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TUDE
NT TIME
STUDENT TIMES
S
S

the horns and rising stepwise motion in the strings in the following measure further justifies this claim
and organ. In the fifth measure of this selection, the that the orchestra provides foundation for the text.
trombones are introduced to support the choir when The broad green marking serves as a reminder that
singing “Calamitatis et miseriae,” arguably the cli- a breath between “illa” and “Dies,” is not necessary,
max of this movement. The sforzando in the strings but rather a brief and precise space should be used
so that “Dies irae” may be fur-
ther emphasized.

Conclusion
Conducting a masterwork
like Fauré’s Requiem is a com-
pletely different experience
than singing the piece. As
a choir member, the singer
tends to focus solely on their
voice part, but as a conductor,
it is the conductor’s job to hear
it all. Conducting presents the
opportunity to lead the music,
to guide it with personal in-
terpretation. The conductor
must depict the music through
conducting gesture, facial ex-
pressions, and body language.
The conductor must be fully
immersed in the music in or-
der for the audience to be as
well. Once the initial score
study is established enough to
practice gesture, it is up to the
conductor to envision a space
with a full orchestra, and to
cue musicians as if they were
really there. It can be difficult
to recreate the energy and at-
mosphere one feels on stage
entirely, but the exercise is
necessary and aids immensely
when it comes to actual re-
hearsal and performance time.
The desire to study to be-
come a conductor was not
something I ever anticipated
for myself. For so long I knew

76 CHORAL JOURNAL March/April 2023 Volume 63 Number 7