BY STEPHANIE ESLAKE
The one who waves their arms before a group of musicians. The dictator who rules all. The person who can move in any which way, and nobody will notice the difference.
According to Australia’s newest conductors, these are just some of the common misconceptions about their profession. So we’re placing them in the spotlight to tell us exactly what it is they do.
In this story, we introduce the talent participating in the Australian Conducting Academy 2019 Summer School. Hosted by the Tasmanian Symphony Orchestra and under the guidance of Johannes Fritzsch, this educational opportunity sees eight emerging conductors working closely with the orchestra, even learning how to conduct their bodies through mime and yoga, and rehearsing with pianists as they prepare for a final showcase in the Federation Concert Hall.
Here, these conductors respond as we asked them to explain the role of a conductor in the orchestra (and what they find most exciting about taking it on, too).
Stefanie Smith
The role of the conductor is a topic often discussed with my youth ensembles. We talk about the functionary roles, such as knowing the music, demonstrating the beat, dynamics, maintaining tempo, cuing, and rehearsing the ensemble. These are all important elements, although I feel that the role of the conductor is much deeper.
I believe that the conductor’s role – particularly when working with professional musicians – is to become a part of the ensemble: unifying the interpretation to serve the music and the composer’s intent.
The role of the conductor is to be authentic and respectful, allowing the musicians to play. Musicians can play perfectly well without a conductor; but it is our role to inspire their performance, drawing the music out of them to create a greater emotional experience for the players and audience alike.
Leonard Weiss
Conductors have many roles, from the public perspective of sometimes-eccentric arm-waver to often being the go-to media image of an orchestra. However, when working with musicians – which is the most important aspect of the role – I find that the conductor should primarily be the link between the musicians, working to bridge the gap between the orchestra and the piece being performed, enhancing the musical experience of the performers.
While this comes with an intricate and rather un-instrumental set of physical techniques, it is most important for a conductor to be able to communicate their musical ideas to the orchestra one way or another. This should largely be delivered non-verbally; after all, we can’t stop in the middle of a concert to discuss how a phrase should be interpreted. But equally, rehearsal time offers a few hours to build a rapport with the musicians in an ensemble and to communicate or maybe even discuss ideas.
Of course, there is a dated perspective that a conductor might stand unopposed as the dictatorial ruler of the orchestra. While some of a conductor’s purpose must be to instil a sole musical vision amongst the players, it is necessary to acknowledge that each of these musicians has their own music education and experience.
I find that this is especially important for young emerging conductors when we are continuing to shape our repertoire knowledge and explore new musical horizons. We benefit from acknowledging and working with the musical strengths of players who might have already performed these pieces a dozen times.
Sam Weller
I believe the main role of a conductor is to channel the energy and life of 50-or-more musicians into one homogeneous organism. Conductors should be the common link between the many personalities present in an orchestra. When making music, we should always strive to be unique and provide audiences with fresh readings of well-loved classics along with plenty of new music.
The conductor should always accept what his or her musicians have to offer artistically, and in turn inspire each player to add their own personality and individuality to the music. The conductor should always be a catalyst for music and never the ‘main event’ of any concert; rather, a collaborator.
I think the most exciting and perhaps unique aspect of conducting is its unpredictability. Often, we don’t know what to expect when we meet an orchestra for the first time: How will they respond to us? Do they even like you? Will they accept our interpretation? How does each person value the music they have in front of them?, and so on.
There are countless factors at play and, as we are all human, who knows what will go wrong or right in the concert? Being able to ‘change gears’ at any minute of a rehearsal or concert is a skill that will take a lifetime to master, but overall is the most rewarding aspect of waving a stick.
Benjamin Crocker
If we start from the philosophy that we can treat all music as chamber music, which I think is a healthy thing to do, then perhaps a conductor’s main role is to promote, inform, and highlight the relationships that already exist quite naturally between the music, musicians and, eventually, the listener. You do this through the scope of the music itself.
For example, playing a Brahms symphony, which musicians are likely to know intimately well already, your role in the immediate sense might first be to absorb what the players are already communicating to each other. What is the concertmaster doing to inform the performance? How are the parts working together? Endless questions like that. Then, it’s a matter of bringing your own research and preparation to the table. Can you add something to what is already known? And can you promote what the musicians are already giving you, into a cohesive performance?
