University of Kentucky

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Theses and Dissertations--Music

Music

2015

BASIC FUNDAMENTALS OF
PHENOMENOLOGY OF MUSIC BY SERGIU
CELIBIDACHE AS CRITERIA FOR THE
ORCHESTRAL CONDUCTOR
Lucia Marin
University of Kentucky, luciamarinmarin@yahoo.es

Recommended Citation
Marin, Lucia, "BASIC FUNDAMENTALS OF PHENOMENOLOGY OF MUSIC BY SERGIU CELIBIDACHE AS CRITERIA
FOR THE ORCHESTRAL CONDUCTOR" (2015). Theses and Dissertations--Music. Paper 41.
http://uknowledge.uky.edu/music_etds/41

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REVIEW, APPROVAL AND ACCEPTANCE
The document mentioned above has been reviewed and accepted by the students advisor, on behalf of
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Lucia Marin, Student
Professor John Nardolillo, Major Professor
Dr. David Sogin, Director of Graduate Studies

BASICFUNDAMENTALSOFPHENOMENOLOGY
OFMUSICBYSERGIUCELIBIDACHE
ASCRITERIAFORTHEORCHESTRALCONDUCTOR

_______________________________________________
DISSERTATION
_______________________________________________

Adissertationsubmittedinpartialfulfillmentofthe
requirementsforthedegreeofDoctorofMusicinthe
SchoolofMusic
attheUniversityofKentucky
By
LucaMarn
Lexington,Kentucky
Director:JohnNardolillo,ProfessorofConducting
Lexington,Kentucky
2015
CopyrightLucaMarn2015

ABSTRACTOFDISSERTATION

BASICFUNDAMENTALSOFPHENOMENOLOGY
OFMUSICBYSERGIUCELIBIDACHE
ASCRITERIAFORTHEORCHESTRALCONDUCTOR

Thephenomenologyofmusicisthescienceofstudyingsoundsandtheir
relationshipwithhumanbeings.ConceivedbytheRomanianorchestraconductorSergiu
Celibidache,phenomenologyofmusichasbecomeavaluablesourceofknowledgefor
theorchestralconductor,offeringtoolsthatcanleadtoadeeperunderstandingofthe
score.InthispaperIwillofferanexplanationofphenomenologicalmethod,appliedto
conductingbasedonmyownexperience,andanexplanationofthebasicideasof
CelibidachesPhenomenologyofMusic.

KEYWORDS:Celibidache,phenomenologyofmusic,structure,unity,consciousness

LuciaMarin
_____________________________________________________

StudentsSignature
March25th2015
____________________________________________________
Date

BASICFUNDAMENTALSOFPHENOMENOLOGY
OFMUSICBYSERGIUCELIBIDACHE
ASCRITERIAFORTHEORCHESTRALCONDUCTOR

By
LucaMarn

JohnNardolillo
___________________________
DirectorofDissertation

DavidSogin
____________________________
DirectorofGraduateStudies

th
March25 2015
____________________________


TomymasterEnriqueGarcaAsensio,towhomIoweeverythingIamasan
orchestralconductor

ACKNOWLEDGMENTS
Iwouldliketoshowmygratitudetomyadvisorycommittee:ProfessorJohn
Nardolillo,ProfessorCynthiaLawrence,Dr.LanceBrunner,Dr.EverettMcCorvey,Dr.
SusanCarvalho,andProfessorDoreenMaloney;toeachandeveryoneofthem,my
sincerethanks.

iii

TABLEOFCONTENTS
ACKNOWLEDGMENTS.........................................................................................................iii
TABLEOFCONTENTS...........................................................................................................iv
CHAPTERONE:INTRODUCTION..........................................................................................1
CHAPTERTWO:ANAPPROACHTOTHEPHENOMENOLOGICALMETHOD.........................3
CHAPTERTHREE:PHENOMENOLOGY.................................................................................5
CHAPTERFOUR:CELIBIDACHESBACKGROUNDINMUSICANDPHILOSOPHY..................8
CHAPTERFIVE:SERGIUCELIBIDACHESPHENOMENOLOGICALAPPROACHTOMUSIC...10
CHAPTERSIX:THEPHENOMENOLOGICALMETHODAPPLIEDTOTHEFINALEOFTHE
BRAHMSVARIATIONSONATHEMEBYHAYDNOP.56a..................................................23
CHAPTERSEVEN:CONCLUSIONS......................................................................................26
REFERENCES......................................................................................................................28
VITA...................................................................................................................................31

iv

CHAPTERONE:INTRODUCTION

Theroleoftheconductorisoneofthemostmysteriousaspectsofmusicmaking
forthegeneralpublic,anddefiningitiselusiveevenamongprofessionalmusicians.
Conductorsthemselvesdifferwidelyintheirapproachtotheart,astheymustbalance
variousaspectsoftechnique,whichincludemusicalinterpretation,gestural
communication,andtheapproachofleadership.InthispaperIlimitmyinvestigationto
thecomponentdealingwithmusicalinterpretation,specificallytherelationshipbetween
theconductorandthescore,throughthelensofmyexperienceofCelibidaches
phenomenologyofmusic.
Althoughweknowatadeepviscerallevelwhenweexperienceagreat
performance,itisdifficulttoexplainhowthishappens.Whatisitthatallowsa
conductortoinspireandelicitanexceptionalperformancefrommusicianswhomay
haveplayedtheworkmanytimes?ItisthiscorequestionIseektoexploreinthispaper,
specificallythroughtheworkandlegacyoftherenownedconductorSergiuCelibidache
(19121996).Byexamininghisapproachtothescoreandthevibrantsoundhedrew
fromhismusicians,Ihopetorevealamethodbywhichanyconductorcanenvisionand
worktowardatranscendentperformance,whichmanymusiciansconsidertheultimate
goalofthemusic.
Therearemanyapproachestopreparingascoreforperformance,including
issuesof"how,""howmuch,"andwhen,whichareessentialtoanymusical
performance.Conductorsmustdeveloptheirownapproachestothesemusicalissuesin
ordertoexecutetheirartwiththeutmostresponsibilityandcredibility.Myexplanation
1

