has to be indicated exactly. The rule of thumb is that the last note under a slur before a rest tends to be shortened so one must conduct a long final note in each measure.
In mm.1–8 the woodwind balance is critical. Flutes tend be the loudest. Bassoons are next and the clarinets are the weakest. So balance this.
Conduct/sculpt the accompaniment always, especially with the famous tunes.
Second Subject at mm. 33-36 what is it about?
At Reh. A rehearse the violins alone. The last note must be tenuto. Make sure the string crossings are legato.
At Reh. A, Woodwinds legato/leggiero and not tongued.
At Reh A, p legg. means underplay. It’s a Nebenstimme to the old Hauptstimme.
At Reh C. light, bright, fleet and elegant and in tempo.
At m.73 rehearse the rhythms separately, emphasizing the difference between the two last notes. All non-staccato notes must be tenuto. The sf ’s must blaze.
3 before Reh. E insist on pp. No rit.
At E, rehearse the separate rhythmic levels.
At Reh. F the Flute/Bassoon must be exactly 2 beats long. Viola and Vc must be one Klangfarben instrument.
At Reh. G, full plump pizzicati, especially in the violas but they must dance.
At 168 and 169 rehearse the canon separately, Horns 3 and 4, and the woodwinds.
At 169 the steady ’s must not slow down.
At Reh. K a tempo and a very slight swell < >.
At m.281 no swell, strings are just f.

Movement 2

The organ registration of the opening upbeats must be clear.
Every 4th beat must be sustained and singing, especially the dissonant notes.
At m.4 clarinets must sneak in, ie., the horns must not dim. too much too soon. The pp is really only in m. 5.
In m.13 horns must be prepared for the clarinet pp.
In mm.13-14 all these suspensions must be heard, especially the tensile strength of the sonorities.
In mm. 20-21 the dovetailed bassline between the 2nd clarinet and the bassoon must be heard and highlighted.
Remember it’s Andante (moderato). Not too slow.
Remember at m.31 there is a four and a half bar crescendo from p to f. M.36 is the climax, not m.34.
At reh. C 2nd Violin must sing the tied E against the A#.
At m.88, make sure the 2nd violins are heard. Use unequal divisi if necessary.
At one after Reh. F, 2nd Clarinet must be heard in the w/w quartet.
At m.110, very melancholy. Think of a farewell to a dear, dear friend.

Movement 3

Think meter. Tell the orchestra to think the downbeats through the held downbeats.
Preserve metrical integrity in the beat.
Hold m.6 as long as possible.
In m.10 don’t smash the 2nd beat.
At m.258 the should be shortened slightly for the continuous stream of triplets to be heard. The timpani should not be too loud. Vc/Cb should be f+.

Movement 4

The passacaglia needs to be heard. Trace the passacaglia all the way in the score.
In the opening 8 mm, conduct and pull the sound of beats 2 and 3.
Don’t drag the largamente.
At reh. B the cross-rhythm must be heard. Rehearse the Flute 2 and Clarinet separately.
At Reh. C preserve the angularity in the beat and look at the basses.
In m.19 the third beat must have weight in the rests.
At Reh. B, the angular and clicked beat helps towards a duple feeling and the rounded beat emphasizes tripleness.
For tempo the indices of legibility are the duple/triple at reh. B; at m.65 the index is the sixteenth notes; at m.73 it’s also the triplet sixteenths; and at 253 the sixteenths.
At m.97 the flute solo should be conducted within a 3.
At Reh. D, make the passacaglia people aware of their role in the texture.
At m.33 and after, the doublebass E string does not vibrate easily. One must dig into this.

