Klarinet Archive - Posting 001066.txt from 2000/10

From: Karel Vahala <vahalakv@-----.au>
Subj: Re: [kl] A conductor
Date: Fri, 20 Oct 2000 10:56:53 -0400

I agree with Sue. Recently I was in Prague and was able to take in 2 concerts.
One with the Czech Phil conducted by V.Ashkenazy, the other with the Prague Radio
O. conducted, I believe, by Valek. Ashkenazy did a lot of posturing and jumping
which I felt detracted from the orchestra's performance. Valek was professional
and conducted a far more enjoyable performance. A comment from a member of the
Czech Phil was that Ashkenazy started conducting at the age of 50, and that is
too late to learn.

Karel.

SDSCHWAEG@-----.com wrote:

> 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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