Beyond The Baton What Every Conductor Needs To Kno

 

Beyond the Baton

 

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Beyond the Baton What Every Conductor Needs to Know

Diane Wittr Wittry  y 

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1 Oxford Univer University sity Press, Inc., publishes works that further Oxford University’ University’ss objective of excellence in research, research, schol scholarshi arship, p, and education. education. Oxf xfoord New York  Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexi xicco City Nairobi New Del Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam

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All rights reserved. No part part of this publication may be reproduced reproduced,, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electr onic, mechan mechanical, ical, phot photocop ocopying, ying, reco recording rding,, or otherwis otherwise, e, without the prior permission permission of Oxford University University Press. Press. Library of Congress Cataloging-in-Publication Data Wittry Wit try,, Diane. Beyond the baton baton : what every conductor needs to know / Diane Wittry. p. cm. Includes bibliographical references and index. ISBN- –––– ISBN ––– Conducting cting—V —Vocatio ocational nal guidance. guidance. I. Titl Title. e. . Condu ML.W   .—dc  

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Printed in the United United States of America on acid-free paper

 

 Acknowledgments  Acknowledgments

Special thanks thanks to: The Gates Gates Family Foundation Foundation for their their ongoing support of  enriching my knowledge; The Thyll-Dürr Thyll-Dürr Foundation Foundation for providing a wonderful place to write this book; The American Symphony Orchestra League for their Leadership Academ Academy; y; Ellen Rienstra and Steve Menke Menke for their tireless tireless eff orts orts in proofing and editing; editing; Cindy Ovens Ovens and Sue Kong Kong for their research; research; and Richard

Peckham eckham,, my husband, husband, for the graphics, graphics, and for always always believing believing it could could be done. done.

 

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Contents

P ROLOGUE  ROLOGUE : SO—YOU WANT TO BE A CONDUCTOR ? IT STARTS WITH Y OU  OU   

 PREPARING FOR  SUCCESS



 

Formal Musical Training Character Development Choosing the Path

 

 



 

  PATH TO THE PODIUM

  



Interview: Leon Interview: Leonard ard Slatkin, Slatkin, Na Nationa tionall Symphony  Symphony  Interview: Int erview: Rob Robert ert Spano, Spano, At Atlanta lanta Sympho Symphony  ny  Intervi Int erview: ew: Jo JoAnn Ann Fallet Falletta, ta, Buff alo alo Philharmonic

  YOUR  FIRST JOB Getting the Job Negotiating the Contract First Year—Do’s and Don’ts

 

 

 

 

  

 

 

  ARTISTIC LEADERSHIP

  

Understanding Leadership Steps to Becoming a Successful Leader Thoughts about Artistic Ar tistic Vision

  

  

 

  ARTISTIC PROGRAMMING

 

Subscription Concert Pro Programming gramming Thematic Programming

 

 

 

Getting Organized

Pops Programming Educational and Family Programs The Overall Concert Experience

 

  

 

 

 

   

  

viii Beyond the Baton 

  THE PEOPLE FACTOR 

 



Working with People   Implementing the Artistic Plan   The Music Director’s Role with the Board Union and Orchestra Relations   Rehearsal Technique echniquess   Developing Your Your Network  Net work   

   FUNDING THE ARTISTIC VISION

        



Getting to Know the Numbers   The Music Director’s Role in Fundraising Creating a Visible Presence in the Community 



 CLOSING THOUGHTS

  

 

 

Keeping Your Your Competitive Edge Leaving a Legacy  Epilogue

 

 



 

 

 

Resources 

MUSIC ORGANIZATIONS

 



Networking Organizations Directo Dir ectories, ries, Mag Magazine azines, s, and JJourna ournals ls Internet Resources and Forums

 



Artist Managers

MUSIC SOURCES Standard Music Publishers Pops Music Publishers Library Special Collections

   



 

  

  

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  

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TRAINING AND PERSONAL DEVELOPMENT Summer Festivals and Workshops Conducting Competitions Grants and Residencies



   

 

  

 



PROGRAMMING R ESOURCES ESOURCES

 



Thematic Programming Lists Encore Lists Audition Repertoire Lists

 

 

 

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Contents

SAMPLE CONTRACTS AND R ÉSUMÉ ÉSUMÉ FORMAT Music Director Job Posting Music Director Job Description

 

 

  

  

Sample Contract Sample Guest Music Conducting Director Contract Sample Résumé  

  

 

INDEX 

  

   

 

 

PHOTO CREDITS

 

R ECOMMENDED ECOMMENDED R EADING EADING Music Books Leadership Books Organizational Books

