Read the lines (and between them)
All of us conductors have needed to find that “first.” That first conducting lesson, that first admission to a conducting program, that first connection to help us, that first concert, that first conducting job – they are all import and highly sought after by us.
But, is every available “first” a good thing? One of the most significant “firsts” in a conductor’s life is getting to study conducting at the university level.
Here is a stark contrast between to university’s admission requirements and procedures:
EXAMPLE ONE:
Thursday, March XX, XXXX
9:00-9:30 AM Theatre Lobby
Introductions and refreshments with applicants, current students, and Professor XXXXXX.
9:30-11:00 AM Recital Hall
Written examination (score-based, mainly on the audition repertoire, but including more general orchestral information).
11:30 AM-2:30PM Recital Hall
Orchestra Session-All applicants conduct excerpts from Copland Suite from Appalachian Spring. Original Version for 13 players: Rehearsal Numbers Opening to 16, 23-38, 41-51, 67-71.
2:45-3:30PM Rooms 2058
Conductor’s Aural Examination-All applicants will be evaluated in their ability to identify errors in musical performance. Aspects may include rhythm, balance, notes, intonation, tempo, and ensemble.
4:00 PM Posting of interviews for invited candidates with Prof. XXXXXX.
4:00-5:30 PM Interviews with Prof. XXXXXX.Individual appointments for aural skills evaluation.
7:00 PM Target time for announcement of selected applicants who will audition the following day.
There is no guarantee of conducting on Day Two, Friday, March XX.
Friday, March XX, XXXX
10:00 AM Room 2255
Meeting of applicants invited to audition with the University Symphony Orchestra (USO).
10:40 AM-12:30PM Rehearsal Hall
Auditions with the USO
- Moussorgsky/Ravel Pictures at an Exhibition: First two movements — Promenade and Gnomus
- Beethoven Symphony No. 5 First movement, Beginning through m. 252
- Debussy Prelude to the Afternoon of a Faun
EXAMPLE TWO:
The basic audition day schedule is as follows:
- Individual meetings with Dr. XXXXXX – in his office (Music Bldg. 202)
- Group meeting and tour of Music Bldg. starting at 10:30 – meet at Music Bldg. 202
- Lunch c. 11:15
- Symphony Orchestra starts at 12:45 p.m. in Music Bldg. 311
- Audition with SO
Your individual meeting with Dr. XXXXXX is scheduled from 9:30 – 9:50 a.m. in his office, Music Bldg. 202.
Your individual audition with the SO is scheduled from 12:50 – 1:05 p.m. in Music Bldg. 311.
The audition repertoire is the Verdi Requiem. Candidates will be asked to conduct selected portions from the entire work, so prepare all movements.
We look forward to meeting you, visiting with you, and watching your audition. Please confirm, once again, your commitment to this audition process with a positive response to this email.
*** End Examples***
So, what does this contrast mean? It depends on your needs as a student of conducting.
I cannot imagine Example One being a place that is student-centered by reading the enormity of the procedure just to get a chance to audition with the University Symphony Orchestra. Think about this further. You, as a potential student for Example One get offered a spot to come audition for them. You pay for your own travel, housing, meals, and you have no guarantee that you will get to conduct the large orchestra! Not only is there no guarantee of conducting on Day Two, but you have to take a battery of tests, and perhaps get to have a personal interview. (If you read closely, it looks like the interviews are not for all candidates.) The whole process of Example One smells of ego, high maintenance, and a stifling learning environment.
Now, what is there to read into Example Two?
The format of this missive is short, sweet and clear. The tone is polite and professional. The trip could even be done without a hotel stay. Example Two tells me: “We have vetted our candidates to the best of our ability. You made the cut. So, come here and impress us and we’ll talk turkey.” No tests, no games, just the facts. Can you conduct an orchestra? We shall see. Can you make an impression in your interview? You’ll get a chance.
The only question mark? The ENTIRE VERDI REQUIEM! It’s daunting for any conductor to try to study an 80 minute work with any eye toward making a 10-20 minute audition impression.
Whether or not you prefer the rigors of Example One over the almost skeletal Example Two is a matter of your taste. But, the important thing is to read the lines. And then read between the lines. And then figure out what might work for you. Understand what you are getting into with an audition procedure and expect their reality, not yours. Furthermore, the audition procedure speaks volumes about how the program is run at that institution.
