A Quote by Joshua Bell
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.
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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.
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.
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.
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
It's different for people who have not seen a symphony conductor conduct from a chair. I feel very connected to the orchestra in a way that a conductor sometimes does not feel. I think it's more visceral.
I'm a little less hungry as an actor than I used to be. When you're a director, you're the conductor of the orchestra, and when you're an actor, you're playing the violin. There's a thrill to each of them, but as the conductor, you get the fuller sound.
A lot of people think the orchestra is playing and the conductor doesn't do very much, but the conductor's the person that gives shape to the music, gets the phrasing, and if he has really fine musicians in solo spots, the question is does he try to help them phrase, or does he let them go?
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?
A music director cannot and should not be chosen on the basis of a first date. It is not so difficult to make a good impression with a single appearance, usually containing some of a conductor's party pieces, works they have performed successfully many times before.
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most of the concerts. For me, that simply isn't enough.
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
Before Liszt, a conductor was someone who just facilitated the performance, who would keep people together or beat the time, indicate the entries. After Liszt, that was no longer the case; a conductor was someone who shaped the music in an intense musical way, who played the orchestra as an instrument.
If you're not filled back up quickly, you might collapse like a birthday balloon". I guess that's why acting is so addictive. For the director, that addiction will come from the love and trust he gets from the "orchestra", him being the conductor. That's why many directors fall in love with their leading lady/man: having someone say "how do you want me to be" is incredible.
A good conductor ought to be a good chauffeur; the qualities that make the one also make the other. They are concentration, an incessant control of attention, and presence of mind; the conductor only has to add a little sense of music.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
I know right a way there's a person that's very insecure; that he's trying to out do me. And, ah, like I was saying before, if you give one-hundred percent of your best, and you may have fault, but there is nothing you can do, because you gave one-hundred percent.
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