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  

ix 

 

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Beyond the Baton

 

Prologue  “So—You Want to Be a Conductor? It Starts with You ”

Conducting: “The art of leadin leadingg and coordinating coordinating a  group of instrumenta instrumentalists lists and/or and/or singers singers in a musical performance per formance or rehearsal. rehearsal.”  ”  The New New Harvard Harvard Dictionary of Mus Music  ic 

Many of us will spend Many spend our lives lives trying to to perfect perfect this art form, form, but what what truly  truly  makes one conductor conductor great, and another conductor just good? People People used to say  that conductors conductors were born, not taught; that you had had to already possess the the “right” personality perso nality from from birth to to assume assume this this leadersh leadership ip role; role; that that,, if the first first time time you you everr stepped eve stepped on the podium, podium, you didn’t didn’t have have the mysteriou mysteriouss “it, “it,”” you never never would. I do not believe believe this is true. I believe that that anyone anyone who is passionate passionate about music-makin musi c-making, g, and who is willing willing to work work hard hard and learn, learn, can become become a conconductor.. There are many ductor many areas that must be studied and mastered to make make this a reality reality. thethat musical skills learned,ayou learned, must must master the sential. Beyond ingredient makes thethat diff must erencebebetween erence good conductor andes-a greatt one. That quality grea quality is leadership . A conductor makes makes no sound, and yet they are responsible responsible for the quality of  the music-making. Mu Much ch can be accomplished accomplished through through their expertise as musicians,, yet it is in the cians the transferenc transferencee of this knowledge knowledge that that many many conducto conductors rs fall short. In essenc essence, e, all of of their wor workk is done thr through ough other other peopl people. e. It is is the abili ability  ty  to work with people to achieve a common goal that raises the good conductor into the “grea great” t” cate category gory.. Ther Theree are many conduct conductors ors with perfect pitch, impe impecccable knowledge knowledge of harm harmony ony,, exc excellen ellentt baton technique technique,, and fluent underst understandanding of musical styles who who are not successful on the podium. podium. The ability to work with others is essential to being successful as a conductor, conductor, but the word conductor  deals mostly with what is happening on the stage and 

 

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Beyond the Baton 

with the orchest ra. What about about the growing growing list list of othe otherr responsibi responsibilitie litiess that a orchestra. conduct con ductor or must assume, assume, off the podium? Over the past twenty years, the role of  of  the conductor with American orchestras has changed dramatically. dramatically. No longer are the self-ce self-center ntered, ed, egoti egotistica sticall “m “maestr aestroo” perso personalit nalities ies able able to be be eff ect ctiive. Th Thee

structuree between structur between unions, unions, musi musicians cians,, and manage management ment has shifted shifted to that that of a cooperative organization in which a teamwork approach is much more emphasized. is notaretolooking say thatfor say these constituents armore e notthan without theiwr up,“wav their disagreements,This but they conductor conductors s to doare just show sho up, “wavee their arms,” and tell others what to to do. In order to function function in this new environenvironment,, con ment conducto ductors rs need multiple multiple arrays arrays of skills—s skills—skills kills that go beyond beyond identifyidentifying whether the second trombone trombone is out of tune in the V7 cho chord rd;; skil skills ls that that are centered center ed on leadership and vision.

To Change an Organization, You Must Change the Leader All orchestras require leaders to move them forward on their institutional paths. Because of our current current training system, youn youngg conductor conductorss do not not always always have the necessary background and experience to enable them to lead eff ecectively tiv ely.. They lack lack the vision vision of wha whatt the organiz organizati ation on could could become become and and the knowledge of how to move move it forward. We must teach and improve improve our conducconductors through through changing their their leadership leadership style. Theref Therefore, ore, when I say “c “change hange”” the leader,, I do not mean get a new leader; leader leader; I mean that leadership leadership starts starts from within within the individual. individual. To be an eff ective ective artistic leader, leader, you must must learn new ways ways of  communicati communi cating ng and new way wayss of lookin lookingg at your yourself self.. Your view view of the worl worldd cannot just center center on your personal needs and wants; it must encompass encompass the desires of of many individual individualss and a community community.. Whatev Whatever er you you can imagine, imagine, you can can become. becom e. By bettering bettering yourself, yourself, you can better better serve the the organization organization for which which  you work. To be truly eff ective, ective, not simply as a conductor conductor but as as a music director director with an American orchestra, orchestra, you must become become an artistic leader for the entire organorganization. You must be fully involved involved with helping to set the artistic vision v ision and able to empower the various groups within with in the organization organizati on to work toward toward common goals. Truly great orchestras ha ve exceptional except ional music director not just great con-a ductors. Through this book, book, have I hope to show sho w you howdirectors, how you can cans,move from from being good conductor to a great  conductor; from being being an adequate adequate music director to beingg an except bein exceptional ional music music direct director; or; fro from m performi performing ng a series series of conc concerts erts to changing a community through your music.

