Conducting is often thought of as a technical skill, but for me, it has always been deeply philosophical. My approach was shaped by my teacher, Emilio Pomarico, who studied with Sergiu Celibidache, a conductor renowned for his transcendental performances with the Berlin and Munich Philharmonics. Celibidache’s influence went beyond technique; it was about presence, awareness, and understanding music as a living, breathing art. This philosophy informs not only my performances but also my teaching, guiding students to approach music with mindfulness, intuition, and deep engagement.
Presence on the Podium
One of the most important lessons I inherited is the value of presence. When conducting, it is essential to be fully in the moment. Musicians respond not just to gestures but to energy, focus, and intent. Pomarico taught me that conducting is about creating a shared experience of sound and silence, movement and stillness. By cultivating awareness, a conductor can guide an orchestra with clarity while allowing musicians the freedom to contribute their own expression. Presence transforms rehearsals into collaborative explorations rather than just technical exercises.
Memory and Deep Listening
Celibidache’s practice of conducting entirely by memory was revolutionary. This method requires mastering every detail of the score, from harmonic structures to dynamic nuances. Conducting by memory frees the conductor from the page, allowing for more direct communication with the ensemble. I emphasize this practice with students, teaching them to internalize the music fully. Memory also cultivates deep listening, helping musicians respond intuitively to one another and to the conductor. The result is a performance that feels alive and organic.
Philosophical Foundations
What sets Celibidache and Pomarico apart is their integration of philosophy into musical practice. They drew from both Eastern and Western traditions, exploring ideas of temporality, flow, and the perception of sound. I encourage students to consider how philosophy can shape interpretation, phrasing, and ensemble dynamics. Conducting becomes a study of time, energy, and presence, not just notes on a page. This approach challenges musicians to engage intellectually and emotionally, resulting in performances that resonate on multiple levels.
Applying Philosophy to Contemporary Music
While these principles are valuable for classical repertoire, they are equally powerful in contemporary music. Conducting works by composers like Georg Friedrich Haas, Luigi Nono, or Toshio Hosokawa demands sensitivity, focus, and adaptability. Avant-garde music often explores unconventional textures and forms, and a philosophical approach helps musicians interpret these elements thoughtfully. My ensembles, particularly ENSEMBLE / PARALLAX, rely on this mindset to bring complex compositions to life in a way that engages and inspires audiences.
Collaboration and Mindfulness
Philosophy also informs how I collaborate with others. Conducting is not a solitary act. It involves composers, soloists, visual artists, and dancers. Being present and mindful allows for open communication, trust, and creative exploration. When rehearsing multimedia performances, such as those we produce at ENSEMBLE / PARALLAX, the combination of focus and openness ensures that every element contributes to a cohesive, immersive experience. Philosophy shapes not just the sound but the process itself.
Teaching Through Philosophy
Teaching conducting has been one of the most rewarding aspects of my career. At Berklee College of Music and other institutions, I guide students to integrate technical skill with philosophical awareness. Lessons emphasize memorization, structural understanding, and presence, encouraging students to think about music as an experience rather than a checklist of gestures. I also introduce them to interdisciplinary approaches, inviting them to consider how visuals, movement, and spatial awareness can influence performance.
Exploring Published Works
For students and listeners seeking to understand my approach more fully, my compositions are available through the American Composers Alliance. These works reflect my integration of structure, texture, and philosophical thinking, often paired with multimedia elements for immersive performance. You can explore my published music here: Farzinpour Music Collection. Studying these compositions provides insight into the ways philosophy informs not only conducting but also composition and performance.
Lessons for Musicians
One of the most important lessons I impart is that conducting is a lifelong study. Technical skill is necessary, but it is the philosophical approach that allows a conductor to inspire, connect, and elevate an ensemble. By integrating mindfulness, memory, and deep listening, musicians learn to engage with the music and each other in profound ways. This approach benefits every type of repertoire, from Baroque to avant-garde, and encourages students to develop their own voice as artists and leaders.
Music as a Living Art
At its heart, music is a living art form. Philosophy reminds us to respect its vitality, to approach each rehearsal and performance as an opportunity for discovery. Conducting is a bridge between the composer’s vision, the musicians’ creativity, and the audience’s experience. By combining technical mastery with philosophical insight, we can create performances that are not only precise but transformative, leaving a lasting impact on everyone in the hall.
A Continuous Journey
The journey of conducting is never complete. Every performance, every rehearsal, and every collaboration offers new insights. Celibidache and Pomarico’s teachings continue to guide my path, reminding me that the art of conducting is about presence, understanding, and connection. Philosophy transforms the podium into more than a place of leadership—it becomes a space where music, thought, and emotion intersect, creating experiences that are profound, memorable, and alive.