All “firsts” are important for every conductor. But, let those “firsts” count for as much as possible for your very best opportunity to grow!
The Great Gnashing of Teeth
So the great gnashing of teeth and wailing to the orchestra gods of 2010 that was the League’s R/Evolution Conference in Hotlanta wrapped up a couple weeks ago. And the blogosphere has recently been publicly digesting the ideas and questions that were posed there. Of what I have read thus far, I think Drew McManus and Marc van Bree are probably two of the best informed and most thoughtful commentators on the whole event.
As with many things the league has done of late, I have my own concerns.
Ben Cameron, one of the speakers for opening session, was a very energetic, articulate, and very interesting speaker. But I don’t know if I actually liked what he said. Actually, that’s not entirely true. I didn’t like a lot of what he said, but as importantly, I didn’t like what he didn’t say. But I will get into that in a later post. Here is some of what he, quite passionately I might add, said.
We have to start by asking ourselves, “Why must we exist today?” Because having a concert hall and a board is no longer good enough, because having an endowment and a great staff is no longer good enough, because we have a scrapbook full of great reviews and critical notices and maybe even grammy awards is not enough, what is it in the external world that mandates that our symphonies flourish and thrive today?
Okay, so I agree that the accumulated items on his list – a functioning board, a reasonable endowment, good staff, previous accolades, a concert hall – are not enough to sustain future success. But who says it is? Also, who said that was the point? Orchestras don’t perform to support the board , or the endowment, or the staff, or the hall. I thought those things exist to support the orchestra.
Or am I missing something here?
What I also take serious issue with is this notion that what orchestras need to do is spend their time, energy, and money constantly asking questions like “Why must we exist?” Because, I believe it is a question that has already been answered.
I really do.
Art has value, music has value. Why? Because, like the fight for social justice, like scientific research, like Ipads and pods, and like kites and ice cream cones, art’s purpose is to improve the quality of our lives.
Orchestras don’t have to and shouldn’t be expected to be more than that. We offer a very specific kind of quality-of-life improvement. And, no, it doesn’t save lives like cancer research, and orchestral music doesn’t appeal to some people. But music is good (I think society endorses this general statement), and ice cream is good (again, I think you could actually get a 100 votes in the Senate tomorrow if this statement was a bill in congress).
Maybe I’m naive, but I truly believe that when orchestras perform with guts and ambition, and provide that singular experience unavailable anywhere else, the Big Question of “Why do we exist,” fades away, and audiences, performers, communities start asking, how could we go on with out this?
I think It’s really just that simple.
I will continue this thread for a couple more posts. There is a lot to discuss/digest. I highly recommend that everyone go watch the video from the opening session of the conference here.
One last gimmick-y post . . . for now
Okay … so I know, we’ve been posting a lot of videos. Videos upon videos, but this one is awesome, especially if you were an original Nintendo Entertainment System player.
It’s summer time, what do you expect from us?
Serious discusion?
Fine, maybe you do and we are working (seriously!) on that, but for now . . . enjoy the classical – Nintendo mash-up/ music nerdfest.
He is in tails right . . . so that counts, right?!?!?
Our solemn oath – the next post will be a serious discussion about conducting stuff . . .
most likely.
Great Gonzo!
Why put the Muppets on the Conductorsblog?
Well, Gonzo has a baton in his hand, so it seems like a good enough excuse for me.
Enjoy!
Lead like the Great Conductors
From TED via YouTube. An interesting talk, to be sure!
(I love that he cites Carlos Kleiber!!)
I’m a fan of the Bass Blog. And I very much enjoyed this recent post. The blog is listed on the Conductorsblog Blog roll to the right of the page. The writer is a Bass player in the the Chicago Symphony, and provides a fantastic first-person source of information on the business of being an orchestral musician.
He comments semi-regularly on the conductors that cross his path. Some by name, but many not so much.
Since the writer is someone who is working in a world-class symphony orchestra, it would be worth your time to catch up on his previous posts to his blog, so give yourself an hour or more and read through it.
Midgette and the Duder
Anne Midgette from the Washington Post wrote a great commentary piece on the LA Phil and Dudamel’s Tour of the US. I’ve had many friends across the country who had been in attendance at the LA Phil’s Tour concerts in their respective cities. And overall, reaction has been overwhelming.