ofCelibidachesapproachisbasedonmyownunderstandingandapplicationofhis
approach,whichIhavedevelopedoverthepastfourteenyears,throughthe
transmissionandguidanceofCelibidachesdistinguisheddisciple,theSpanishconductor
EnriqueGarcaAsensio(1937).
Celibidachecultivatedaformofmusicalunderstandingthatwasofgreat
importanceinthetwentiethcentury.Hedevelopedthisunderstandingthroughhisstudy
ofEasternphilosophyandEdmundHusserlsphilosophyofphenomenology,aswellas
hisownknowledgeandengagementwithmusic.Celibidachesphenomenologyofmusic
isaninvestigationorinquiryintothedirectperceptionandinfluenceofsoundandhow
thesoundcontributestothemusiciansabilitytoreachatranscendentperformance.
Celibidachedidnotleaveasinglecompleteaccountofhisapproach.Rather,his
explanationsarescatteredamongdifferentinterviews,newspaperarticles,lecture
transcriptions,andthelegacyofhisdisciples.Noneofthesesourceshaveanorganized
explanationofthemainconceptsofthephenomenologyofmusicandthe
phenomenologicalmethod;neitherTomZellenorJavierMiranda,authorsoftheonly
twocompletedoctoraldissertationsonCelibidachesphenomenologyofmusic,have
optedforthisapproach.Inaddition,itwillbeveryusefultohavethisinformationin
English,sincemostofthematerialsaboutthesubjectareinotherlanguages.
MyapproachhasbeentoselectthosetextsbySergiuCelibidachethatbest
describehisPhenomenologyofMusicandtodiscusstheminacoherentsequenceso
theycanbemoreeasilyappliedtoanorchestralperformance,andbyextension,beused
byanymusician.
2

CHAPTERTWO:ANAPPROACHTOTHEPHENOMENOLOGICALMETHOD

AlthoughSergiuCelibidachedidnotleaveacompletewrittenrecordofhis
musicalphenomenologicalmethod,Ibelievethatbasedonmyownexperience,itis
possibletoformulateasetofguidelinesfortheapplicationandunderstandingof
phenomenologyofmusic.Thestartingpointofthisinvestigationistheperceptionof
sound.Aphenomenologicalmethodisdifficulttoexplainbecauseitreferstodirect
perception,whichisexperiential.Thismethodisbasedontheperceptionofsound,
particularlythetensionandrelaxationthatexistsinthevertical(chord)andthe
horizontal(melody)dimensions.Itcanbeappliedtoanylargestructure,suchasbinary
andternaryforms,variations,aswellasmicrostructures,suchasetoftwoormore
sounds.
Thisapproachtothescorecreatesastructurebalancedbytheclimax:thepoint
ofmaximaltensionofthepiece.Thelocationofthatpointisthefirstandmost
importantgoalfortheconductor.Tofindthispoint,Iwillexaminethebasicelementsof
contrastandrepetitionastheyaremanifestedinthecontextofrhythm,harmony,
melodyandtimbreofthepiece.Contrastalwayscreatestension,andtherepetition,
dependingoncontext,canincreasetensionorreleasethetension.
Thismethodhasthreesteps:(1)locatingtheclimax;(2)determiningthesections
ofextroversion,(buildingthetension)andintroversion,(releaseoftension);and(3)
studyingthesubsectionstofindareasoftensionandrelaxation.
Thefirststepofthephenomenologicalmethodlocatesthepointofmaximal
tensionofthestructure.Thesecondstepdeterminesthesectionsofextroversionand
3

introversionofthework.Thesectionofextroversioncoversthepathfromthebeginning
oftheworktotheclimax,andthesectionofintroversioncoversthepathfromthe
climaxtotheendofthestructure.Thethirdstepofphenomenologicalmethod
determinestherelationshipofthesoundsonamicrolevel:howthetensionand
relaxationworkandhowthesoundscreatephrasesthathaveasimultaneous
relationshipoftensionandrelaxationbetweenthemselves.Allofthesearticulations
containapeakoftension,buttheyaredifferentfromthepointofmaximaltensionof
thestructure.

CopyrightLucaMarn2015
4

CHAPTERTHREE:PHENOMENOLOGY
Themostbeautifulthingsintheworldcannotbeseenortouched,theyarefelt
withtheheart.1
AntoinedeSaintExpery
Phenomenology2isthescienceofstudyingtheessence(whatitis)throughthe
analysisofthephenomenon(whatitshows).Phenomenonandessencecannotbe
seenasentitieslivingapart,butasaspectsthatinteractwitheachothertogiveus
informationbywhichoneenlightenstheother.Itisoneoftheextremelyinfluential
philosophicalschoolsofthoughtofthetwentiethcentury.
EdmundHusserl3(18591938)isconsideredthefatherandfounderof
phenomenology.Hewrote:Phenomenologyistheuniversaldoctrineoftheessences,
inwhichtheessenceofthescienceofknowledgefindsitsplace.Itdescribesascience,a
linkbetweendifferentscientificdisciplines,butatthesametimeitrefersamethodand
anintellectualattitude.4
IfEdmundHusserlisconsideredthefatherofphenomenology,thenMartin
Heidegger(18891976)andMauriceMerlauPonty(19081961)couldbeconsideredhis
heirs.TherearemanyphilosophicalinquiresbeforeHusserlsteachingsthatcanalsobe

1
Goodreads,accessedMarch14,2015,http://www.goodreads.com/quotes/369705
themostbeautifulthingsintheworldcannotbeseen.
2
MiguelAstor,AproximacinfenomenolgicaalaobramusicaldeGonzaloCastellanos
Yumar,(Venezuela:ComisindeEstudiosdePostgradoFacultaddeHumanidadesy
EducacindelaUniversidadCentraldeVenezuela,2002),23.Trans.LucaMarn.
3
Philosophica,accessedMarch13,2015,
http://www.philosophica.info/voces/husserl/Husserl.html.
4
EdmundHusserl,Laideadelafenomenologa,(Madrid:Ed.F.D.FEspaa,1950),92.
Trans.LucaMarn.

consideredasphenomenological.Forinstance,GeorgWilhelmHegel(17701831)used
thetermphenomenologyinasenseverysimilartoHusserls,andeventhemusical
theoryofAristoxenusofTarentum(335BC)couldbeconsideredphenomenologicalin
itsclearoppositiontoPythagoreanconcepts.SaintAugustin(354430AD)useda
similarconceptofessenceinhisbookDeMusica,aswellasinhisphilosophyoftime
containedinConfessions.
EdmundHusserlsphilosophicalinquirysoonturnedintoafullfledgedschoolof
thought,andhequicklyhadafollowingofdisciples.Thismovementgrewoutofhis
concernaboutthenatureofnumbers,andlateritdevelopedintoafullrefutationof
psychologismastaughtbyhisteacherFranzBrentano(18381917).Phenomenologyis
differentfrompsychologism,theotherimportantphilosophicalstreaminthebeginning
ofthetwentiethcentury.Todenyanytypeofrelationshipwithpsychologism,Husserl
clarified:wemustavoidmixingupthepurephenomenon,anydatathatcomesfrom
ourexperience,withthepsychologicalphenomenon,subjectofstudybytheother
naturalsciencecalledpsychology.5
Accordingtophenomenology,nothingistakenforgranted:commonsense,the
naturalworld,scientificproposals,andpsychologicalexperiencesareallimportant.The
approachistoperceiveobjectsbeforeanybelieforjudgementarises,inordertoopenly
exploretheobjectsessence,whichcanbehiddenbysubjectiveinterpretationsand
reactions.

