The flagship of Guild publications, the Journal is recognized as an invaluable tool for the serious conductor. Appearing semi-annually, the Journal publishes scholarly articles by prominent conductors and musicologists, current reviews of new books of interest to conductors, transcripts of selected sessions from Guild conferences and seminars, reprints of outstanding articles relating to the history and craft of conducting, and list of errata in the scores and parts of standard orchestral and choral masterworks.
Podium Notes, the Guild’s online newsletter, keeps members up-to-date on Guild activities, schedules, contributors, etc. It also provides information on member affiliation changes, book reviews, and commentary from the Editor, President and Director.
The Guild’s Conductor Opportunities Bulletin lists current vacancies and news of study opportunities, competitions, and workshops in orchestra, opera, chorus, music theater, wind ensemble and band. Full descriptions of the positions, details about candidate qualifications and application information are provided. The most complete publication of its kind for conductors, the bulletin lists vacancies from around the country, as well as international workshops and competitions.
The Conductors Guild Annual Membership Directory is a comprehensive listing of all its Individual, Library and Institutional members. An invaluable networking tool, this publication is available in PDF format.
GuildList is the official internet mailing list exclusively for use by members of the Conductors Guild and select invited guests. Discussions focus on conducting and may include score study, publications, jobs, technical issues, repertoire, and more. Subscribers interact via email or a simple web interface.
The Conductors Guild Mentoring & Consulting Program is one of the Guild’s most important organizational assets. The Mentoring Committee has been created as a confidential resource for conductors to consult with experienced colleagues to receive advice and guidance in their musical careers. The committee is composed of conductors who have a wealth of experience, on and off the podium, with professional and academic ensembles throughout the world.
Much has been written about the art of conducting. Conductors Guild member Jonathan Green has compiled a invaluable Conducting Bibliography of resources relating to the profession. This comprehensive list is divided into the following categories: conducting treatises and textbooks, choral conducting, orchestral history and practice, band history and practice, general performance practice, repertoire guides (for both orchestra and choir), instruments and orchestration, conducting by repertoire, other catalogues. and discographies.
Members of the Guild are encouraged to contact any member of the Mentoring & Consulting Committee directly with their questions on any relevant topic including, but not limited to:
- conductor training
- musical concerns in a particular score
- general career development (professional and academic)
- psychology of conducting
- interdisciplinary concerns (chorus/orchestra, opera, ballet, etc)
- board of directors issues
- ensemble building
- preparing for an audition/interview
Mentoring Committee members are available to the Guild membership for telephone, letter, or e-mail consultation. The Conductors Guild Mentoring & Consulting Program is designed to be an educational service to our members, and should not be seen as a job placement service, nor as a mechanism for specific career advancement.
Mentors take time to answer your requests thoughtfully and completely. A simple acknowledgement of their reply and a thank you would properly show your appreciation.
LIST OF MENTORS:
LEONARD ATHERTON is currently a Professor of the School of Music at Ball State University and Music Director Emeritus of the Muncie Symphony Orchestra. Study in conducting was received at the Guildhall School of Music and Drama (London) where he was presented with the Ricordi Prize for conducting. As holder of the Watney-Sargent Award, Mr. Atherton spent a year observing the Philadelphia Orchestra at the invitation of Eugene Ormandy. Subsequent career positions have included the Music Directorships of the: National Symphony Orchestra of Bolivia; the Niagara Symphony Orchestra (Ontario) which was acclaimed as a model for orchestra\community involvement; the Toronto Symphony Youth Orchestra; the Greater Boston Youth Symphony Orchestras; the New Bedford Symphony Orchestra.
Leonard Atherton has acted as the cover conductor for Indianapolis Symphony Orchestra rehearsals and performances and has appeared as guest conductor with the Minnesota and Baltimore Symphony Orchestras, the St. Paul Chamber Orchestra and orchestras in Canada, England, Japan, Taiwan, Thailand, Korea, Bolivia and Mexico. He made several recordings of choral, orchestral and choral/orchestral music for broadcast by the Canadian Broadcasting Company. He has been involved in opera conducting with the Sakai Opera Company in Osaka, Japan, at Ball State University and, most recently (in 2003), with a new opera venture in Nobeoka, Japan. He has worked with small and large choral groups both with and without the orchestra.
As a teacher of conducting, he is the author of the only self-instruction conducting technique tutorial available for computer. Mr. Atherton has also written a textbook, The Conductor’s Handbook, which is published in Taiwan. As Director of the George Brown College (Toronto) Orchestra in 1976, he organized a unique summer orchestral training program. This led to the orchestra’s appearance at the International Youth Orchestra Festival in the UK where it was reviewed as having given the most satisfactory performance of the festival and one of the top ensembles in attendance.
