The Craft of Conducting
The video series The Craft of Conducting is used by teachers and students worldwide and are a prime introduction to Denise’s teaching methods.
All videos can be found here on YouTube.
The series consists of two volumes of short video lessons that deal progressively with every element of conducting technique - both with and without baton. Lessons include stance, beating patterns, the left hand, pauses, accents, influencing texture and dynamic and integrated body movement.
The George Hurst Archive
The George Hurst Archive contains recordings and other material from Hurst’s performances, rehearsals, and classes. George Hurst (1926-2012) studied with Léon Barzin, and with Pierre Monteux who, as a violist, played professionally for Brahms, Richter, and Nikisch. With the specific desire to pass on the tradition to future generations, George Hurst founded the Conductors’ Course at Canford Summer School of Music 1960, and it runs to this day. Former students include Sir John Eliot Gardiner, Sir Andrew Davis, and Martyn Brabbins.
The Toscanini/Barzin Method
Denise’s teaching is based on the Toscanini/Barzin method. This is a musical and technical approach, focusing on gaining absolute control from the tip of the toe to the very end of the stick, so that no motion of any part of the body may confuse the musical content of the score.
Denise observed George Hurst for many years and studied with him at Canford Summer School of Music. She was eventually appointed a tutor at the course and taught there from 1982-2023. She and George Hurst gave masterclasses in Gloucestershire, Cambridge, Portugal, Spain and London from 1997 until 2010.
Léon Barzin (1900-1999) was principal violist at the New York Philharmonic-Symphony Orchestra and was Musical Director at the New York City Ballet. He analysed and taught Arturo Toscanini’s conducting technique which is often referred to as "the singing stick", though it is by no means limited to the baton and is relevant to both choral and orchestral conducting. It is complete integration of body movement combined with the use of the baton as an instrument, enabling the conductor to convey the music freely, clearly, and expressively.