5
Ibid.
6

Husserldefinedphenomenologyasascientificmethodthatexcludesanykind
ofpsychologism;inotherwords,anythingextraneoustotheexperience.Wecan
experiencethistypeofperceptionthroughtwofundamentalstepsthathecalled
reductions:
1. Transcendentalreductionovercomestheconstrictionsoftheegoand
allowsustoconnectdirectlytothephenomenalworldwithoutjudgment.
Thetermreduction(fromtheLatinreducere)suggeststheleavingaside
ofallinformationandrelationshipsthatareextraneoustotheexperience
ofaphenomenon.Thuswebracketourexperiencebyeliminatingthe
unessential.
2. Eideticreductionistheabsorptionoflearningfromthephenomenon
throughourconsciousness.
Themainfocusofphenomenologyisconsciousnessitselfandhowwe
experiencetheworldmomenttomoment.Whatweperceivedirectlythroughour
sensescanbecalledreality.Themainattributeofconsciousnessisintentionality.
AccordingtoHusserlallconsciousnessisawareofsomething:everyactofconsciousness
isalwaysrelatedtosomethingelse,andthewayconsciousnesslearnsisthroughthe
connectionwithourintuition.Duringthetwentiethcentury,phenomenologybecame
widespread,creatingdifferentschoolsofthoughtinmanydiversefieldsofknowledge.

CopyrightLucaMarn2015

CHAPTERFOUR:CELIBIDACHESBACKGROUNDINMUSICANDPHILOSOPHY

Allthatweareistheresultofwhatwehavethought:
itisfoundedonourthoughtsandmadeupofourthought.6
Buddha

SergiuCelibidachewasborninRomaniain1912,buthismostimportantmusical
trainingtookplaceinBerlin,theGermancapital,beforeandduringWorldWarII(1936
1945)attheHochschulefrMusikandtheFriedrichWilhelmUniversitt.Atthe
HochschulefrMusikCelibidachestudiedcompositionwithHeinzTiessen,conducting
withWalterGmeindl,counterpointwithHugoDiestler,andmusictheorywithKurt
ThomasandFritzStein.Undertheirinstruction,Celibidachegainedthebasic
fundamentalsofhismusicalknowledge,whichhethenexpandedbyattending
philosophyclassesbyEduardSprangerandNicolaiHartmann.ProfessorTiessenand
NicolaiHartmannwereCelibidachesthemostinfluentialteachers.
OnmanyoccasionsCelibidachesaidthatRichardGustavHeinzTiessen(1887
1971)wasthecentralfigureinhismusicaltraining.TheRomanianconductorlearnedof
TiesseninParis,whenheheardoneofhisstringquartetsontheradio.Celibidachewas
soinspiredbythepiecethathecomposedhisownquartetandsentittoTiessen,who
thenacceptedCelibidacheintohisstudio.
Tiessenhadabroadrangeofinterestsbeyondmusic,includingplantscience,
linguistics,andevenastrology.Hehadalsostudiedbirdsong,likethecomposerOlivier
Messiaen.TiessenhelpedCelibidachedevelopthetechnicalandpracticalcomponents
ofcompositionthatwouldlaterframehisthoughtsaboutthephenomenologyofmusic.

6
Goodreads.
8

Tiessensmusicwasconsideredmodernist,butheneveracceptedthetotal
dissolutionofthetonalsystemchampionedbyArnoldSchoenbergandhisfollowersin
theSecondVienneseSchool.TiessenscompositionalstylewasclosertoHindemiths,
basedonthepreeminenceofatonalcenter,andthereforethelogicofthecadence.He
wasalsoconvincedhecouldfindatonalcenterinatonality,aconvictionthatledhimto
establishpowerfulmusicalstructuresinhiscompositions.Thisviewwasalsosharedby
Celibidache,whohadalwaysrejectedwhatheconsideredtheextremesoftheSecond
VienneseSchool.OthertheoristsandcomposerssuchasHugoRiemann,ErnstKurthand
HeinrichSchenkerembracedthesamemodernistapproachasTiessen.
CelibidachesrelationshipwiththephilosopherNicolaiHartmannisanotherkey
tounderstandingthedevelopmentofhisthoughtsonthephenomenologyofmusic.In
his1985lectureonphenomenologyofmusicinMunich,hediscussedindetailhow
Hartmannsideashelpedlaunchhistheory.Thetextfromthislecturelaterbecamethe
firstpublishedpaperbytheRomanianconductoronthistopic.
NicolaiHartmann(18821959)wasborninRigaandenjoyedarichandcomplete
educationbasedonhisinterestinmusicandastronomy.7Hewasrecognizedinthefirst
halfofthetwentiethcenturyasoneoftheleadingGermanphilosophers,asimportant
asHusserlorHeidegger.HartmannbeganbystudyingtheworksofImmanuelKantand
progressivelymovedtowardsphenomenology,thenewdisciplinethatdominated
philosophicalstudiesafterWorldWarI.

