B-O-S-S

A colleague once told me, as a young-ish teacher, that regardless of how one feels about one's principal one should always remember that the principal has the title of B-O-S-S.

That advice has stuck with me all these years.

Not just in regards to my principal or supervisors, but also in my music.

In the classroom the teacher is usually the B-O-S-S.

In the ensemble - band, chorus, orchestra, etc. - the conductor is the B-O-S-S.

Despite not always agreeing with the directors I have had in my nearly 40 years of ensemble work, I have always respected their position as "the one in charge."

40 years.

Wow!

I started ensemble work in 5th grade with both band and choir.

I have played/sung in nearly every type of ensemble possible.

Mainly because I'm a music nerd.

But also because I have had wonderful opportunities which resulted in wonderful experiences.

When I think about all the directors I have had since 5th grade I really can't begin to name all of them [some I can though], but I can recall the places/times I've rehearsed/performed over the years.

Counting all the directors at schools, music camps, honor bands/choirs, workshops, community groups...

A guess of 150 is plausible.

Wow!

I have been "under the baton" of nearly 150 conductors.

I have observed perhaps 75 more.

To their credit I have respected each one and have been privileged to be in one of their ensembles.

Sure, I've seen the majority of these directors throw some sort of fit - in varying degrees of anger from: stomping from the room and slamming the door, a baton thrown to the floor, suit jackets flung across the room, to megaphones bouncing down the practice field, to chairs and/or stands thrown being smashed against the wall.

Sure, I've been the target of some of these fits. And usually deservedly so. (My precocious behavior of my youth is not the topic of this post.)

However, I have been fortunate to have never had one of these conductors abuse their role of B-O-S-S and direct personal jabs at me or a fellow band/choir/orchestra mate.

Fits were a response to behavior, frustration, ....whatever.

But none...out of 150...have made the tirade a personal tirade against any one student.

I believe that when a conductor, especially one who is also in the role of teacher (but then, they are all teachers in some way, are they not?), abuses that position he/she loses a bit of respect in the eyes of the ensemble.

And once that is lost, it is difficult to regain.

Part of the responsibility of being a conductor is self-control, integrity, patience, and understanding.

Actually, the characteristics of a conductor could go on and on.

Don't get me wrong, there are countless phenomenal conductors out there.

Sadly, the few rotten apples ruin the whole basket.

Today's post is dedicated to them.

Sadly, they more than likely don't know who they are.

Symphonic Reflections

Tonight was my local symphony orchestra's concert featuring the conductor candidate I wrote about the other day.

Some things I noticed this evening -

~*~ I found myself watching the conductor's left hand. It was so very expressive. One minute it was flourishing and encouraging the strings. The next his fist might be raised rhythmically for the power of the brass. Then it might be pointing at specific soloists cuing their solos.

I don't know about you, but my left hand is stupid. I am right hand dominant and am happy that when I conduct the meter pattern that it is a mindless task as my focus is on the cues and expressivity of my left hand. 

Many young left-handed conductors fight having to show the beat pattern with their right hands - their non-dominant hand.  I tell them they are lucky as they already have such control of their left hand.  For me, it is definite work.

~*~ I watched the conductor's face and saw joy and smiles as he encouraged the players to play their best.

I enjoyed the concert more because I could see he was enjoying it.

I've often wished they would put a camera on the conductor and project his image on a large screen.  I've been on the other side of the conductor. Many audience members may not have been. It give a different sense of enjoyment to hear the music and see the players and conductor.

~*~ For the first time since I've been attending symphony concerts the soloist played an encore before the intermission.

Hearing a blues piece - played by a (French) horn - at a symphony orchestra concert

Is a rarity.

~*~ I believe the conductor write the program notes for the printed program.  This gives the listener some insight into the works being performed.

Often there is a pre-concert discussion of the works to be played.

