Conducting is conducting

Carlo Maria Guilini

The evening before my most recent Wind Ensemble concert I decided to attend someone else's performance--something I certainly do not get enough opportunities to do.  I usually have to plan days or weeks ahead and then hope that I still have to energy to "go out" after a busy week.

This happened to be a "conglomeration" kind of ensemble consisting of members from five different educational institutions.  Hence there were five different conductors (and, at times--I thought--five different ensembles).  The repertoire was made up mostly of respectable high school literature, with the most difficult work(s) in the easy to mid grade four range.  Each of the five conductors led two works and the concert clocked in at just about one hour, a good timing given the venue (a gymnasium of course!)

What struck me most of all (except for a personal comment I will choose not to mention) were the remarks offered by one of the conductors.  He referred to himself as an "orch dork" meaning that he considered himself cut more from the orchestral cloth.  He also indicated that he had begun as a "band geek" so he really wasn't that uncomfortable.

First of all, these kinds of comments are patronizing: to both the audience and to the players in front of him.  Whether intentional or not, it appeared as though he was "lowering himself" to the level of wind band conducting, implying that there is something "special" about leading an orchestra.  Frankly, there is something special about leading any kind of musical ensemble, be it a small church choir or the New York Philharmonic.  Everyone is gathered for the same purpose: to make great music together.  Let's face it, the only difference between a middle school orchestra and the Chicago Symphony is lots and lots of practice and a much better performing venue.

And the difference between conducting a middle school orchestra and the CSO?  If the conductor is a true musical communicator--nothing.  Personally I conduct choirs, bands, and orchestras pretty much the same way.  I have the same exacting standards on every group that I have the pleasure of leading.  The only difference is the age and abilities of the players and the repertoire placed before them--which should be reflective of their age and ability. 

The BIG question....do I use a baton?  Yep, with every ensemble.  I firmly believe that most conductors who choose not to are uncomfortable with our "instrument" or are too lazy to adapt their "technique" to its use.  Some conductors (many from the choral side) insist that they cannot achieve the kind of legato and lyrical line they desire with a baton.  In my mind, they have not spent enough time trying to do so.  There is an idea going around that it takes 10,000 hours to fully master a skill.  It probably does take at least that long to become a conductor, but I insist that much of that time involves mental preparation and score study.  The technique?  It is, more or less, an outgrowth of that mental preparation and developing salient gestures to communicate your ideas (i.e. "interpretation" although I hate that term) without the use of words.

It's about becoming comfortable in your shoes (or the body that God has given you).  At times I have been jealous of fellow conductors who are tall in stature.  But I have been taught by at least one of them that the tall conductor must always work to look graceful, lest his/her presence look cumbersome from both sides of the podium.

There is a specific method and "way" of conducting, regardless of the medium.  It's called conducting.