The Short End of the Stick

Thank you for inviting me to participate, and for the interesting questions.
For me the most important thing about conducting is being keenly aware that the orchestra itself is actually making the music, not the baton! I firmly believe that each performance comes from the collective hearts, brains and spirit of the musicians who are involved, and that because of that, each orchestra’s performance will be unique. I can’t speak for other conductors, but I know that for me it is critical to come to the music with a strong interpretation and understanding of the piece, but that is only the beginning – I draw much inspiration from the orchestra itself. It is very important to leave a great deal of room for the “orchestra’s interpretation” – individually and as a group. Within the framework of my understanding of the structure, harmonic fabric and propulsion of the work, I like to be flexible in allowing the orchestra to play a major role in informing the performance, revealing their own strengths and personality. Does the orchestra’s hall enable them to play refined and varied dynamics? The conductor should allow that to happen! Do the woodwind players revel in their individuality of approaches? So should the conductor! Does the orchestra enjoy rhythmic flexibility and rubato? Does the string section have a unified approach to articulation and bow stroke? Does the brass section exemplify brilliance or warmth in their artistic approach? Each orchestra has its own sound that can either shine with the help of the conductor, or be subjugated to an imagined sound that exists only in the head of the maestro. To me it is a delight that each orchestra I conduct can sound quite unique in exactly the same repertoire – and what a shame it would be to try to make each orchestra sound exactly alike!
I strongly encourage musicians in an orchestra NOT to abdicate artistic responsibility – rather, to listen to each other intently, to respond to what they are hearing, to play chamber music on a grand scale, to take risks. For my part, I must listen to all of them at every moment – to understand their musical personality, to support their artistic spirit, to highlight their talents, to provide a framework in which they can excel, to make music in a completely personal way with each performance and each group of musicians.
This “active” listening is key – for both the musicians and myself. I find that orchestras are very open to experimentation and new ideas, if their personality and musical ideas are respected as well. The result is a rich and interesting mixture of interpretive elements – a blend of what the orchestra has done before (together and individually) and the different experiences and background of the conductor. Music is fluid – always changing, evolving, holding discoveries for all of us, in each performance. The orchestral experience can be one of amazement, joy and unexpected realizations.