At first, [conducting was for me] a kind of compulsion, and I couldn’t really tell you why I wanted to do it beyond a fascination with sound, and the thrill of performing. Then, it became more about this insatiable desire to learn; to discover new music.
All that is still very much there, but I’d say now the greatest excitement for me is again in forming relationships. Learning to understand who a composer was/is, and why they’ve produced what they have, is most certainly a ‘relationship’ experience. Then, there’s the joy of the relationships you form with musicians and listeners as you share that music together.
That might take the profound form of an hour-long symphony without a word spoken between you and the players, or it could be a jovial discussion with someone who sees you studying a score on a bus. That’s where the excitement is for me, now.
Vivian Horn
The role of the conductor is to lead, to collaborate, inspire; and follow the blueprint of the composition, hereby conveying music – through musicians – to the audience. The goal is to follow an appropriate historical thought process that is authentic and faithful to the composer’s wishes.
Conducting is easy! Why do you need to study? A conductor just waves and moves with the orchestra from the start to the end. How hard is it? No pressure, just enjoy and nobody knows what you are doing…These are common misconceptions I have heard from friends: does this mean students, or indeed any musician, need understand what you are doing?
As a conductor, the entire orchestra comprises our ‘instrument’ for studying and practising repertoire. Unlike individual instrumentalists who have instruments to hold and to practise with before concerts, a conductor needs to imagine and try to understand the sound with accuracy and musicianship, and study the score scrupulously before meeting an orchestra. This process from start to finish becomes extra special and complete.
There is also a hint of addiction [in] immersing in different compositions in the role of conductor. Most importantly, music is there for everyone and to bring a smile home.
Riley O’Doherty
The role of the conductor is, for me, all about support. We have a task to support the performing orchestra in executing their parts, and we also have a responsibility to support the musical intentions of the composer. Whether we are tapping into our technical abilities of gesture or calling upon our musical knowledge in rehearsal sessions, all our input to the music making process should be tailored to fit the supportive needs of the players and the music.
When performing a well-known work with a professional orchestra there is no need to labour over rudimentary musical principles and, conversely, it may perhaps be beyond a student ensemble to take on a plethora of musical directives from the conductor when they are learning a new piece. Knowing where and when to apply our influence, and when to trust the abilities and experience of the players, is a cornerstone of the conductor’s practice.
Excitement and energy in a performance can come from two sources.
First: the music. A conductor’s study and career are centred in engaging with some of the most brilliant of artistic achievements in the realm of sound. To stand on the podium and witness this brilliance come to life around you is the greatest of musical experiences.
Second: stress! A conductor relies on their players to interpret their gestures as well as accurately execute their written parts and, in reciprocation, the conductor is relied on by the many players and members of the audience to be a clear embodiment of the music; a huge responsibility! The best performances should have a healthy balance of excitement coming from both of these sources.
Scott Wilson
The conductor’s role is to realise the composer’s score compellingly in performance. This isn’t possible without a comprehensive knowledge of the score and its historical and stylistic considerations. Conducting requires leadership, which is both directing the orchestra and acting as an advocate for the orchestra’s musicians. Finally, a conductor must use their unique, public-facing position to promote and defend the value of the orchestra and its music to the community.
Every opportunity to work with musicians is exciting. It is a particular privilege to perform concertos. The soloist and the conductor arrive at rehearsal with deep, individual interpretations of the score. Without any compromise in the level of conviction, both must mould their vision into one. This empathetic, non-verbal process is exhilarating, but immensely challenging. There is a fine line between success and failure, but playing with danger is what allows us to experience magical moments in performance!
See these ACA conductors come together and lead the Tasmanian Symphony Orchestra through a free performance at the Federation Concert Hall. The Conducting Showcase takes place at 5pm February 1.
We partnered up with the TSO to take you behind the scenes with Australia’s new conductors. Stay tuned as we team up again to bring you more stories shedding light on Tasmanian music and education throughout the year!
Images supplied. Sam Weller captured by Keith Saunders.
