Salonen: Conducting Technique

i. Grip– Salonen uses a couple different gripping styles. In rehearsal, he held the handle with his thumb and index finger; in contrast to Slatkin baton technique, his fingers were not curved inward, but out as he conducted. However, during a performance, he held his remaining fingers over the handle, while his index finger guided and thumb rested on the baton instead of the handle. ii. Wrist motion– Salonen’s wrist motion is very different from Slatkin’s. Instead of depending more on his wrist, he uses his thumb and index fingers to conduct. When his wrist is used, his conducting style is unsteady and can be a little difficult to watch his conducting technique. iii. Angle– Salonen hold the baton at a very inward angle. His baton points sideways as he conducts. Even though the angle is very drastic, his ictus is still visible.
When giving prep-beats, the angle of his wrist is straighter than when he usually conducts.
iv.
Steady vs. shaky– Salonen conducting is steady, but can be shaky whenever he uses his wrist and fingers, together, more than needed. The ictus can still be seen; however, it can be frustrating to watch.
b. Conducting Technique
i. Beat-patterns– After further study, Salonen has a good constant beat pattern and does a great job of keeping pulse for the orchestra. Although, his wobbly wrist motion can sometimes hinder the precision of his beat placement. ii. Preparation beats– Salonen gives a very accurate prep-beat. During intense sections when there’s a lot going on within the piece, he still gives appropriate preparation beats. iii. Size of gestures– Salonen conducts with very big arm movements. During loud sections, he freely uses his arms as a guide for the orchestra, but doesn’t neglect to give cues or drag the tempo. iv. Style of gestures– Salonen’s gestures are not as conserved as Slatkins. When giving a cue in a loud section, he formed his hand as if he was throwing a baseball. Much like Slatkin, Salonen’s gestures also include nodding his head and closing his eyes.
v. Anticipation (is there a gap between the conductor beat and
the ensembles note?) – Much like Slatkin, Salonen conducts on beat with the ensemble. vi. Tempo control– Salonen likes to push and pull the tempo and the orchestra is very responsive.
c. Expression
i. Facial expressions– Salonen conducts with a thinking face. He always looks as though he is thinking of what is about to come next. Occasionally, he gives a look of frustration, but usually only during loud sections, and the grand finale. ii. Body expression– Salonen’s body expressions reveal so much to the musicians and his dynamics are expressed without using his hands. He is a hyper conductor and the size of his arm gestures and the power he gives from behind the podium is received clearly throughout the orchestra. iii. Posture– Salonen has good posture and he stands with confidence. iv. Breathing– The only time Salonen breathes as he conducts is whenever he brings in the symphony.