The Short End of the Stick

Thinking back on all of the orchestras I have conducted, there are attitudes which stand out among players with whom I have worked. The orchestral musicians who seem happiest are those whose motivation for making music comes from within themselves. Those people who come to rehearsals and performances playing their best, giving their all because of the music itself, seem most fulfilled. On the other hand, those who are waiting for whatever comes from the podium before giving of themselves are much less likely to find the experience of playing in an orchestra satisfying. And those whose attitude towards their music-making is dictated by their surroundings – the state of their relationship with colleagues, management, etc. – suffer a similar malady. I realize, of course, that there are extreme circumstances which make playing at one’s best very difficult but, generally, we all have control over our own attitudes.

Musicians whose preparation for each program is mandated by their personal integrity and high artistic standards are poised to both give and receive the most from each musical situation. When a musician does not prepare well it is obviously taxing on the whole ensemble. And when preparation is a matter of preference for certain repertoire or for who is on the podium, the musical possibilities are limited. Given the amount of people in a given orchestra and the variation in people’s preferences, it potentially adds up to a challenge that is nigh to insurmountable.

What a joy it is as a conductor to work with musicians with whom you have an immediate connection. Equally wonderful, however, is the experience of working with those whose artistic pride and satisfaction flows from their own musical font. Even if such a player profoundly disagrees with your interpretation of a particular piece – or if they are not particularly fond of you as a conductor – the issue is of relatively little importance if their music-making is substantially contributing to the re-creation of a wonderful piece of music.

Attitude obviously plays a huge role in the music-making process. In chamber music, no one wants to play with someone who is less than well-prepared, or with an attitude that is not positive. Within the orchestra, it is easier to hide and attitudes are less conspicuous, but no less important. As a conductor, I try to give everything I have in each musical situation and attempt to come into every rehearsal and performance as upbeat and energetic as possible. Do I expect the same from the musicians in the orchestra? Of course. I genuinely enjoy making music with ensembles on every level, professional and amateur, and am willing to work with anyone who gives all they have in rehearsal and performance. A lot can be overlooked in terms of technical ability when attitudes are in the right place.

When I have the opportunity to guest conduct in conservatories, I always find time to talk with the players in the orchestra about their attitude as they head out into the professional world. Give everything you have, find the inspiration in the music, make sure it comes from within yourself. Don’t wait on me to give it to you – this is wonderful music and you are an indispensable part of it. If you give of yourself first, then if you find what’s coming from the podium inspiring, so much the better – but with you giving all of yourself the music is not dependent on one person. I will do my part to the best of my ability, you do the same, and potentially we will connect and have a mutually wonderful experience.

Allow me to end by saying that the vast majority of musicians with whom I work have wonderful attitudes. Although it makes my job more difficult when there are attitude problems in an orchestra I am conducting, it grieves me much more to see talented people unfulfilled. While I hope to be one of the conductors with whom they enjoy playing, I hope doubly that they are able reconnect with the source of their inspiration – the music itself.