The Short End of the Stick

Having been brought up in a conducting sort of way to think positively, and as a Canadian in general to be polite (i.e., never say “you’re playing too loud”, say “play softer…please!”), perhaps the question that Ann and Robert posed to us should be inverted: what HAVE you learned from other conductors.

Certainly all, or most, of the textbook items brought up in the previous VDP and then some: conduct with clear gestures; try to show modifications with your hands before resorting to verbal instructions, never forget that musicians are human beings and treat them with the same respect you expect in return, breathe musically, be firm but fair. When rehearsing, do so efficiently and in a timely manner, keep talking to a minimum and when you do, speak clearly. If you make a mistake admit it, and apologize – just don’t make too many of them.

And yet, I do catch myself talking too much, saying things that I could have communicated with hands, or mumbling when I do talk. Or in hindsight, saying things in the heat of the moment that couldn’t possibly have made much sense at the time. Big rule: remain the most self-critical musician on stage. And like all others I have some annoying habits: I’m sure at least one of my musicians has been tempted to tell me not to lick my left index finger before turning a page. Sorry, but short of rough-sandpapering my fingertips before every performance, I haven’t found another solution. In short: conductors are also only human (despite media attempts to transform some of us into deities).

When it comes to performing familiar repertoire, there are two generalized comments from musicians I prefer not to hear: “but we’ve ALWAYS played it this way” and “we’ve NEVER done that before.” Even if performing something as familiar as a Beethoven symphony for the umpteenth time, keep an open mind: in a work conceived by a genius, particularly a genius who stands far above ALL of us, there’s always something new to discover, be it a hidden voice, an undiscovered character trait, a new colour brought on by a slightly different tempo, rubato or balance – witness the fresh breath of air in recent Beethoven recordings of Tafelmusik and the Minnesota Orchestra. Before being critical to new concepts brought to you by your conductor, study the full orchestral score, read the background material involved, including the latest musicological findings, get a sense of the full picture and try to approach new intentions with an open, inquisitive mind.

Ann and Robert brought up another fine point when wrestling to formulate the first question for this VDP as neither has conducted an orchestra before (and let it heretofore be known that I as a matter of principle refrain from telling viola jokes). Musicians appreciate conductors who have played as orchestral musicians – I gathered my own experience as orchestral musician as a repetiteur in Germany playing every imaginable keyboard instrument. There’s another side to that medallion: before you become overly-critical of your maestro, imagine what it’s like trying to unite 90 musical egos into one inspired whole… and if you can’t imagine it, consider standing front and centre and leading an orchestra yourselves?