 

Prologue  “So—You Want to Be a Conductor? It Starts with You ”   

We are conductors because we want to perform quality music with excellent musicians, but this enjoyment enjoyment is not not half as fulfilling as when we we share this music with others. others. Our music-ma music-making king should aff ect ect thou thousan sands ds of peo people ple.. It shoul shouldd be the focal focal point of the commu community nity that supports supports it. it. Thr Through ough achieving achieving the the artistic goals of of an organization organization that is larger than ourselves, ourselves, we truly can make make a difference in a community through our music.

 

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Chapter 1 Preparing for Success

So you have decided that you want to be a conductor.Y conductor. You have probably been involved volv ed with music for the majority majority of your life. Most people who study study conducting are very well trained trained in the the musical components of the job. job. It is common to attend college college as a music major focusing on a specific instrument, instrument, and then to study conducting in a master’s master’s degree program. Eve Even n with this extensive preparation, there will still be gaps in your overall knowledge. As you you make make decisions about your your future, understand that the choices choices you make make early on will greatly  aff ect ect your your career career path. path. Her Heree are some some of the steps steps you you might consi consider der as you you begin your career as a conductor.

Formal Musical Training Schools and Teachers The conducting world world is a very close-knit close-k nit community. community. As you select where where you want to study, study, carefully evaluate evaluate the conducting teacher teacher with whom you will be studyingg and the amount studyin amount of podiu podium m time that will will be available. available. It is very imporimportant that you have have a good orchestra to to work with on a regular basis. basis. Do not just

attend the school that will give you the largest scholarship. scholarship. You should consider carefully the professor’s national reputation as a teacher and their involvement with the professional field as you narrow narrow down your choices. choices. You also should consider cons ider their their personal personal teaching teaching style. style. Some teachers teachers are are nurturing, nurturing, and others others are like like drill sergeant sergeants. s. You will know what what type of moti motivatio vation n works works for you. you. Take the time to talk to some of their previous students and ask them about their experiences. You want to study with a teacher teacher who has a track record record of excellent students that are getting getting placed in good jobs. Choosing the right teacher is one of  the most important decisions you will make. make. If you choose choose someone who is well respected nationally, nationally, many doors will open for you later on when you are applying for conducting positions. positions. A good teacher also can help provide feedback feedback re

 

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Beyond the Baton 

garding the types of garding of posit positions ions for for which which you might be ready ready.. A conduct conducting ing teacher should be a mentor and friend for you during your entire career.

Summer Festivals and Seminars In addition to your your main teacher, teacher, you should attend attend music festivals and conducting ducti ng workshop workshopss to help round round out your your training. training. Man Manyy of these are are off ered ered throughout the United United States and Europe. Europe. Atte Attending nding summer music festivals is recommended for many reasons: . . . . .

You are able able to study with someone else and get get a new opinion on conducting technique and style; You can interact with other conductors conductors to share share experiences and ideas; ideas; You will work work with other orchestral musicians musicians who will become become familiar familiar with your name and your work; This is an opportuni opportunity ty to be “see “seen, n,”” which might might lead to other other doors doors opening openi ng for your your career; career; and You have have something new to put on your your résumé.

When you are are attending a conducting conducting workshop workshop or festival, sometimes the new  ideas presented will conflict with other concepts you have been taught or other theories you you believe. When this happens, it is best to to keep your your opinions to yourself and to be open to new learning learning experiences. experiences. Try to do exactly what the the teacher teacher requests and and try to absorb every bit of information that that you can. You will have have

plenty of time later later for further further reflection. reflection. After the festival is over over,, you can decide what you want want to incorporate into your your style and what you choose to discard. discard. It is only by being open to new ideas that you can make progress and define what is importa imp ortant, nt, and true true,, for you. you. After atten attending ding these these types of pro programs, grams, try to stay stay in touch touch with your your new  colleagu coll eagues. es. They will be your your network network for prog programmi ramming ng ideas, ideas, rec recomm ommendaendations, and feedba tions, feedback ck in the the future. future. A list of of festi festivals vals and and conducti conducting ng program programss is available in the Resource section.