7
StanfordEncyclopediaofPhilosophy,accessedMarch13,2015,
http://plato.stanford.edu/entries/nicolaihartmann.
9

CHAPTERFIVE:SERGIUCELIBIDACHESPHENOMENOLOGICALAPPROACHTOMUSIC
SergiuCelibidacheistoocomplexafiguretocaptureeasilyinwords.Hewas
clearlyageniuswho,throughmusic,couldcreateexperiencesoftranscendence.His
innerneedtofinddepthineveryaspectoflife,includingmusic,ledhimtothestudyand
practiceofZenBuddhismandtoengagewithandelaborateonthephenomenologyof
music.HeadaptedHusserlsconceptofphenomenologyforthefieldofmusicandputit
intopracticeinhisworkasanorchestralconductor.Therearefivebasiccomponentsto
Celibidachesapproachtomusic,whichIdiscussinthefollowingsections:Celibidaches
viewofmusicitself,phenomenology,interpretation,musicalstructure,andthe
dimensionofspatiotemporality.
Celibidachesviewofmusic
ThebasicdefinitionofmusicintheOxfordEnglishDictionaryonlineis:Theart
orscienceofcombiningvocalorinstrumentalsoundstoproducebeautyofform,
harmony,melody,rhythm,expressivecontent,etc.8Thiswidelyaccepteddefinitionof
musicprovidesastartingplacetowhichaphenomenologicalapproachtomusiccanadd
moredepth.
Yet,accordingtoCelibidache,becauseofitsnonstaticnature,musiccannotbe
graspedandthushasnodefinitionperse.Therefore,heproposedthattheremustbean
essentialelementpresentformusictoexist.Forhim,thatelementissound.Ofsound
Celibidachesaysthis:

OxfordEnglishDictionary,accessedMarch13,2015,http://www.oed.com.

10

Inmyview,musicisnotsomethingwecanunderstandbygivinga
definitionbasedonconventionallanguage.Itdoesnotfitinany
perceptibleformofexistence.Inotherwords,musicisnotsomething.
Nevertheless,undercertaincircumstances,somethingcanturninto
music.Thissomethingiswhatwecalledsound.Ontheotherhand,sound
isnotmusic,butundercertainconditionsitcanturnintomusic.9

Veryoften,professionalandamateurmusiciansalikegoalongwiththedefinition
ofmusicintheOED,equatingmusicandbeauty,consideringanybeautifulsequenceof
soundtobemusic.Celibidache,however,wascriticalofthisview.Forhim,theessence
ofmusicisthetruthofpureperception10.Ifthispureperceptionisperceivedbythe
performersandtheaudience,thenatranscendentexperienceispossible.Celibidache
feelsthatsimplebeautyandsuperficialemotionhavenoplaceinmusic:Anyonewho
stillhasnotgottenpastthestageofthebeautyofmusicstillknowsnothingabout
music.Musicisnotbeautiful.Ithasbeautyaswell,butthebeautyisonlythebait.Truth
isourultimategoal,notbeauty.11
Theunconventionalunderstandingofmusicthatemergesfroma
phenomenologicalpointofviewisessentialtounderstandeveryotherideaofthis
theory.

SergiuCelibidache,bermusikalischePhnomenologie,(MnchenandAusburg:
TriptychonVerlag,2001),2.Trans.LucaMarn.
10
SergiuCelibidache,Lamsica,sinalternativa,ABCNewspaper,(Madrid:1993),29.
Trans.LucaMarn.
11
Ibid.
9

11

Celibidachesphenomenologyofmusic
Celibidachesphenomenologyofmusiccanbedefinedasthescienceresponsible
forthestudyofthesoundanditsaffectsonhumanbeings.AccordingtoCelibidache,
theperceptionoftensionandrelaxationinourconsciousnessafterlisteningtotwoor
moresoundscannotbeinterpretedbecause,forhim,itexistsapriori.Accordingto
Celibidache:NicolaiHartmannsettwopathsofresearchthat[]attempttoturnthis
disciplineintoarealscience:theobjectificationofthesoundandthewaythesound
affectsconsciousness.12
Fromthisquote,itisclearthatforCelibidachetherearetwodimensionstothe
phenomenologyofmusic:thestudyofsoundaspartofamusicalpiece,andthe
relationshipbetweenasoundandhumanlistener.
Soundisthefirstdimensionthatmustbepresentformusictoemerge.Inour
consciousnessthenaturalassociationofsoundscreatesanaturalmovementof
emotionaltensionandrelaxationinthelistener.Thenatureofsounditself,including
naturalovertones,isthestartingpointforthetreatmentofsoundsandtheirnatural
relationshipbetweeneachother.Itisimportanttoperceivethissoundproperlysothat
musiccanemerge;asCelibidacheexpressedit:
WhenIaminfrontofanorchestra,Ifeellikeasculptorreadytosculpta
bigblockofstone.WhatisthecommonfactorofeverythingIdowhen
conducting?Ineverstopsayingno:No,itisnotlikethat,toofast!Not
likethat,thesecondhornhasbeenconcealed!No,thatisnotthemain
theme.Itisoverthere!No,no,no!untilwefinallygettotheYes.But
itisnotmewhomakesthefinaldecision.Iamjustresponsiblefor

Celibidache,bermusikalischePhnomenologie,2.Trans.LucaMarn.

12

12

creatingthematerialconditionssoeveryonecanunderstandanideaof
howtogettothatyesandhowtoachieveit.13

Theseconddimensioninvolvedintheperceptionofmusicisfoundinhuman
consciousnessasitisaffectedbythesound.Inthisrelationship,wedistinguishtwo
concepts:noesisandnoema.
1. Noesisistheintentionalprocessofconsciousness[]itistheobjectas
itappears.14Itoccurswhenourconsciousnessmakesthefirstcontact
withthephysicalworld.Inthecaseofanorchestralconductor,that
contactisthereadingofascore.Celibidachestated,EverythingI
perceiveinmyconsciousnessisnoetic.15WhatCelibidachemeantisthat
giventheenormousamountofinformationthatassaultsoursenses,our
consciousnesshasonlyoneoptioninordertoperceivethemall:
reduction.Sothereductionofsensoryperceptioniscallednoema.
2. Noemaistheidealcontent[]theobjectasitisintended.16Through
reduction,alloftheinformationgoesintoourconsciousness.For
Celibidache,onlythroughreductioncanmultiplicitybeturnedintothat
singleunitycalledoneness.Thatonenessisnoema.
Unityandonenessiswhatconsciousnessneedstoperceiveanobject.
Transcendenceisachievedwhenweareabletoreducemultiplicityintooneness.

13
SergiuCelibidache,LadireccinorquestalsegnSergiuCelibidache,Revista
Amadeus,(Madrid:1994),40.Trans.LucaMarn.
14
StanfordEncyclopediaofPhilosophy.
15
Celibidache,bermusikalischePhnomenologie,15.Trans.LucaMarn.
16
StanfordEncyclopediaofPhilosophy.