The Duder is electrifying and the orchestra is playing music it knows with a passion and verve and energy rarely seen these days. And this is coming from hardened, nihilistic musician folk.
However . . .
According to the newspaper critics, the Tchaikovsky has been the most uneven in performance and this is apparently due to Gustavo’s inexperience, or maybe his willfulness, or maybe his over the top energy in the moment and lack of structural cohenerence.
Whatever.
People talked about it. People talked about the concert nationwide. Every critic talked about it in every major paper where the LA Phil performed. So whatever they thought about this tempo, or that phrasing, or this color, the LA Phil was discussed nationwide for the months of April and May in LOCAL papers – NOT just the NyTimes.
And, yes, they all felt obliged to take this “savior” of classical music down a peg. But, come on, who didn’t see that coming. Anyone who has watched politics on the cable networks saw that coming. There was no way for ‘El Duder’ to rise to the level expected in every concert, especially considering the level of interest, excitiment, and pathology that was attached to his arrival on the classical music scene.
No one yet, in any paper, in any magazine, in any article, denies his talent. No one denies his enthusiasm and love for the craft of conducting and the love for performing. No one denies that LA created one of the greatest marketing coups in classical music history in DECADES.
Truth?
It is fascinating to me that according to “the business” of classical music, Dudamel has 3 options. He is an orchestra builder, or he is a show off, or he is the actual “savior” of classical music.
Bah.
I’m just happy they are talking about orchestra concerts. I’m glad there is someone out there who garners enough attention so that we have this debate.
What do you think?
Kraftwerk and the Electronic Revolution
What is your leadership style?
Many years ago when I was a Freshman at the Conservatory of Music at the University of Missouri-Kansas City an older student told me,
“You know, Brian, there are two ways to lead: inspiration or intimidation.”
He knew I wanted to be a conductor and I think he thought he was helping me. Maybe not? Either way, he put an idea in my head that has lasted for a long time and has given me much to think about.
I would imagine most people would think that inspiration is preferable to intimidation. But, more and more study is devoted to how people learn and the path to a conclusive answer is a long and craggy one. For a compelling read on this topic, and to be in the know about the state of motivation, give Daniel Pink’s book, Drive, a read. I am not saying whether or not I agree with the book – it is an example of the state of the field.
I have come to believe in our world of conducting that there are actually three types of common leadership styles:
- Inspiration
- Intimidation
- Information
What type of leader is the best? Who gets the most and best results? And, furthermore, if a style works for one person can it work for another?
You probably readily understand leadership styles one and two, but for the sake of discussion, here’s a brief description. Style number one: The conductor is so amazing on a musical/technical/historical/intellectual/emotional level that the players cannot help but be inspired to do their best. Style number two: Tow the line or you will be thrown out or humiliated in front of your peers.
I have seen both of these styles in action. David Becker, a great conductor and musician, conducted the Oklahoma Summer Arts Festival orchestra a few times when I played in it many moons ago. He was continutally inspiring. I left rehearsal pondering how great music is, and how lucky I was to have it as my (then) future profession. On the other end of the spectrum, I once witnessed a rehearsal at Charleston Ballet Theatre where the person running rehearsal threw people out, screamed at people, and even went so far as to insult some of the dancers on a personal level.
But, as far as information, what does that mean?
Some conductors have a very businesslike approach. Their rehearsal procedures and goals are clearly outlined, and even written down and handed out to the players. They know what they want from the musicians and go about getting it in a very workmanlike way. The orchestra sounds better, and the goals are achieved. The musicians may leave feeling neither particularly inspired nor intimidated, but they can hear the improvement in the ensemble.
What’s my leadership style? I think I touch all three categories. If asked what I’d prefer to be, I would say inspiring. But, that’s because of those heady high-school days when I left rehearsal floating on air. Sometimes you have to hold people accountable, and that can be viewed as intimidating in our often-sensitive times. And, it never hurts give clear information and to have a systematic approach to rehearsals.
What’s your rehearsal style?
I wish you well with your “Music Career”
So this cartoon is WAY too funny and WAY too close to too many conversations I had or heard as a music major.
Jacob Harrison
brianstjohn