Leonard Atherton was honored as a ‘Sagamore of the Wabash’ for his service to the Muncie area community and to the State. He is President of the North-Central Division of the Collegiate Orchestra Directors Association (CODA), has served as the President of the Indiana Orchestra Consortium and was a member of a number of arts committees and organizations including those of the Canada Council and the Indiana Arts Commission.
- Leonard Atherton
- Christopher Blair
- Emily Freeman Brown
- Michael Charry
- JoAnn Falletta
- Harold Farberman
- Harvey Felder
- Grant Gershon
- Lawrence Golan
- Alan Harler
- John Koshak
- Philip Morehead
- Harlan D. Parker
- Maurice Peress
- Jonathan Sternberg
- Kate Tamarkin
- Paul Vermel
- Harold Weller
- Diane Wittry
- Victor Yampolsky
If you are not yet a member and would like to contact our Mentoring & Consulting Committee, you may email John Koshak at email@example.com.
The Conductors Guild Annual Membership Directory is a comprehensive listing of all its Individual, Library and Institutional members. An invaluable networking tool, this publication is available on the member-only section of our website in PDF format.
If you have specific inquiries, please send an email to us at firstname.lastname@example.org.
- The subject should be filmed from the front so that his/her eyes, face, hands, gestures, and posture are all clearly seen. The video should never be filmed from the conductor’s back.
- When possible, the selected excerpts should demonstrate the conductor’s technical and artistic versatility. The chosen excerpts should include a variety of musical styles as well as some challenging passages for the conductor.
- The application video should be accompanied by information including the conductor’s name, the repertoire, the date and location of the selected rehearsals and performances, and the orchestras and ensembles conducted. A brief description of the type of orchestra or ensemble (e.g.., student, community, semi-professional, workshop, etc.) and the particular stage within the overall rehearsal period should also be included.
- Some of this basic information can be included in the video itself, although great care should be taken that such information is not disruptive or distracting to the viewer. Leaders on the video, if included, should be simple and concise.
- Lighting must be adequate and the microphone must be placed sensibly, in order to get a decent sense of the overall sound of the ensemble. Ideally, a separate microphone should be used, rather than the built-in microphone on the video camera. For any rehearsal component of a video, that microphone should be place near the podium so that the rehearsing conductor’s comments and instructions are clearly heard.
Conductor/Composer Training Workshops
Each year the Conductors Guild collaborates with the Cabrillo Festival of Contemporary Music to present a Conductor/Composer Training Workshop. This unique event brings together leading faculty, the award-winning Cabrillo Festival Orchestra, and early career conductors and composers for a professional training program which focuses on the creation and performance of new music.
“Having the opportunity to work with the Conductors Guild and to bring promising young conductors face to face with early career composers to engage in interpreting and performing new works is a joy. The Conductors Guild is providing essential professional training and giving conductors the skills they need to become champions of new music and leaders in interpreting, promoting and performing contemporary works. These conductors gain a true appreciation of serious American contemporary music which is then shared with musicians and audiences all over the world.” – Marin Alsop
The Conductors Guild often invites composers to join workshop faculty while featuring their works in the workshop repertoire.
New Music Project
One highlight on the annual Conductors Guild Conference is the New Music Project, where members present little-known recent works to their colleagues. Scores from each of these sessions, beginning with the January 2003 conference, have been assembled into a collection at the library of Old Dominion University. These scores are then available to the general public either at the library itself or via interlibrary loan. For more information, visit the Conductors Guild Collection online. (Note: the Conductors Guild is not directly responsible for maintaining this collection).
In addition to the New Music Project, the Annual Conference for Conductors provides even more avenues for conductors to learn about new music and connect with composers. In addition to sessions and panels, conductors also network with composers who attend as exhibitors. Being an exhibitor at the Annual Conference allows composers a way to connect with hundreds of conductors from all over the world. There is nothing like sitting across the table from a composer, score in hand listening to their work.
The Journal of the Conductors Guild, a scholarly peer-reviewed publication contains a wealth of articles on topics pertaining to new music.
As a member of the Conductors Guild, please enjoy our compilation of errata lists as published in past issues of the Journal of the Conductors Guild.
A Nieweg Chart
Pictures at an Exhibition;
Картинки c выставки; Kartinki s vystavki; Tableaux d’une Exposition
By Modeste Mussorgsky
A Guide to Editions
Compiled January 2016
Clinton F. Nieweg
Download the PDF file here.
Also see the Canfield Chart of Recordings:
“For information about recordings of all 606 known arrangements and 1041 recordings thereof, as of August 2015, see the chart by David DeBoor Canfield, President, International Kartinki s vystavki Association.”
www.daviddeboorcanfield.org Click on “Exhibition” in the left column.