13

Musicallyspeaking,Celibidachefindsthattheconceptofonenesscanbeappliedtoany
musicalstructureinwhathetermsverticalpressure(chord)andhorizontalpressure
(melody).Thisexerciseofreductioninourconsciousnessisimperativewhenthe
conductorhastofacedifferentkindsofinformationthatmustbeunified.Onthis
subjectCelibidachesays:WhenIaminfrontofanorchestra,Ireceivealotof
information.Whatisthemostimportant?Whichinformationmustmyconsciousness
follow?Imustreducethismultiplicityintoasingleunity,takingintoaccountthat
reductiondoesnotmeanlosinganyinformation.17
Multiplicityisexhibitedinthevarietyoftimbre,pitches,attacks,and
articulationsthatsimultaneouslyexistinanygivensinglemoment,aswellasthose
existingsuccessivelyovertime.Transcendenceisthereductioninourconsciousnessof
allthemultiplicitiesoftheverticalandhorizontalpressuresaftertheeliminationofall
formsofegoidentifications(ourownemotions,expectations,interpretation,etc.).
Celibidachedefinestranscendenceastheactofaccumulatingmultiplicityandthen
reducingittoonenessinordertobeabletoperceivemoremultiplicity.18Once
consciousnesshassuccessfullyreducedmultiplicity,itisreadytofaceandreducethe
nextformofmultiplicity.Thejoboftheconductoristhecontinualreductionof
multiplicityduringtheprocessesofrehearsalandconcertsinordertoalignthesounds
withhispreviousidealizationofthescore.

Celibidache,LadireccinorquestalsegnSergiuCelibidache,40.Trans.LucaMarn.
18
Celibidache,bermusikalischePhnomenologie,23.Trans.LucaMarn.
17

14

Oncesoundhasbeenreducedbyourconsciousnessandperceivedasaoneness,
musicaltranscendenceispossible.InCelibidacheswords:
Soundisinthefirstplaceanagent.Itcantakeusbeyondanyphysical
contingency.Everyonewishestounderstandandenjoythedifferent
relationshipsbothbetweensoundsandemotions.Havingsaidso,the
relationshipbetweensoundandahumanbeingisnotsymbolic,aswith
language,butdirect.Soundhasaspecialpositioninthehumansensorial
structure.Iamnotawareofamoredirectpathtotranscendencethan
sound.19

InthefollowingcitationCelibidachesupportsthebasicideaof
phenomenologyofmusicbylinkingsoundwiththevitalityofhumanaffection:
Inasymphonywithtwothemes,whereisthecontrastbetweenthem?
Whocreatesthem?Theinnerforcedoes,thevitalityofhumanaffection.
[]Thelinkbetweentheintervalofsoundsandtheaffectiveworldis
direct.Itisthefactofbeingfirstmovedoneway,andanotherwaylater,
thatcreatesopposition[]Butatthesametime,wecantakeitoutfrom
itsontologicalperspectivebeforesaying:Thatisit!!20

AboutinterpretationofMusic
AccordingtoEnriqueGarcaAsensio,21thephenomenologyofmusiccanbe
definedasthescienceofthestudyofsoundsnotsubjecttointerpretationorhuman
will,andtherelationshipbetweensounds,accordingtothephenomenological
parametersoftensionandrelaxation,alongwiththestructurecreatedbythesoundsof
amusicalpiece.22
Celibidacheoftenlikenedthestructureofmusictoalandscape:

19
Ibid.
20
Ibid.43.
21
Inconductinglessons.
22
Celibidacheusesthewordinterpretationtoconnoteanyunwarrantedlibertythata
musiciantakeswiththescore.

15

Themusicalmaterialis,inasense,likealandscape,ithasmountains,
valleys,rivers.Ithasitsowntopography.Whatcanwedotobecome
awareofthislandscapeanditsdifferentnaturalvariances?Wecannot
changethem,wecannotalterthem,butwecanignorethem.Ifwedo
notwanttoignorethesefeatures,wemustintegratealltheinformation
aboutthelandscapeintoasingleunity.Musicallyspeaking,onecannot
changethemusictomakeitmoreexpressive.Whatleadsto
interpretationistheconfusionbetweenmusicandemotions,buttheway
eachoneofusgoesintomusicisdifferent.Thisinterpretationresponds
toourdifferentcriteria,althoughinterpretationhasnothingtodowith
differencesincriteria.[]Youhaveneededfortyminutes,whereasI
neededtwentyfive.Butthepathofthesecriteriathroughthelandscape,
nomatterhowincompletelyitisrepresentedinthescore,isa
representationofthelandscape.Ifwefollowthecomposersguidelines,
whatistobeinterpreted?CanIdoaritenutoifanaccelerandoiswritten
inthescoreasmanydo?Wemight.[]Butthisispurefancy.Whatwe
callinterpretationisthecombinationoftheignoranceoftheplayerand
thelistener.Behindtheterminterpretationtheresurelyliestheidea
thatonecantreatmusicasitwasasimpleobject,assomethingthatcan
betakenoutfromtherefrigerator,andtoppedwithacertainsauce,
dependingonsomeonestaste.Thereisnothingmorefalseandmore
distantfromwhatmusicreallymeans.23

AccordingtoCelibidache,thegoaloftheconductoristounderstandtheintrinsic
structureofaworkandtobeabletorecreateitassuch.Itshouldnotbeinterpreted
throughthedictatesofsimpletaste.Althoughthestructureisobjective,thetimeand
conditionsaroundtheactofaperformancearealwayschanging,andthereforeeach
performanceisuniqueandunrepeatable.
Aboutmusicalstructure
AsweexplainedinChapterTwo,themusicalstructure,ortopographyofthe
piececanbedividedintotwoprimarysections.Thefirstsectioncontainstheexpansion

Celibidache,Lamsica,sinalternativa,29.Trans.LucaMarn.

