Conductors are usually mystique and impressive - in front of a grand orchestra, they emulate inspiration such that the musicians reproduce the composer's oeuvre to its utmost intented perfection. At least, that would be the ideal case. What does a conductor need, besides a 10 dollar glassfibre baton and white-tie gala outfit? A lot of baggage. Foremost, intellectual baggage and a strong personality.
A few weeks ago, I met a young student conductor still in his twenties, who was proudly telling me that he became a permanent conductor of the National Opera. Unfortunately, we were looking at eachother, so I had to control myself not to burst out in laughter. It was obvious, that he obtained this post due to his contacts, as my judgement of his conducting skills are not very favourable. How on earth, can such a inexperienced no-body get such a prominent post? The answer is very simple; besides of his autocratic patron, he is servile, and - of course - CHEAP!
If you have, as a bookkeeper, a choice in between price-tag A for 5,000 or price-tag B for 50,000 which would you choose? Thought so. Now imagine you have a precious car, which you fill only with cheap very poor quality gasoline, no maintenance... what do you think, will the long term consequence be? A young inexperienced (not even graduated) maestro is no asset to any orchestra. How can a 20-and-something year old kid, have the intellectual baggage to lead an orchestra? He knows only how to beat time - at best. In the worst case, he simply immitates (without understanding the ramifications) his master or other conductor. In such a case, I could even device a software program, which compiles all the known recordings, and from that sublimate the optimally required tempo and dynamic, and project it virtually in front of the orchestra. Just a simple and effective time-beater! Hiring conductors is becoming a joke. And a bad one indeed.
Now this trend is not exclusively Slovak; it seems to be a fad, that young conductors attract the attention of the public. A few days ago, young Gustavo Dudamel (also 27) conducted the Los Angeles Philharmonic. Although, I consider Dudamel far more skilled than the aforementioned conductor-student. Nevertheless, my reservation against such trends proved true, as I read a review where indeed my biggest adamancy is being exactly voiced: as a lack of weight (intellectually) conducting by young conductors, including the so (too) much hailed Dudamel, is merely a matter of tremendously showing off - conducting for the public; not for the music. As if you see a clone of Claudio Abbado (the very same gestures being immitated! - for what???). His initiative for young Venezuelan musicians is - I must admit - quite admirable. But when having seen an interview on BBC television, I nearly fell of my sofa. Still needs to ripen.
To all orchestra managers and culture ministers; stop this cheap conductor shopping, and finally realise, that in order to make your orchestras really presentable, make them work with real maestros, instead of cheap child-labour. Yes, of course, it will cost you a bit more, but what would you expect? In the end, it's quality that matters. About time to send the kids home to learn - for another decade or so - what music is really about. Your orchestras need to improve in quality and maintaining it, not becoming merely baby-sitters.
MS
A few weeks ago, I met a young student conductor still in his twenties, who was proudly telling me that he became a permanent conductor of the National Opera. Unfortunately, we were looking at eachother, so I had to control myself not to burst out in laughter. It was obvious, that he obtained this post due to his contacts, as my judgement of his conducting skills are not very favourable. How on earth, can such a inexperienced no-body get such a prominent post? The answer is very simple; besides of his autocratic patron, he is servile, and - of course - CHEAP!
If you have, as a bookkeeper, a choice in between price-tag A for 5,000 or price-tag B for 50,000 which would you choose? Thought so. Now imagine you have a precious car, which you fill only with cheap very poor quality gasoline, no maintenance... what do you think, will the long term consequence be? A young inexperienced (not even graduated) maestro is no asset to any orchestra. How can a 20-and-something year old kid, have the intellectual baggage to lead an orchestra? He knows only how to beat time - at best. In the worst case, he simply immitates (without understanding the ramifications) his master or other conductor. In such a case, I could even device a software program, which compiles all the known recordings, and from that sublimate the optimally required tempo and dynamic, and project it virtually in front of the orchestra. Just a simple and effective time-beater! Hiring conductors is becoming a joke. And a bad one indeed.
Now this trend is not exclusively Slovak; it seems to be a fad, that young conductors attract the attention of the public. A few days ago, young Gustavo Dudamel (also 27) conducted the Los Angeles Philharmonic. Although, I consider Dudamel far more skilled than the aforementioned conductor-student. Nevertheless, my reservation against such trends proved true, as I read a review where indeed my biggest adamancy is being exactly voiced: as a lack of weight (intellectually) conducting by young conductors, including the so (too) much hailed Dudamel, is merely a matter of tremendously showing off - conducting for the public; not for the music. As if you see a clone of Claudio Abbado (the very same gestures being immitated! - for what???). His initiative for young Venezuelan musicians is - I must admit - quite admirable. But when having seen an interview on BBC television, I nearly fell of my sofa. Still needs to ripen.
To all orchestra managers and culture ministers; stop this cheap conductor shopping, and finally realise, that in order to make your orchestras really presentable, make them work with real maestros, instead of cheap child-labour. Yes, of course, it will cost you a bit more, but what would you expect? In the end, it's quality that matters. About time to send the kids home to learn - for another decade or so - what music is really about. Your orchestras need to improve in quality and maintaining it, not becoming merely baby-sitters.
MS
2 comments:
Of course I don't know the conductor you wrote about but the problem in general is that quality is not generated by studying or waiting until you'r old enough but by practising. Especially conducting opera is much more a handcraft and beating time than inspiration and intellectual or emotional flight of fancy.
Concerning Gustavo Dudamel: of course there is a huge hype but anyway he is an amazing conductor. I saw and heard him once conducting La Boheme and he really is a good "Kapellmeister" without any airs and graces. I don't think that Abbado, Rattle or Karajan had been much better at the age of 27.
Christian,
In principle I would tend to agree with you; indeed the best tool to become an experienced conductor is ... practise. Provided you would have indeed a talented maestro-to-be. In the aformentioned case from my article, I am afraid, that this is not the case. The quality of education is lacking a lot, nor his peronality would augment for that lack (not even modern easy access to easily obrainable e-information).
You rightly pointed out the fact, that Abbado, Karajan and Rattle started at a young age - and it's a valid point. Yet I see differences as well: times were a bit different, for orchestras, music students and audiences. I think these three conductors were of a bit different calibre.
Maybe quite subjective, I tend to slightly disagree to the view that Gustavo Dudamel's conducting would be completely without airs. But - even though I am not completely alone in this view - purely my opinion, being a conductor myself. Abbado's style was his own (natural) style; Dudamel's is for a great deal an obvious immitation of Abbado, and thus less natural (appears artificial). So the question is why? For what? To be a better conductor? To make better quality music? Admittedly, it is a streak in almost every young conductor, but exectly there's the litmus test....
Michael Srba
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