Conducting the known and unknown

In this paper I present recent practice-led research that reveals how a conductor is able to conceive and execute different interpretations of Beethoven’s Leonore Overture No. 3 and Simon Mawhinney’s The Pinkbow at Backnamullagh. Utilising an autoethnographic approach and applied thematic analysis of extensive video documentation, this paper explores the idea that seeking more than one interpretation of the score when preparing for performance results in the work becoming ‘located’ inside the conductor. This paper will briefly outline how through seeking multiple interpretations of the same score, young conductors today may have an antidote to taking the ‘path of least resistance’ in their performances.