23

16

phase,inwhicheverincreasingtensionculminatesintheclimax.Thesecondsection
entersintoaphaseofresolutioninwhichthetensionofthepiecereleasesuntilits
conclusion.AccordingtoCelibidache,themaingoalforanyconductorwillbeto
perceivethestructureandtocreatethematerialconditionssothatmusiccanemerge.
Howfarcanthephaseofexpansiongo?Obviouslyasfarastothepointitcannot
expandanylonger.Thatcrucialpointiscalledthepointofmaximaltension.Thispointis
theeventaroundwhichallthemusicalarchitecturalstructureevolves.24
Theclimaxorpointofmaximaltensionisnotjusttheoreticalbuttheexperience
oftwoopposingforcestensionandrelaxationdirectingtheirenergiesagainsteach
other.Somusic,aspartofthisphenomenalworld,cannotescapefromthisessentiallaw
oftensionandrelaxation.
Accordingtothephenomenologyofmusic,thefirstsoundperceivedinany
structureiscalledpointzero.Whenasecondsoundappearsthelistenercanbeginto
experiencetherelationshipbetweenbothsounds.Fromthefirstsoundperceivedtothe
pointofclimax,thetensioniscontinuouslyincreasing,andfromthepointofclimaxto
thelastsoundperceived,thetensioniscontinuouslyreleased,andreturnstopoint
zero.Ideally,beginningandendareinseparableandcanbeperceivedasasingleunit.
ThisisoneofthemostdifficultconceptstounderstandinCelibidachesphenomenology
ofmusic,anditisstronglysupportedbythecyclicalconceptoftimeasconceivedin
Easternphilosophy.Celibidachesays:Inphenomenology,theendofapieceisthe

24
Celibidache,bermusikalischePhnomenologie,38.Trans.LucaMarn.

17

potentialbeginning,becausebothbeginningandendareaninseparableunitthat
transcendentallyexistincompletesynchronicity.25
Accordingtothephenomenologyofmusic,tensionandintensityarethetwo
mainfactorsthatcombinetocreatemusicalstructure.Althoughthetermssound
similar,theydifferinsignificantways,asshowsinthefollowingdefinitions:

Tension:Thestateofbeingstretchedtightbytwooppositeforces.26

Intensity:Themeasurableamountofaproperty,suchasforce,brightness,or
amagneticfield.27

Musicaltensionreferstoaninnerforcethatcomesfromthephenomenonof
sound.Musicalintensityontheotherhand,istheauralexperienceofthesoundandit
canberepresentedbythedynamics.Forthatreason,amelodyplacedinpianissimocan
showmoretensionthanadifferentmelodyplacedinfortissimosincetensionis
dependentuponthemusicalcontext.Tensioncanberelatedtoharmony,melody,
rhythmorpitch.Amongthesefouraspectsofmusic,therearetwofundamental
qualities:harmonyandmelody.Themelody,ormelodies,createsthemelodictension
(horizontalpressure),andtheharmonycreatesharmonictension(verticalpressure).
EnriqueGarcaAsensiorepeatedlysaidinconductinglessons:musicistheamountof
horizontalflowthatverticalpressureallows,makingitclearthatmusicdependsof
thesetwoopposingforces.

25
AntonioDelMoral,SergiuCelibidacheenbuscadelaverdad,ScherzoMagazine,
(Madrid:1987),56.Trans.LucaMarn.
26
OxfordDictionaries,accessedMarch13,2015,http://www.oxforddictionaries.com.
27
OxfordDictionaries.

18

Regardingmelodictension,andusingphenomenologicalterminology,thehigher
thesound,thestrongerthetension.AccordingtoSergiuCelibidache,thehumanvoiceis
theperfectinstrumenttheonlyonewithtensionandintensityonparallellevels.With
thehumanvoice,ifthepitchascends,thetensionincreases,andviceversa.Celibidache
notedthatinthisrespecttheflute,ofallinstruments,comesclosesttotheperfectionof
thehumanvoicebecausehavebothinnatelyhavethesamephrasing.Understanding
thehumanisindispensableforachievingidealphenomenologicalphrasing.The
applicationofthisideacantheninformthedecisionmakingofanorchestralconductor.
Withrespecttoharmonictension,theinitialtonalityofamusicalpieceiscalled
themothertonality.InthefunctionaltonalitytheVchordfunctionsasdominant
becauseitcreatesthemostnaturaltensionwithrespecttothetonic.Therefore,every
movementtowardthedominantcreatestension,whereaseveryreturntothetonic
createsrelaxation.Thisneedstobeexperiencedtobeunderstood.Onthisconcept,
Celibidachesays:Whatcanyouexplainabouttheextroversion[increasingtension]of
anascendingfifth,andofthefactthataSolderivesfromtheDo?Ifyoudonot
experienceit,itcannotbeexplained.Butifyouexperienceit,thereisnothingto
explain.28
Inamusicalcompositionwecanhavetwobasicresourcesinwhichthe
phenomenologyofmusichassomethingtosay:repetitionandcontrast.Everytime

Celibidache,LadireccinorquestalsegnSergiuCelibidache,42.Trans.LucaMarn.

28

19

someonelistenstoasoundoragroupofsoundsperceptionwilldifferwithevery
repetition,asitprovokesadifferentresponseeachtime.InthecontextofCelibidaches
phenomenologytruerepetitiondoesnotexistinmusic,becausemusicoccursthrough
time,andtimeisunrepeatable.
Repetitionhasthedualpurposeofcreatingtensionandrelaxingit.Extroversion
andintroversionarerelatedtotensionandtorelaxation,respectively.
Phenomenologicallyspeaking,thepurposeofcreatingtensionistoproduceinstability,
whereastheresolutionofthattensionleadsbacktotheinitialbalance.
Memoryallowsustounderstandmusicbecauseitenablesustocompareone
eventtopreviousevents,andinthecontextofmusic,onesoundtotheprevioussound.
Withoutmemorytheexperienceofresolutionwouldnotpossiblebecauseourminds
couldnotperceivethetensionthathadbeencreatedthroughapriorexpansion.
AccordingtotheVenezuelancomposerMiguelAstor:Whenwelistentoamusical
phrase,ourmemoryallowsustoretainthisphraseuntilourexpectationshavebeen
resolved.Ourexperienceofbeautyhasalottodowiththeinnerpermanenceofa
musicalfeelingconsistingofanumberofexpectationsthatmustbesatisfied.Forthat
reason,beginningandendcannotdisconnectfromeachother.29
Memoryallowsustoorganizesoundsinanactioncalledcorrelation.
CorrelationisanessentialtermforCelibidache,inthatitrequiresadirectandcomplete
perceptionofthesoundmomenttomoment.Assuchfreesuspreoccupationwitha