Instrument Training  In your early training, you will probably probably have have studied an orchestral orchestral instrument or piano, piano, or both. As a conductor conductor,, you do not need to to be proficient proficient playing playing every  instrument in the orchestra because you will usually defer to the individual expertise of you yourr musicia musicians. ns. Ther Theree are are some specifi specificc areas, areas, how howeve everr, wher wheree a more more in-depth knowledge is necessary for your success.

 

Chapter 1 Preparing for Success   

Piano 

It is necessary for anyone studying to be a conductor to study and master basic piano techniqu technique. e. Pr Proficie oficiency ncy at score-re score-reading ading at the piano piano is a requiremen requirement. t. If   you are not fluent in this skill, sk ill, I recom recommend mend a series of books, Partiturspiel, by  Heinrich Hei nrich Creu Creuzber zberg, g, to help help you you master master this this technique technique.. The ability ability to to read read quickly through a new score will be a tremendous asset when you are faced with learning lear ning a lot of musi musicc in a short amoun amountt of time time.. Strings 

Studying a string instrument is very helpful when dealing with string sound as it relates to bowings. bowings. How the player player draws the bow bow across the string and how they  use diff erent erent parts of the bow bow can change change the sound sound produced produced dramatically. dramatically. As a conducto cond uctorr, you will will want to to establish establish your your own own concept concept of orch orchestra estrall sound. Understanding Unde rstanding string bowing is essential to achieving the sound you want. Spend some time talking with the concertmaster concertmaster of of an orchestra near near you and see what choices they make in bowing a part and why why.. Hav Havee them explain and demonstrate

the basic concepts concepts of bowing so that your ear ear will be familiar with the types of  sound colors that can be produced. Percussion 

Because this family Because family of instr instrumen uments ts is so diverse, diverse, it is useful useful to know more about about the variety variety of of instr instrumen uments ts availa available. ble. This is is especiall especiallyy important important ifif you cond conduct uct new music. music. Mo More re and more more composers composers are are expanding the list list of what is considconsidered a percussion instrument. A good reference reference book for clarifying percussion int o Percussion Terminolog Terminology  y by Russ struments is A Practical Guide to Russ Girsberger Girsberger.. It is also worthwhile to spend some time with a percussionist and have them explain some of the peculiari peculiarities ties of thei theirr instruments instruments,, demon demonstrat stratee specific specific playing techtechniques, and give give examples of their favorite favorite mistakes that conductors conductors make. make. Other instruments 

You will be most successful with your orchestral musicians if you are aware aware of  the strengths strengths and weaknesses of their individual individual instruments. instruments. You should know  what notes are difficult to play play in tune, which tend tend to play play sharp, sharp, which instru instru-mentss play flat, ment flat, and where where the the limits limits are for for range, range, spee speed, d, and dynamics. dynamics. Some of  this can be learned from from a basic orchestration orchestration book; other more specific specific details can be learned from speaking with orchestra members and asking them questions. By keeping keeping their instrumental limitations in in mind, you will not put your-

 

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Beyond the Baton 

self in a position in which you you push your musicians musicians too hard on a musical musical passage when they are are dealing with “instrument” peculiarities. This can help avoid avoid a backlash from the players during rehearsals.

Orchestration Once you you have have a better idea of how the the instruments instruments function individually individually,, you will probably need more information about how they function together. together. Norma Norman n Del Mar’s book The Anatom Anatomyy of the Orchestra  Orchestra is excellent excellent for this purpose. It gives  you insights into the individual peculiarities of each instrument and showcases how this this is reflected reflected in the orchestral repertoire. repertoire. Another excellent excellent book is

Study of Orc Orches hestra tration  tion . Kno Samuel Adler’s The Study Knowle wledge dge of ho how w indivi individua duall comcomposers combine their instrumental sounds will help you to know k now which voice to bring out in specific specific passa passages. ges. The blend blend of you yourr musici musicians ans’’ indi individual vidual sound soundss also will aff ect ect how you you balance your your chords. A lifetime can be spent spent analyzing orchestration and individual tone color.

