In the world of music making we are expected to follow directions faithfully, particularly when they are given by a director, a conductor, an employer, or a section leader. Orchestral string players follow a hierarchy when it comes to where we play in the bow, and in which direction we draw it. A good viola section leader will make choices that allow for comfort, but the choices that s/he makes can always be overridden by the leaders of other sections. As violists we know that our place is to keep peace, and as long as nobody notices (and they often don't) we can usually adjust our parts to suit our needs.
Still, the main charge of string players in an orchestra is to play correctly (with the right pitches, rhythms, and dynamics) and express themselves as a group.
The conductor serves in many situations as the person who judges whether we are doing our jobs properly. I have found that conductors are not a singular breed. Some are stern and aloof, and they model themselves on authoritarian conductors of the first part of the twentieth century. Some have excellent ears, and take pride on being able to pinpoint exactly who it was that played something wrong. I sometimes wonder if those remarks are only made in cases when the conductor is absolutely sure, thus cementing a repudation of being able to hear every offense. When playing for such a conductor the main goal is to play accurately, and to follow directions.
Then there are conductors who have the ability to relate shapes of phrases to the people playing with their gestures. Conductors who relate musical shapes effectively make it easier (for me) to connect musically with other people in the ensemble, making rehearsal time very enjoyable. It becomes a chance to learn more about the music I am playing. I know that I am less likely to make mistakes when my mind is focused on participating in the music rather than concentrating on trying not to screw up. After an accurate performance I can only hope that the people listening enjoyed themselves. After a performance when I felt expressively connected with my orchestra mates, I am always sure that the people listening enjoyed themselves as much as I did.
Unfortunately we still have a musical culture that prides itself on accuracy as an end goal. We also have a musical culture where people learn so much from imitation that unique musical thought has a difficult time making its way into a developing musician's priorities. And when personal musical expression from a solo wind player (for example) in an orchestra conducted by an authoritarian conductor is at odds with what that conductor wants to hear, accuracy often wins out over expression. I really appreciate the concerts when it does not.
1 comment:
That second to last paragraph is especially terrific. You make clear the nature of good music making versus correct music making. I'd go further and say the gestural component isn't just helpful - it's the soul of the music. It explains why our little volunteer orchestra, with a wonderful paid conductor working as you explain, is connecting so well with audiences. The gestural language of music communicates human nature in a way just the notes can't.
Post a Comment