29
Astor,AproximacinfenomenolgicaalaobramusicaldeGonzaloCastellanosYumar,
71.Trans.LucaMarn.

20

separatesenseofselfandfixation.Itthusrelatesdirectlytothespiritualdimensionof
thehumanbeing.Correlationistheactofrelatingasoundorgroupofsoundstoeach
otherintermsoftensionandrelaxation.In1987,Celibidachesaid:
Aparticularmeasureisrelatedtothepreviousmeasureaswellasthe
followingmeasure.Whatisresponsibleforcorrelatingtheprinciplesof
music?Sounds.Ifthiscorrelationdoesnottakeplace,whathappens?
Everythingisplayedforte[]Oh,myGod!But,whatisobjectiveina
score?Thestructure[]thewaysoundisarticulateddependsonboth
verticalandhorizontalpressure.Ifoneisnotawareofthesetwo
pressures,onecannotcorrelate.30

Aboutthedimensionofspatiotemporalityinmusic.
Establishingtempoisoneofthemaindutiesoftheorchestralconductor.Every
workneedsaspecifictempothatallowsmusictoemergedependinghowitsoundsina
particularacousticspace.
WhenCelibidacheaskedWilhelmFurtwnglerafterarehearsalaboutthetempo
ofaparticularpassageofapiece,heanswered:Well,thatdependsonhowitsounds.
TheanswerwasarevelationtoCelibidache.
AccordingtoCelibidache,Furtwnglermeantthattempowasdependentonthe
soundinitscurrentacousticalsettingandthereforeitcannotbeimposedapriori.The
correcttempoisalwaysrelative,notabsolute,asmightbeimpliedinthescore.
Tempoispartofthewholemusicalexperiencewhichalwaysoccursinaspecificspatio

DelMoral,SergiuCelibidacheenbuscadelaverdad,56.Trans.LucaMarn.

30

21

temporalcontext.31Celibidachecametobelievethatmusicissubjecttothespatio
temporalconditionsinacurrentmoment:
AmetronomecannotsettheconditionsunderwhichIcanachievea
transcendentexperience.But,isthisanactofhumanwill?Notatall.If
timeisconsideredasasimpleobject,asmanyfoolishpeopledo,quaver
at72canbewrittenonthescore.Tempoisthenecessaryconditionso
thatmultiplicityofallphenomenaofmusiccanbeperceivedbyour
consciousness.Theabilityofourconsciousnessistoreducethe
multiplicityofelementsandturnsomethingverycomplexintoasingle
unity.Thenwewillbereadytoreducethenextformofmultiplicity.The
greaterthemultiplicity,themoretimewillbenecessary.But,infact,
tempoitselfisnotsloworfast.Today,tempohasturnedintosomekind
ofobjectthathasbeenmeasuredasaphysicalentity.Thetendencytodo
thisisabsurd.Physicaltimedoesnotexistinmusic,althoughcriticsand
foolishpeoplewhoteachinmusicschoolscontinuetoteachthis.32

Thisconceptaboutthetemporalityofmusicinadditiontotheideaofreduction
ofthemultiplicityinmusicarethemainreasonswhyCelibidacheconductedusingsuch
slowtempos,especiallyinhislaststageofperforming.Hebelievedthetempoofapiece
wasdeterminedbythestructureofthescoreandtheacousticconditionsofthevenue.
Inthe1990s,EnriqueGarcaAsensioaskedCelibidachewhyheconductedwithvery
slowtempi,andCelibidacheanswered:becausenowIcanhearbetter.

31
Thisrelativismnotonlyaffectstempo,butitalsoaffectsthedynamicsofthescore.
Wecannotdeterminewhatforteorpianoare,astheybothdependontherelationships
betweentheinstrumentwithitselfandwiththeothers.
32
Celibidache,LadireccinorquestalsegnSergiuCelibidache,43.Trans.LucaMarn.

22

CHAPTERSIX:THEPHENOMENOLOGICALMETHODAPPLIEDTOTHEFINALEOFTHE
BRAHMSVARIATIONSONATHEMEBYHAYDNOP.56a

Thischaptercontainsabasicapplicationofthephenomenologicalmethodtothe
FinaleoftheVariationsonaThemebyHaydnop.56abyJohannesBrahms.Thismethod
hasthreesteps:(1)locatingtheclimax;(2)determiningthesectionsofextroversion,
(buildingthetension)andintroversion,(releaseoftension);and(3)studyingthe
subsectionstofindareasoftensionandrelaxation.
Thefirststepislocatingtheclimaxofthepiece,whichtheconductorshoulddo
throughanalyzingthemusicalformandphrasestructure.Thismovementisa
passacagliabasedonseventeenrepetitionsofafivemeasurebassoostinatobythe
cellosandbasses.Eachrepetitioncreatesisanewvariationgeneratingmoretension
throughtherepetitionoftheostinatoalongwiththecontrastofeachvariation.The
seventeenrepetitionsoftheostinatoaregroupedintofoursymphonicarticulations:(1)
measures1to19;(2)measures20to39;(3)measures40to64;and(4)measures65to
84.Atmeasure85webeginarticulation5:therecapitulationofthemainmelody,
HaydnstheChoraleofSaintAnthony,onwhichthevariationsarebased.Theclimax,
whichusesthelargestorchestrationofthepiece,occursatmeasure91,atthedominant
ofthetonicofBbMajor.
Thesecondstepistodeterminethesectionsofextroversionandintroversionof
thepiece.Theextroversionincludesthemusicfromthebeginningtotheclimaxin
measure91,andthesectionofintroversioncoversthepathfromtheclimaxtotheend
ofthestructure.

23

Thethirdandfinalstepistolocateareasoftensionandrelaxationonsmaller
levelsofthetwolargesections.Sincethissteprequiresmoresubtleanalysis,Iwillpoint
outthemostinterestingelementsofcontrastandrepetitionintendedtobuildthe
musicalstructure.
Inthefirstsymphonicarticulation,measures1to19,thebassoostinatoisplaced
inthepartsofbassandcelloII,anditisbalancedbyacontrapuntaltexturecreatedby
themelodiesincellos,violas,violinsandwoodwinds.Thetensioncreatedbythe
seventeenrepetitionsofthebassoostinatoisoneoftheelementsthatdrivethe
movementtowardstheclimaxatmeasure91.Inmeasure15thenextelementsof
tensionaredifferentrhythmsbetweenthetripletsinthestringsparts,versusthe
dupletsinthewinds,aswellasthestaccatofigurationbetweenwoodwindsandstrings.
Inthesecondsymphonicarticulation,measures20to39,thebassoostinatois
presentedincellosandbasseswithanewmajesticcharacter.Themainelementthat
generatesthetensioninthissectionisthechangeofcharacterfromlegatotostaccato
andtheinclusionofanewthematicelementineighthnotes,whichwecanobservein
measure25.Theconductorshouldpayattentiontothebalanceoftheinstrumentsin
thewholepiece,butfrommeasure21to30,thereisanexampleinwhichtheconductor
musthelpthewindsectionandstringsectiontobebalanced.Anotherimportant
elementofcontrastinthissymphonicarticulationtakesplaceintheseventhrepeatof
thebassoostinato,inwhichthemainthemebecomessyncopatedinthefirstviolinsand
isextendeduntiltheclimaxofthesectioninmeasure39.