Languages Because the standard conducting repertoire is drawn mostly from central Europe,you rope, you can never never overestimate overestimate the advantages of studying and becoming fluent fluent in German, German, Fr French, ench, and Italian Italian.. This will help help you you immensely immensely as a conduc conductor tor,, especially in a Mahler score, in which almost every every bar has written instructions in German. Germ an. A working knowledge knowledge of Ru Russian ssian and Spanish Spanish is also helpful. helpful. Wi With th Russian, you also might want to learn the Cyrillic Cyrillic alphabet. This will help you you to propronounce titles correctly because many many of the characters characters do not translate. To learn languages langu ages early early in in your your career career will will save save you you a lot of of time late laterr, espec especially ially ifif you want to conduct conduct opera or if you want to to study conducting in another country. country. The International Vocabulary of Music, by Stephen Dembski, Dembski, is a good resource resource to help translate musical terms from diff erent erent languages. When you are are conducting conducting a compositi composition, on, mak makee sure you you translate translate all of the instructions and be ready to answer any questions the orchestra might have regarding these translations. They look to you you as the expert and you you will lose all credibility if you have have not done your your preparation preparation with the translations in the score. When performing a vocal piece, piece, do not rely rely on the standard standard English translation that may be printed in the score. Instead, you should should retranslate retranslate the text from the original language language so that you truly have have a concept of which words words and meanings go with which harmonic and melodic movements in the music.

 

Chapter 1 Preparing for Success   

Harmo Harmony ny,, Compo Composition sition,, and Ear Training  Training  As a college student, student, you will probably probably study harmony harmony, compos composition, ition,and and ear training. A deep deep knowled knowledge ge of of the these se is is essent essential ial.. Ofte Often, n, the cou course rsess requ require iredd for for the the basic music degree are not as in-depth as the knowledge you will need to be eff ecective as a conductor. conductor. Do not hesitate to take additional courses or to do more readread-

Leadi ng  ing in this area. area. A good book for for reviewing theory theory is Harmony and Voice Leading 

by Edward Edward Aldwell Aldwell and Carl Schachter. Schachter. The most important important area to work on, and perhaps the most difficult to practice on your your own, is ear training. Man Manyy schools have ear training computer programs programs that are helpful. You also can tape examples and play play them back back to yoursel yourselff to practice practice aural aural dictation. dictation. It is critical critical that that you you continue to practice and refine your skills in this area throughout your career.

Music History and Repertoire A good conductor conductor must must understand understand intimate intimately ly the progress progress of of musical style style throughout thro ughout the the ages. You must feel comfortabl comfortablee with the music “languag “languages” es” of a vast number number of compo composers sers because because you will be asked to conduct conduct many many diff erent erent pieces as you begin your career. career. Your general knowledge k nowledge will later be refined as you broaden broa den your your repertoire. repertoire. As you prepare prepare for for your concerts, concerts, tak takee the time to reresearch every piece that you conduct. You should be familiar with the composer’s personall life, when the piece persona piece was written, written, and other other pieces pieces that the compose composerr wrote around the same time. You also should know the circumstances for which the piece was composed, composed, and what other events events were taking place in the world. Composers such as Shostakovich and Prokofiev were greatly a ff ected ected by political events around them, whereas others, such as Dvorˇák ˇák and Bartók were influenced by the folk folk music of their countrie countries. s. Un Understa derstanding nding these these relationships relationships will will help tremendously in interpreting interpreting the music, music, and also provide provide more depth for your your precon pre concert cert talks. talks. Do not try to learn learn everything everything overn overnight ight.. Mo Most st of yo your ur knowlHistory of Westedge will accumulate over over time. The popular music history text A History ern Music by Donald Jay Jay Grout is still one of the most comprehensive comprehensive in the business. ne ss. On Onee of my favo favorit ritee sour source ces, s, ho howe weve verr, for re rese sear arch ch info inform rmat atio ion n from from a “humani “hum anized zed”” view of of mus musica icall history history is Music in the Western World: A History in  Documents, selected and annotated by Piero Weiss Weiss and Richard Taruskin. Taruskin.

Conducting Technique Obviously, one could Obviously, could write volumes on conducting conducting technique. technique. For the purpose of this book book,, how howeve everr, I am going to assum assumee that that you you hav havee alrea already dy been been well well trained train ed in this area area.. A clear, clear, eff ective ective technique technique that communicates communicates tempo, inflec-

 

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Beyond the Baton 

tion, dynamics, and energy is essential essential to being a successful conductor conductor.. Your body  type ty pe also must be taken into consideration as you learn the most e ff ective ective ways to communicate communica te the music to your players. players. Conductors that are tall with long arms will use a slightly diff erent erent technique than conductors who have short arms. Through Thr ough studying studying with a variety variety of tea teachers chers,, you will will be able to to assimilat assimilatee the Gramma Gr ammarrtor of Condu of Conducting  basic for you. by iliar Max with Rudolf  is stillgestures a treasure treasuthat re inwork the field, and The every conduc conductor shouldcting  be familiar fam it. Another book with a diff erent erent approach that you may want to investigate is The  Saito Conducting Method  by Hideo Saito (Saito (Saito was the teacher teacher of Seiji Ozawa, Ozawa, former music director director of of the Boston Boston Symphony). Symphony). Basic conducting conducting technique technique is important and critical to communicating communicating your musical musical ideas, but it is only the tip of the iceberg when when it comes to to becoming a great great conductor conductor and eventually eventually a great music director.

