A Quote by Andre Kostelanetz

The conductor has the advantage of not seeing the audience. — © Andre Kostelanetz
The conductor has the advantage of not seeing the audience.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
I'm not interested in seeing dance die. It's not to my advantage. Nor is it to our culture's advantage or anybody else's.
I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him. It was his face. It was whether or not he'd approve of my playing.
An audience is an abstraction; it has no taste. It must depend on the only person who has (pardon, should have), the conductor.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
There's nothing more frustrating than seeing a conductor say, 'Play softer,' as they're waving their hands in huge gestures.
My whole life, I've been watching conductors. I was 7 the first time I played with a conductor. Seeing the ones that do it well, it's an amazing thing.
Being a director or a conductor is a balance of many things. And to do it right is a very difficult tightrope to walk. I've come to the conclusion that there's really no way to be one hundred percent popular as conductor.
That was the ultimate high, playing live. You feel like the Pied Piper, or a conductor, knowing how to take an audience up or bring them down.
Nothing, that is say no one, can be such an inexorable tour-conductor as one's own conscience or sense of duty, if one allows either the upper hand: the self-bullying that goes on in the name of sight-seeing is grievous.
A great conductor possesses that certain charisma and talent that demand the ears and the attention of an audience. I can't tell you how that happens, but I'm sure it has an inner basis that is never learned.
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