Conducting observations

I play in several different ensembles, across different musical genres. Amongst the several classical orchestras to which I contribute, there are 3 whose conductors are all highly competent musicians who understand the music well, and who also represent 3 different approaches to orchestral direction.

The first is the youngest and demands very high standards of performance from us. This he does by pinpointing with enviable accuracy who is able to improve their line, and in what way. He drills those players until, by intense focus, they begin to approach the sound he has in his mind. He then links their part with relevant others, and then with the section of music before and after. This is a very thorough and intense approach, which is quite stressful for the amateur players who form the orchestra. It seems to me that people who are playing for pleasure are usually trying their best. Making the violins play their tricky passages alone when their C# is still not sharp enough, for example, simply leads to more and more tentative playing. A good performance is eventually achieved through intense concentration by all players. I practise intensively for this orchestra in order not to be embarrassed at rehearsals.

The second conductor is from a choral background. He is a very relaxed singer, whose interpretations as a former soloist were heartfelt and sounded natural and unforced. As a choral conductor with an orchestra to accompany his choir, he mainly leaves it to the instrumentalists to sort out matters of ensemble and balance. He is rewarding to play for because of the level of trust he invests in the players, and because his response to the music is intensely emotional and personal. I practise for this orchestra because it’s a small group and my contribution will matter.

The third is habitually positive and sympathetic. He smiles and laughs during rehearsals. He acknowledges that players are trying their best and offers advice in a spirit of collaboration to achieve a mutual objective. He frequently compliments sections on their improvements. He has high expectations, which he expresses through entertaining analogies, metaphors and similes. I practise conscientiously and with enjoyment for this conductor and I have probably made most progress in my technique through playing for him.

I try hard for all three conductors, and get enjoyment from playing for each but I'm sure my playing is best for the third.