Informal Musical Training  Much of you yourr study of cond conducti ucting ng will be on your your own, and it will last last a lifetime. lifetime. Throughout your career career,, alway alwayss try to videotape yourself yourself at rehearsals rehearsals and concerts. Continual growth growth is dependent on being able to see what you you are doing so that you know when you are e ff ective, ective, and you you can see what what needs to be imimproved. prov ed. Try to get permission to to record record every every rehearsal for study purposes. If you review the recor recording ding after each each rehearsal, rehearsal, you will be able to to keep yourself from developing bad habits. habits. Orchestra musicians should should be encouraged by your your quest to grow grow continuall continuallyy as a conductor; conductor; don don’t ’t let your your ego get get in the way way of asking permission to record record for your your own study. study. They already know that you you are not perfect. As you you continu continuee your your musical musical growth, growth, you must expose expose yoursel yourselff to films, films, videotapes, and DVDs DVDs of past conductors conductors to study study their baton baton techniques techniques and rehearsal styles. Mor Moree and more more of these are are becoming commer commercially cially available. available. You also should plan on attending attending rehearsals whenever whenever possible. This is very educational and should be continued throughout your career. Identify conductors conductors that you you respect musically and see if you can pinpoint what make makess them special special.. It is usually usually a musica musicall spark, spark, a sense of of ener energy gy,, passi passion, on, or a commitment to the musi musical cal phrase that evokes anvey emotion in the listener . So much of conducting is the ability to interpret to and convey con emotions, yetlistener. how does one learn to do this eff ectively? ectively? How does one learn to feel, to understand, understand, and to communicate? communica te? Exposure to to a wide array array of the arts and to to the diversity diversity in the world will help help you to to bring depth to to your musical performances. performances. If you want to be a conductor, conductor, you must have have something musical to say! Take Take time to travel,

 

Chapter 1 Preparing for Success   

meet people, and exchange exchange ideas. Do not be afraid to explore the the depth and and variety of you yourr emotions. emotions. One must must know love to to communica communicate te love. love. Ho How w can you conduct the “Liebestod” from Tristan and Isolde until you have truly experienced love? Don’ Don’tt be afraid to feel, and don’t don’t be afraid to to let those feelings show show.. This openness to emotion will be a tremendous asset in bringing focus and universality to your music-making.

Character Development

Attributes One of the most important things that that you can do as you you prepare for a career as a conductor is to work on you : who you you are, are, how you pres present ent yours yourself, elf, how you relate to to people, how you you set your goals, and how you you can get where where you want to go. Here are some of the more more important personality traits traits for being successful successful not only as a conductor but also in anything you do in life.

Positive Outlook  Have you ever thought about how you greet the world? Do you approach people positively,, with a smile on your face, or are you forever positively forever looking at the negative negative sides of life? It has been proven proven that positive positive people are more more successful successful in meeting their goals than others. Peo People ple with positive attitudes tend to inspire positive positive attitudes in others. As a conductor conductor,, you are are constantly working working through others to accomplish accomplish  your goals. If you were a member member of an orchestra, orchestra, would you prefer to work work with someone who was was positive and smiling, or someone who who was overbearing overbearing and pessimistic? pessimis tic? Your Your attitude on the podium po dium can inspire inspi re or demoralize the entire ent ire ensemble. Under Understand stand that negative negative thoughts thoughts will aff ect ect your ability to communicate the music. music. If somet something hing is is bothering bothering you you,, on or off the podium, podium, learn how how to control your emotions and your reactions to stressful situations situat ions so that they don’t aff ect ect the way you respond to others. You are completely responsible responsible for your feelings and how you relate to people. As you you work work with your your orchestra orchestra,, be generou generouss with your your praise. praise. Ev Everyon eryonee wants to feel needed and appreciated. appreciated. Draw your your musicians into your circle circle with positive dialogues dialogues and treat them as you you would treat treat members of your family. family.