Epilogue

Gunther Schuller’s approach to conducting pedagogy and indeed his musical mission was rooted in a life-long search and effort to educate, enable and nurture an elusive creature he came to call the “Complete Musician.” This ideal was a musician, artist and person, who carried and embodied in his own body and person and honed to the highest level, those very skills he began to codify in the Wheel of Technique above. Beyond these, Schuller also manifested an extraordinarily tireless dedication to the various facets of his craft, a profound humility and more importantly, a moral imperative before the treasures of music left behind by the great masters – an imperative which informed all his reproductive artistic activity and teaching. [2]

Schuller agonized about the state of classical music in general, and about the conducting discipline in particular most of his adult life. He warned about the ever-accelerating swing towards marketability as the cardinal virtue in the classical music industry as long ago as his famous opening address at the Tanglewood Music Center in 1978. His priorities as a conducting educator were guided and shaped by these concerns and his acknowledgement of the reality that gatekeeping control and power in the conducting profession had swung into the hands of the artist managers and orchestra and opera administrators who by and large were ill-equipped to understand the mechanics of conductors’ artistic responsibilities to the scores, and to the intentions and composers who created them without whom the industry and the art form would not exist.

Schuller generously supported the work of his composer, performer, conductor and educator colleagues, especially the younger ones – providing and facilitating opportunities for performance, publication, recording, teaching and even administrative employment where possible – a cultural, personal mission value that has all but disappeared from the ranks of our senior composers and administrators. All these qualities and actions were of course, anchored by a deep character trait – Care. He cared for musicians, he cared about music, he cared for composers and at the heart of it all, Gunther Schuller cared about and for people.

George Mathew

October 2025

(to learn more about Mr. Mathew, see below)

Footnotes to Part Two:

Cloyd Duff, long-time timpanist (1942-1981) of the Cleveland Orchestra, famous for the beauiful, long, singing sound he got from the timpani.
Frank Battisti, the longtime Director of Wind Ensembles at the New England Conservatory, gives a wonderfully encyclopaedic account of Gunther Schuller’s approach and effort over many decades, sometimes with admittedly overbearing energy and force to manifest his priorities to create a new, comprehensive, musical education in his video remembrances in a 2017 interview with the conductor, Charles Peltz, published in the YouTube channel of the Gunther Schuller Society as part of the Gunther Schuller Oral History Project. https://www.youtube.com/watch?v=Exe6vZnuhBI

A Select Bibliography:

Gunther Schuller, The Compleat Conductor, Oxford University Press, New York, 1997
Gunther Schuller, Gunther Schuller – A Life in Pursuit of Music and Beauty, University of Rochester Press, Rochester, NY, 2011.
Carl Ludwig Junker, Einige der vornehmsten Pflichten eines Capellmeisters oder Musikdirektors, Winterthur, 1782
Erich Leinsdorf, The Composer’s Advocate, Yale University Press, New Haven, 1981
Johann Mattheson, Der volkommene Capellmeister (The Complete Conductor), Hamburg, 1739
Gustav Meier, The Score, The Orchestra and The Conductor, OUP, New York, 2009
Frederik Prausnitz, Score and Podium – A Complete Guide to Conducting, Norton, New York, 1983
Max Rudolf, The Grammar of Conducting, G. Schirmer, New York, 1950
Hermann Scherchen, (Translation, M.D. Calvocoressi) A Handbook of Conducting, OUP, New York, 1933
Wagner Richard, Über das Dirigieren, 1869, (On Conducting), Dover, New York, 1989
Bruno Walter, Von der Musik und von Musizieren (Of Music and Music Making), Norton, New York, 1961
Weingartner, Felix, Über das Dirigieren, 1895, (Translation, Ernest Newman) (On Conducting) Kalmus, New York, 1941

Acknowledgements:

Many thanks to the Rev. Bowie Snodgrass, Professor Claire Fontijn, and Maestro Charles Peltz for reading the drafts of this article and for their editorial guidance. Thanks also to Maestro John LoPiccolo, teaching assistant to Gunther Schuller, for many years at the Festival at Sandpoint, for his memories and verification of Mr. Schuller’s pedagogical approach and style, and to Maestro Brian Stone for his memories of the conducting course at Sandpoint.

About George Mathew:

Singapore-born, Indian-American conductor, George Mathew, founder and Artistic Director of the international non-profit, Music for Life International, has emerged as a force in the classical music world, bringing symphonic music to focus on global humanitarian issues and crises at the beginning of the 21st Century. He studied conducting with Gunther Schuller, Lawrence Leighton Smith, Sir Colin Davis, Zdenek Macal and Kenneth Kiesler. More at https://music4lifeinternational.org/georgemathew/

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