Conductor Stories

Many conductors of amateur & youth organizations, including orchestras, bands, choirs, theatre, churches, salsa bands, & specialty groups, are often promoted to their leadership position by default. Of course, countless ensembles do hold auditions, but for school teachers (for example) conducting is rarely a part of the interview process. As a result, many conductors resort to text books and youtube videos that highlight the rules and regulations of conducting, especially regarding conducting & rehearsal 'technique'.

Unfortunately, many of the resources currently available are limited to personal preference and wand waving (using a baton. Or not), and the primary purpose of rehearsing an ensemble is often blind-sided by an innate need to look good on stage - both the ensemble itself as well as the conductor. This article shares one of several perspectives that will help conductors transform their rehearsals into an engaging and fruitful learning/ music-making experience whilst also preparing for a fine performance: Stories

There are many reasons for sharing stories. And by stories I mean happenings, accounts, encounters, and the like, not tales or outright made-up fabrications. Stories. Do your performers or audience need a break? Tell a story. Is everyone forwning (focusing too hard)? Tell a story. Are your musicians missing the point? Tell a story.

"Did you know I've performed on barges on both the East River in New York, and in the middle of the River Thames in London? In the UK there's an annual fund-raising event the BBC do called 'Children in Need', and 1987 they piloted what became quite a TV icon - Challenge Anneka. In the morning they set Anneka Rice the task of arranging a performance of Tchaikovsky's 1812 overture on the Thames complete with fireworks and ice skaters by the end of the show, about 9pm. So there were calls for musicians, she got the army to build the barge and a bridge to the barge. Ice skaters turned up, and she even got Henry Mancini to conduct. Of course, much of it was pre-arranged, but it did make for good TV!

"So by the time my sister called me and I'd made my way to the rehearsal site in London, they had all the musicians they needed, particularly percussionists. As I was standing there watching, one of the Royal Philharmonic Orchestra's percussionists, Nigel Bates, walked past me. I said Hi and introduced myself, to which he replied 'Look, I'm heading down to the barge now to setup - wanna come?' Yuh-huh! He & I trekked to Tower Bridge on the Thames and with the Army's help, got all the percussion onto the barge and set it up. Then other RPO players began arriving and eventually, after dark, Henry Mancini himself. I was already there so Nigel told me to stay and why not play the cymbal part! It turns out that Mancini had only agreed to do the gig with the RPO, so all those students and budding musicians rehearsing at the studio went home, but I got to play! It was broadcast live and we had a great time - Anneka even played the tubular bells (after some much needed-instruction)."

(In the video below, I appear at 3:41 for 20 seconds at the very back setting up, then again standing dead center at the back at 4:21, the one with the tie!)

Whilst your own experiences are by far the best source for story-telling, you can use stories that others have told you. But please, don't take credit for them! If there's one way to lose all respect in everything you do, it's to steal someone else's story. "My teacher told me about a time when..." or "During a rehearsal break one of my friends told me about a conductor that..."

Of course, we all like to hear stories about ourselves (even though we often won't admit it), or that do at least concern our activities. That's why it's good to share stories that involve your performers. Perhaps a bit of history to share with new members, or an example of the time when so-and-so wore a black shirt when everyone else was wearing white. But this is all light-hearted entertainment.

Stories can also provide perspective on the music you're preparing. Stories of travels. Of emotions. Of weddings, parties, despair, joy, redemption. For every response you want to create through the music, you can find a story. Just don't cry when telling it.

Most importantly, the primary purpose of telling a story during a rehearsal is to provide respite: A physical as well as mental break. Sometimes rehearsals can get very intense, particularly when working and re-working a specific passage over and over, or rushing to get through an immense amount of material. There are times when your performers can clearly take no more. Let them sit back, relax, and breath. Tell your story, and then get back into it. It's truly amazing how much musicians appreciate it - for one thing, they tend to appreciate being treated like humans rather than super-machines. But as with everything, plan your storytelling in moderation! Too much can kill both the effect and and the purpose, and actually prevent much constructive music-making in its entirety!

This article is one of a series with material taken from my own experiences, lessons, and research that are combined into workshop and coaching programs. Other perspectives include letting them play and humility. Be sure to look out for future articles that also help transform your rehearsals!