Klarinet Archive - Posting 001064.txt from 2000/10

From: SDSCHWAEG@-----.com
Subj: Re: [kl] A conductor
Date: Fri, 20 Oct 2000 09:43:12 -0400

In a message dated 10/20/00 6:41:13 AM Central Daylight Time,
rgarrett@-----.edu writes:

<< In my opinion, the
conductor can do anything he wants as long as it does not negatively affect
my or the orchestra's performance. In fact, if what he is doing actually
inspires some musical feelings from me and others, than that's great! Some
people may interpret the lack of beat, combined with the facial
expressions, to be an ego-boosting, coreographed opportunity to affect the
audience. More than likely however, the conductor was simply realizing he
was unecessary and put his energies into reinforcing the ensembles musical
needs. >>

I generally agreed with everything Roger had to say, especially this part. I
think that the conductor's ego has a lot to do with it - if what s/he is
doing really is an "ego-boosting, choreographed opportunity to affect the
audience," then the gestures, facial expressions, etc. will be imposed on the
music instead of emanating from it. In this case, I will find the conducting
annoying, detrimental to my own artistic efforts, and harmful to the overall
ensemble. If what the conductor is doing (or not doing) truly arises from
the music itself, it will reinforce what the players are trying to do
(assuming that they, too, are trying to let the music speak for itself and
not impose their own interpretation on it). Real teamwork in ensemble
playing begins with the music, not the ego of a performer.
Another pet peeve: While a certain amount of teaching may be necessary
in a rehearsal, particularly with a less experienced group, I get annoyed
with conductors who stop too often or talk too long. I think that if you
have to explain in words to the group what has to happen, it is because you
were unable to communicate that with your body, and, to that degree, you have
failed as a conductor. I'm not saying conductors should never speak in
rehearsal, but the better they are as conductors, the less talking should be
necessary.
Finally, I hate it when they rehearse a piece one way, and then do it
another way on the concert. Usually, that represents the kind of
audience-inspired ego trip that Roger referred to, and it's unfair to the
ensemble. I'm not talking about the kinds of small things that make each
performance alive and unique, but I've seen conductors take entirely new
tempos or completely change their style as if they were performing for the
audience instead of leading the players. I suppose a certain amount of ego
is necessary in order to be a conductor at all, but showboating isn't helpful
to anyone.
Just my 2 cents!
Sue Schwaegler

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