When correcting mistakes mistakes at a rehearsal, use constructive constructive comments rather than destructive ones to convey convey your your concerns. As you converse converse with the orchestra members outside of rehearsa rehearsals, ls, refrain from from gossip and discourage discourage these ty types pes of 

 

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conversations among the musicians and sta ff members. Following this rule conversations rule conconsistently will help hel p to create a stimulating and positive work environment for everyone. There are times when you will need to disagree openly with people with or for whom you you work.When work. When this happens,try happens, try to position your response response so that you you can say “no “no”” without being negative or difficul cult. t. It is eve even n bette betterr if yo you u can help help them discover why something will not work without you actually saying “no.” As you follow through with your positive positive attitude, always expect the best from  yourself and realize that you are capable of wonderful things. Then, apply the same philoso philosophy phy to to those with with whom you you work. work. If you set set a high standar standardd of expectations within a nurturing environment, environment, people will always always rise to the expected pect ed level. level. Often Often,, they just just need someone someone to believ believee in them. them. You can be that that supportive presence in their lives.

Integrity  Integrity is the cornerstone for being a successful leader. leader. People gravitate gravitate toward someone whom they can trust, someone who is consistent, and someone who who always wa ys seems seems to do do the “ri “right” ght” thing. Mai Maintain ntaining ing integrity integrity in thought, thought, wor word, d, and deed—both to to your your players, players, staff , and board members members as well as to the composer composer of the music you you conduct—will conduct—will lead to a fulfilling and successful life. It is crucial crucial that you you respect the the score and always always search for the intent intent of the composer composer.. Historically,, the conductors who were loved torically loved and respected by their musicians demonstrated high levels levels of musical integrity as well as as personal integrity. integrity. In your role as a music director director,, do not try to be everything to all people because because this might require comprom compromising ising your values. values. Decide first what is important to you you and to the organiza organization, tion, and stick with it. it. Be honest and and truthful truthful in everything everything you do and make sure that you you follow through with whatever whatever you promise. promise. In your decision-making process, it is important that you are both loyal loyal and fair and consistent with your colleagues and orchestra members. members. As you develop your your style as a leader, leader, your personal personal integrity is your most most valuable asset. Honor it and let it

guide you in your decision-making process.

Humility  For a conductor conductor,, humility seems like a contradiction contradiction because they are so accustomed tom ed to the expectation expectation of the “Gr “Great eat Maestr Maestroo” perso personality nality.. Humili umility ty does not mean that you are are not assertive. Assertiveness is a wonderful wonderful trait, and it is necessary to help achieve your your goals. But humility gives you you the ability to relate relate to people and to to recognize recognize that you you are not, nor will you ever be, perfect. Acce Accept pt the

 

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you make artistic decisions, you will make fact that as you make mistakes. mistakes. Be willing to accept the blame when you are wrong and then quickly decide how you will solve the problem. You also must recognize that your orchestra members are not perfect, even though you you continually continually try to motivate them toward toward perfection. Acceptance of where they are are and encouragement encouragement toward toward the goal goal is necessary to empower the the people you lead. Dealing with people in this this fashion will help you to build trust within your followers. As you work work together to become become a great orchestra, orchestra, everyone should focus on what is good for the entire organization. organization. When you do come come up against against diff ererencess of opini ence opinions ons or or beliefs, beliefs, try to put you yourself rself in the the other other perso person n’s shoes. shoes. Ju Just st because their view varies from from yours does not mean mean that either of you are right or wrong. wrong. Rem Remembe emberr, the world world is is not black black or whit white. e. Ther Theree are are few right right ananswers. Hum Humility ility will enable you to accept everyone everyone as they are.

Discipline Discipline and the art art of delayed gratification are factors factors that contribute contribute to to success.. Lu cess Luckily ckily,, thes thesee are taught taught early early with music, music, as one learns learns to practice practice a single single phrase over and over with the hope that it will be totally mastered for the recital that might be three three months awa awayy. Just the task of practicing every every day creates creates a routine of discip routine discipline line that that is deeply deeply engraine engrainedd in all musicia musicians. ns. This discipli discipline ne must be applied to everything everything you do. Scores must must be studied slowly over over the course cou rse of mont months hs and years, years, not crammed crammed into into one’s one’s head in a week week or two. two. The discipline to prepare prepare thoroughly thoroughly is essential essential for a conductor conductor.. Often, the result of 

this prepara preparation tion is not evident evident until until much much later later. As a conduct conductor or,, you cannot cannot aff ord ord to procrastinate. Train yourself yourself to complete complete your your high-priority work work first and to stay stay on schedule with learning your your scores. scores. If you have have bad habits that are getting in the the way way of your success, success, identify them and develop a systematic way of  eliminating these habits habits from your life. life. Carefully set your your goals regarding regarding what  you want to accomplish accomplish and have have the discipline to finish what you you start. You are the only only person person who can hold hold yourself yourself acc account ountable able for for your your own actions. actions. Remember,, you are always preparing for success. member

