Author: Bob Phillips
Date: 2007-09-23 19:58
I hear the misery of folks above here in this thread suffering with bad conductors. I play in ensembles where the conductor has about the same level of skill as the rest of us, and that is a considerable weakness.
On the other hand, many of us would rather leave the conducting to another so that we can play our horns.
BUt,
Last night, I heard the Utah Symphony under Keith Lockhart --who "also" conducts the Boston Pops. Man, I wish I had $300,000 a year to get him to shake his stick at me!. His baton makes everything about tempo and articulation crystal clear. In one piece, the entire 70-80 piece orchestra played rubato, following his clear lead. The rolling tempo changes were small, but very effective, and everyone in that (great) ensemble "tracked" with Lockhart perfectly.
He knows what every exposed part should be, and grins/clasps hands together and nods when they are well done.
He even has a decent singing voice (Hey, it was a pops concert).
I have Rafael Mendez stop the community band to tell me, "2nd Tenor, that is a G#!" OK, blush.
For an insight into professional conductors, keep an eye out for a re-run of Michael Tilson Thomas's three part series on the orchestra. You'll find that he knows the pieces covered COLD. He plays from the score on his piano, studies and thinks about it, brings it to fruition. He can play every note in the score --maybe not on the Ab sopranino clarinet, but on his piano!
A great conductor is a great musician --totally competent --probably only different in his/er interpretation.
Bob Phillips
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The Clarinet BBoard
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