Klarinet Archive - Posting 000589.txt from 1996/10

From: Jonathan Cohler <cohler@-----.NET>
Subj: Re: Berlin Phil clarinetists?
Date: Thu, 24 Oct 1996 20:57:45 -0400

Fred,

I would agree with most of what you say, but having played as an orchestral
player and now performing as a conductor and soloist I would add an
important caveat.

In some sense, more experienced players don't need to watch as much, but in
another sense, I would contend that they are able to watch and pick up
subtle signals from the conductor entirely through peripheral vision.
Certainly, at the same time, they are integrating these signals with what
they are hearing around them.

But I can assure you, that subtle signals from a conductor (in the non
"traffic cop" portions of a score) can make a tremendous difference in the
sound of an orchestra even when noone in the orchestra is looking directly
at the conductor.

Further, it is fairly uncommon these days (especially among the major
orchestras), but some conductors (in which I hopefully count myself) like
to do orchestral rubato and shaping, just as smaller chamber music groups
do. This requires looking at the conductor, whether through direct or
peripheral vision, so that the changes and shaping follow one unified
conception. If the rubato is simply practiced into place (so that the
orchestra can do it without watching), then I find it looses its vitality
and becomes as uninteresting as straight playing. In other words, it is
the very spontanaeity (sp?) of the rubato that makes it interesting.

Certainly, individual players on solo passages can make a rubato or phrase
shaping, and still fit into the ensemble, without "being conducted" but
there is no way for a group of players to do this without it being a
non-spontaneous, totally rehearsed gesture.

-----------------
Jonathan Cohler
cohler@-----.net

At 11:48 AM 10/23/96, Fred Jacobowitz wrote:
>George,
> I can tell you from bitter experience that all too often it is
>very confusing to look at a conductor. The bad ones have unreadable
>and/or confusing beats and ours in Annapolis Symphony (Maryland) often
>gives bad or wrong cues (when she remembers to give them at all). So it
>is not surprising that musicians don't look at the conductors.Frankly, I
>belive that 99% of what conductors do is for their own benefit, as they
>have to
>SOMETHING to keep occupied. With top orchestras, the musicians have played
>most of the music many times and are quite familiar with it. They don't need a
>conductor to play together. They play with each other. So why look at
>him? It is only a distraction. They will look up at the right moment
>when there needs to be a "traffic cop" and hopefully the conductor will
>be there. There is a very delicate balance between
>being helpful and getting in the way and only the best conductors
>understand that concept enough to do the former and not the latter. Any
>conductor who has an orchestra looking at him alot is either an
>egotistical idoit who wats to be watched or
>is conducting a very inexperienced group of players. Pros don't need much
>from a conductor and to make them look at one will only detract from
>their full concentration on making beautiful music.
>
>Fred Jacobowitz
>Clarinet/Sax Instructor, Peabody Preparatory
>
>On Tue, 22 Oct 1996, George Lin wrote:
>
>> Is this a desirable thing to not have the orchestra look at the baton of
>> the conductor? I always thought you need to look up avery once in a while...
>>
>> George Lin
>>

   
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