A true musician is one in whom the music becomes entirely incarnated. The musician is the music. But for a conductor there is something more than the fact that music inhabits mind, body and soul—greater than the principle that the act of conducting commandeers more components of the brain/body than any other human activity with the exception of singing opera—something beyond the thrill of an inimitable and unrivaled occupation of the limbic system. For the conductor it is in the sound of the orchestra where real living takes place. When the orchestra fills the hall with a great masterpiece of symphonic literature, the conductor discovers an addictive affirmation of raison d’être. He enters another world—he is home.
A conductor is compelled to express this unique incarnation in movement. For the conductor all music must be programmatic. Inspired by the music there is a spontaneous reaction: he/she she must march, strut or dance, pantomime scenes, strike poses, mug dramatic moments, draw music on invisible canvas, emote the spectrum of human experience. Not only is it true that a genuine conductor “is the music,” but the authenticity of the music is revealed to us through such a one inherently driven to give it dramatic, physical life.
A conductor is one who, not only synchronizes the orchestra, but coalesces the performers around his/her conception of the music. In order to do this, the conductor should be a master of the score, a master of oneself. The maestro must possess a potent, accurate artistic vision, be able to communicate it, and be able to inspire the poorest and best musicians to engage the inexorable intention.
It is unfortunate, if some look on conducting as an individual multiplying themselves through the efforts of others. A conductor must stand with humility before musicians, most of whom are greater masters of their instrument than he/she, to pay homage to a composer in most cases more brilliant than anyone playing or conducting their music. Together, the maestro and players serve the music, not themselves nor the conductor. To stand before fellow musical artists in the role as interpretive guide to music written by a genius is an incomparable duty, privilege and honor.
In the training for this momentous task there are many nuts and bolts to assemble and tools of the trade to master. There must be a thorough schooling in music theory, ear training, orchestration, musical form and an astute development of performing skills. There must be knowledge of individual composers, genres of literature, performance styles and score mechanics. There must be an appreciation of each instrument, the literature for that instrument, a familiarity with the nature of the instrument and an understanding of and an empathy for the person who plays it. Particularly for the opera conductor there should be study of the major European languages. The conductor’s moves, especially his baton technique, need to be understood conceptually and visually and should be practiced until they become second nature, the native language of face and hands. It is paramount that the conductor’s movements become clear, ergonomic and idiomatically expressive of the music.
The teaching of a conductor should be holistic. The teacher should mentor the whole person to emerge as confident, centered, comfortable working with his/her musical comrades, apprehending the métier of a conductor, entirely equipped to take the podium and ignite the conductor that dwells in us all.
C. Stanley Eby