24

Thethirdsymphonicarticulation,measures40to64,ischaracterizedbya
continuousincreaseofthetensiontotheclimaxofthepiece.Thisarticulationbegins
withanew,radicalchangeofcharacter,fromtheexuberanceoftheprevioussection,to
thedolcepianissimobetweenmeasures40and41.Thebassoostinatoisinthefirst
eighthnoteofthegroupoffourinthecellosandbasses.Forfirsttimethebasso
ostinatostartstoswitchinstruments.Forinstance,inmeasure60thebassoostinatois
distributedamongthepizzicatocellosandviolas,andthemelodyisheardinflute,
clarinetsandbassoons.
Thefourthsymphonicarticulation,measures65to84,thecharacterandtexture
change.Thebassoostinatoappearsintheoboeswithanaccompanimentinstrings,and
forfirsttimethekeyturnstoBflatminor.Inmeasure70,theharmonyreturnstoBflat
Major,andthemostimportantelementofcontrastinthissectionisthecrescendoin
measure80.Inthelastrepetitionofthebassoostinatobeforetheclimax,thetensionis
increasedbythesubitopianoandthedifferententrancesofthehorns,piccolo,fluteand
oboe.Inthefifthsymphonicarticulation,themainthemeofthework,theChoraleof
SaintAnthony,isrestated.Atthispointtheclimaxisachievedatmeasure91withthe
verylargeinstrumentationonthedominant.Frommeasure91totheendthemusical
tensionisreleasedbythereiterationofthekeyofBbMajor.Theprocessofthe
structuresresolutionisaccomplishedbythediminuendoandritardandoseveral
measuresbeforetheend.Thisritardandomustbecarefullymeasureduntilthepiece
reachesastateoftotalrelaxation.
CopyrightLucaMarn2015

25

CHAPTERSEVEN:CONCLUSIONS

Thephenomenologyofmusicisconcernedwithhowthedirectperceptionofthe
soundthroughtheconsciousnesscreatesemotionaltensionandrelaxationintheactof
listening.Ourconsciousnessperceivesthemusicalstructureasaonenessthatopensthe
listenertotranscendence.Thisperceptionofsoundscreatesastructurebalancedbya
climax,apointofmaximaltension.
Eventhoughthephenomenologyofmusicissometimesinstinctivelypracticed
byperformers,theawarenessofthistheoryexplainedinpreviouschaptersallows
musiciansaccesstoasystematicmethodthatwillhelpthemachieveatranscendent
performance.Ibelievethesephilosophicalideasandpracticesarevitaltotheworkofa
conductor.AccordingtoCelibidache,theconductormustreduceallmultiplicitiesof
soundandcorrectlycorrelatethestructuretotheparticularspatiotemporalconditions
necessarytoachieveoneness.
Thistheoryestablishesthatthemusicalexperienceiscloselylinkedtothe
emotionalworldofhumanbeingsinaquestfortranscendence.Withoutthisunionof
soundandhumanconsciousness,musiccannotberealized.Theexplanationofthis
approachiscrucialbecauseitallowsustodefinetheroleoftheconductor.
Theconductormustfindthenaturalconnectionsbetweenthesounds,inorder
toreachthisstateoftranscendence.Inordertoachievethisgoal,theconductormust
haveextraordinarymusical,psychological,andculturaltraining,allowinghimorherto
makeamultitudeofdecisionsmomenttomoment.Thisspontaneitymustbeguidedby
intuition,whichwillcreatethenecessaryconditionsformusictoemergeinadimension

26

ofunrepeatabletimeandspace.Ultimately,asCelibidachesaid,theconductormust,
oncehehasgainedadeepunderstandingofthescore,releaseallknowledgetolet
spontaneityarise.33

CopyrightLucaMarn2015

33
TomZelle,SergiuCelibidacheanalyticalapproachestohisteachingson
phenomenologyandmusic.DMAThesis(ArizonaUniversity:1996),145.

27

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OTHERMATERIALS
Marn,Luca.PersonalNotesonConducting(20062010)revisedbyEnriqueGarca
Asensio.Unreleasedmaterial.

30

VITA
LucaMarniscurrentlyservingasPrincipalConductoroftheUKPhilharmonia
andAssistantConductorofUKSymphonyOrchestraandUKOperaTheatre.Shehad
previouslyservedasAssistantConductoroftheLexingtonPhilharmonicOrchestra,the
NewPhilharmonic(Chicago),theNorthwestIndianaSymphonyOrchestra,theIllinois
StateUniversitySymphonyOrchestraandOpera.
Ms.MarinisanawardwinnerattheSevillesRoyalAcademyofFineArtsandXI
InternationalConductingCompetitionMestreFerrzandshewontheCultureAwardin
thefirsteditionofPremiosAndalucesdelFuturoin2009,ConductingAwardMusikene
in2009and2010,andPremioJvenesJaen2014inArts.
ShehasconductedinmasterclassesandworkshopsacrossSpain,Italy,Portugal,
AustriaandRomania.Sheconductedperformancesoffullystagedproductionsof
PuccinisLaBohemeandSuorAngelica,LloydWebersThePhantomoftheOpera,
SchnbergsLesMiserables,OffenbachsTheTalesofHoffmannandDaronAgensLittle
NemoinSlumberland,andmadeherdebutinChinaontourwiththeUKSymphony
Orchestra.
BorninLinares,Spain,Ms.MarngraduatedfromtheSuperiorSchoolofMusic
theBasqueCountry,Musikene,whereshestudiesorchestralconductingwithEnrique
GarcaAsensio,adiscipleofSergiuCelibidache.Sheearnedthemastersdegreein
orchestralconductingfromIllinoisStateUniversity,andiscurrentlyworkingtowarda
DMAdegreeinOrchestralConductingattheUniversityofKentucky,wheresheisa
studentofJohnNardolillo.

31