Tonight was the first time the conductor talked about the final piece during "Half Time" as he called it. Few people left for intermission.  Some might have wished they could, but since 75% of the audience remained in their seats some who would've have left perhaps thought it impolite to do so.

He talked about Tchaikovsky's Symphony #4 talking for the most part, imitating the sounds the orchestra would make, and even singing the folk tune (Birch Tree) that the fourth movement is based upon.

He was very dramatic in his "Chat"

~*~ I watched the soloist when he wasn't playing. It was interesting to see his stage presence during moments of rest and how he interacted with what the orchestra was playing.

~*~ The timpani player was new. At least I did not recognize him. He was not your normal timpani player. He mouthed along as he played - while that was amusing it wasn't the most noticeable thing about his.

You see, the timpanist had a rather long ponytail hanging down HIS back. As a told a student, you don't often see ponytails on the male members of a symphony orchestra.

~*~ This concert featured the wind sections more than normal. There was power in the brass.  (I could tell the conductor was a brass player.) Delicacy in the woodwinds.

Every section seemed to have a solo part at some point in the program.

It is not every concert where each instrument is featured during a concert.

~*~ I realized tonight how diverse the orchestra players are. I saw at least 3 distinguishable ethnic groups represented - and several of each. There seemed to be equal men and women. There were older and younger players.

It is not common for orchestras to have such diversities.

Diversity, in this case is a very good thing.

~*~ The podium was not a square podium as one normally sees. The podium was in a T-shape.

The conductor commented about how he and the players were wondering if he would fall off of it. I can see why.

I overheard him at the reception mentioning that he usually doesn't fall off the back of the podium, but that because his conducting is so expressive he always had a stand in front of him, regardless of whether he is using scores or not, because he might step off (fall off) the front of the podium.

~*~ Someone congratulated the conductor at the reception saying he'd done a fantastic job. His response was, "That was all the orchestra. I just stand there and wave my arms."

Humility in a conductor is rare.

It impressed me that I saw that.

I have tried to be the same way with my own performances. When people would compliment me I would always say, "Thank you! The students did work hard and did put on a great program, didn't they?."

I have told my future music teachers that they should remember to do this.

It's not about the person standing there waving his/her arms.
It's not really about the performers.
It IS about the music.

And tonight was a great showing of it being about the music.

Music, Maestro!

                                              

My local symphony, the Jackson Symphony Orchestra (TN), is interviewing candidates for the position of music director. They have selected the final three conductors each who will conduct two concerts: a classical/masterworks concert and a pops concert.  This week the first of the three conductors is in town.

From talking with friends who work closely with the symphony this will be a week long interview of schmoozing with the "who's who" of Jackson, TN, and rehearsing for this weekend's concert.

Recently I was offered a gracious invitation to gather with others in a school setting to meet and talk with each of the three conductors when they were in town for their interviews.  

Today I had the opportunity to visit Maestro Peter Shannon. Others who had spent time in his presence yesterday described him as a handsome, charismatic, charming, etc. Irishman with a sexy Irish accent.  I asked what kind of musician he was, what were his visions for the JSO, how would he develop the symphony's image in the community, ... My friends responded with: "His wife plays piano and they have two small children. He's from Savannah, GA."

Um, huh?

Sure, when hiring someone who will take on a very public role it is important that he possesses and portrays an appealing image. However, I, as a musician and a music educator, want to know more. My above questions are a starting point.

Unfortunately, this setting was not planned as a Q&A in the deeper sense. More social with Maestro Shannon sharing his thoughts on various topics.

He spoke about how as a young man he enjoyed singing and that it was his school music teacher who made music come alive for him.

I especially liked his stress on the importance of creativity stating that everyone can be creative and should be encouraged and given opportunities to create.

As all good things must come to an end, I had to excuse myself to get back to campus in time for my afternoon class. 

I felt refreshed and inspired as I talked with my class of students: 

      Musicians and future music educators, conductors, and composers.

      They are, after all, why I teach.