Baton down the hatches

More than anything else, I am most upset by conductors who inject too much of themselves into their interpretations. The best conductors I have worked for allow the music to speak for itself, rather than loading it with distortions and exaggerations for the sake of individualism. Certainly I’m not asking for generic performances, but I’d prefer to be aware of the composer first and the interpreter second. Conductors will always do well to put themselves at the service of the music and to approach it humbly.

We’ve spent a lot of time critiquing (and criticizing) conductors, but we as musicians should be willing to apply the same critical eye to ourselves. In our case, worrying about the mote in our own eye means coming to all services well prepared and attentive, and maintaining high standards of professionalism always. Studies have shown that orchestra musicians as a group have very low job satisfaction, and it’s easy to let that translate into careless work habits. I would imagine that at least some of our complaints about the way we are treated by conductors stem from our own shortcomings. Inattentiveness, talking during rehearsals and lack of preparation, to name a few, are things that would drive any conductor to distraction. Simply put: to get respect, we need to give respect.

About the author

William Buchman
William Buchman

William Buchman joined the Chicago Symphony Orchestra in 1992, after two seasons with the Dallas Symphony. In 1996, he was appointed to the position of assistant principal bassoon. He served as acting principal between November 1996 and August 1997 and for the CSO's 2003-04 season, as well as on the recently-ended CSO tour of Europe.

Bill has performed and toured with the Chicago Chamber Musicians, Chicago Pro Musica and the Chicago Symphony Winds, has played chamber music with pianists Daniel Barenboim and Christoph Eschenbach, and appears regularly with Music of the Baroque. He made his debut as a soloist with the Chicago Symphony in February 2002, and was a soloist at the 1998 Mostly Mozart Festival at Lincoln Center. Bill has appeared at the Eastern Shore Chamber Music Festival in Maryland, the Grand Teton Music Festival in Wyoming and the St. Bart’s Music Festival in the Caribbean. He was awarded first prize in the 1990 Gillet Competition of the International Double Reed Society, and has performed at several IDRS conferences since then.

Bill is from Canton, Ohio, and earned a bachelor of science degree in physics magna cum laude with Honors from Brown University in 1987. With the support of a DAAD Fellowship, he continued his physics studies the following year at the Universität Fridericiana Karlsruhe in Germany. Upon returning to the United States, Bill studied bassoon performance at the Yale University School of Music with Arthur Weisberg and at the University of Southern California School of Music with Norman Herzberg, before winning a position in Dallas, where he was also on the faculty of the Meadows School at Southern Methodist University.

A member of the DePaul University School of Music faculty, Bill also coaches the bassoon section of the Civic Orchestra of Chicago and has presented master classes in Ohio, Michigan, Minnesota, North Carolina, Indiana, Brazil and China. He lives with his partner Lee Lichamer in Chicago's Ravenswood neighborhood, and is an avid bridge player and bread baker.

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