Baton down the hatches

Oct 17 2007
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Francine Schutzman
Francine Schutzman

Francine Schutzman, a native of Sea Cliff, New York, has been a member of the National Arts Centre Orchestra in Ottawa, Ontario, since 1974, playing second oboe and English horn. She is a graduate of the Oberlin Conservatory, where she received her BM degree under the tutelage of DeVere Moore, Paul Kramer and Wayne Rapier; and of the Manhattan School of Music (MM degree), where she studied with Robert Bloom and Alfred Genovese. Prior to moving to Canada, she played in the Savannah and Oklahoma City Symphonies, and she taught oboe, piano, music theory and music appreciation at Central State University in Edmond, Oklahoma.

Francine has been involved with the Organization of Canadian Symphony Musicians (OCSM) since 1981, first as a delegate from her orchestra and later as a board member, holding various positions. She became President of the group in August, 2003. She served as a member of the NACO orchestra committee for approximately ten years, and she has been a board member of the Musicians’ Association of Ottawa-Gatineau (Local 180, AFM) since 1994. She has been the Local President since January, 2004. In connection with her OCSM position, she serves as an ex-officio board member of Orchestras Canada. She is a proud dual citizen of the US and Canada, but her energies have been devoted mainly to the betterment of the status of musicians in Canada.

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I admit that this is a subject that has always irked me somewhat — not that orchestras play “behind the beat” but that some conductors (usually not regular orchestral ones, but people who are used to working with rock bands) ask us to play “on the beat.” My question is, “Where is the Beat?” For me, it’s when the motion stops — when the hopefully downward motion of the first beat completes its natural arc and changes direction to move towards the second beat. The conductors who want us to play “on the beat” seem to be asking us to play somewhere in the middle of that arc, and of course we all interpret that differently. It seems to me that it makes much more sense if the conductor realizes that the orchestra can play together (at least, that is always the goal) if we wait for the end of the motion. So I firmly deny that there is a problem unless someone comes in and proclaims that there is one!

That much being said, I have certainly noticed that certain conductors get so excited about what’s going on on stage (either that, or they’re busy listening to some other — imaginary — orchestra) that they do beat considerably ahead of where the orchestra happens to be at the time. It’s not just a matter of keeping the tempo going; I’m talking about a beat or two — or three– ahead. When this happens, I try to think charitable thoughts about how enthusiastic the conductor is, and then I do my best to ignore him and listen hard to my colleagues, hoping that they’re doing exactly the same thing.

Since we’re on the topic of stick technique, I’d like to mention a couple of things that drive me batty. I’ve already said, earlier in this discussion, that I don’t appreciate conductors who make every beat look exactly the same, so that if you happen to miscount, you have no chance whatsoever of figuring out where you are. Another thing is conductors who hold the baton in such a way that it dings against their music stand from time to time. This is rare, but I’ve seen it and heard it. It’s quite disconcerting. On the other hand, there seem to be some people who are meant to operate a baton. I am fascinated by the fluidity and beauty of some people’s beats. It’s like watching a ballerina with very expressive arms.

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Francine Schutzman
Francine Schutzman

Francine Schutzman, a native of Sea Cliff, New York, has been a member of the National Arts Centre Orchestra in Ottawa, Ontario, since 1974, playing second oboe and English horn. She is a graduate of the Oberlin Conservatory, where she received her BM degree under the tutelage of DeVere Moore, Paul Kramer and Wayne Rapier; and of the Manhattan School of Music (MM degree), where she studied with Robert Bloom and Alfred Genovese. Prior to moving to Canada, she played in the Savannah and Oklahoma City Symphonies, and she taught oboe, piano, music theory and music appreciation at Central State University in Edmond, Oklahoma.

Francine has been involved with the Organization of Canadian Symphony Musicians (OCSM) since 1981, first as a delegate from her orchestra and later as a board member, holding various positions. She became President of the group in August, 2003. She served as a member of the NACO orchestra committee for approximately ten years, and she has been a board member of the Musicians’ Association of Ottawa-Gatineau (Local 180, AFM) since 1994. She has been the Local President since January, 2004. In connection with her OCSM position, she serves as an ex-officio board member of Orchestras Canada. She is a proud dual citizen of the US and Canada, but her energies have been devoted mainly to the betterment of the status of musicians in Canada.

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