Persistence Even if you alre Even already ady possess possess each each of the personal personal attrib attributes utes describe describedd earlier earlier,, the additional quality you need to be successful as a conductor is  persistence . The longer you stay in the field, the more you are are able to learn and improve. improve. At the the same time, the longer you are are active, active, the more you you will see other people dropping dropping

 

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out, or finding other other easier or more stable occupations. occupations. The conducting field will continue to shrink as time passes. Kee Keepp in touch with your contacts and your proprofessional fessi onal network network,, and keep keep knocking on those those doors. doors. Ev Eventu entually ally,, you will will have have the musi musical cal experien experience, ce, knowled knowledge, ge, and conn connectio ections ns to fulfil fulfilll your your goals goals.. If you really want to be a conductor conductor,, you can. Just take take the time to envision your your dreams and never, never, ever give give up!

Presenting Present ing Yourself  Yourself  Assertiveness and Assurance 

Assertiveness is taking ownership and responsibility for your thoughts and feelings. It also invol involves ves accepting accepting other people’ people’ss thoughts, feelings, and actions without blame or judgment. Assertive actions should be incorporated incorporated into your your everyday relationships with people. For most conductors, conductors, these actions actions are second nature. nature. Act Actions ions such as using using a firm handshak handshake, e, looking people people directly directly in the eyes, and listening attentively attentively will go far towar towardd strengthening your relationrelationship with your your peers, coll colleagu eagues, es, and orchestra orchestra members. members. Assurance is the quiet confidence that accompanies accompanies success. Through focused

patience andto per severance,between one always alwaproblem ys will m ore.annoying Learn toissues. see theThe big picture and toperseverance, distinguish pro blemaccomplish situations more. and annoying confidence of of knowing what is really important is what allows one to truly be a leader lead er.. People gravitat gravitatee toward toward people people who they feel are grounded grounded.. Empo Empower wer  yourself with an assured assured personality that does not obsess over insignificant insignificant matters. This will help you in your leadership role as a conductor. conductor. Physical Appearance 

No matter how hard hard you you try to convince yourself otherwise, your daily appearappearance does make a diff erence erence in how how you are perceive perceivedd by other people. People make their first-impression first-impression decision about you unconsciously, unconsciously, within the first ten to fifteen fifteen seconds seconds of meet meeting ing you. you. The common common phrase phrase “Dr “Dress ess for the job job you want,, not the job you want you have have”” is true. true. For a conductor conductor,, deciding on an image is a little more difficult than most professions. You don’t don’t really want to be perceived as a “businessman,” and yet often the people you are meeting with and trying to impress (the orchestra’ orchestra’s board and the commu community) nity) are are busines businessmen. smen. If you are to be succ successfu essfull in their their eyes, eyes, they  expect you you to look look like them. them. By compari comparison, son, orch orchestra estra membe members rs often dress dress “down. “do wn.”” They come to rehearsals rehearsals in T-shirts T-shirts and jeans. For rehearsals, rehearsals, you don’t don’t want to dress so much more formally than the orchestra that you lose contact

 

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with the people whom you work work with daily. daily. When you are dealing with the general public, you might be considered “artsy “artsy..” Avoid dressing in such a manner that leads people to not take take you seriously. seriously. Dressing in an artsy manner is probably  the least eff ective ective way to make an impression as a conductor. The best approach is to to tailor your dress dress to the occasion: business attire for business busin ess meet meetings, ings, fundfund-raisin raising, g, and publi publicc talks talks,, and trim, iro ironed ned shirt/ shirt/blous blousee and slacks for rehearsals. rehearsals. Shoes used in rehearsals rehearsals by women women should have have very  low heels, and all shoes should be polished. You might discover discover that some members wear. of the orn orchest chestra ra are ex tremely ely with dress-conscio dress-co and will keep track keep  you wear . Eve Even if you areextrem traveling verynscious few us clothes, be careful not of to what wear the same clothes for too many rehearsals rehearsals in a row. row. Not only will the orchestra notice it, it, but also it will become a topic topic of conv conversation ersation among the the players. players. Pe Perceprception is reality, reality, and how you dress dress will define how people perceive perceive you. Always put

 your best best foot forward and dress dress for the job job you want. want.

Choosing the Path Once you have developed developed your basic knowledge k nowledge and refined the personality traits to be a conductor, conductor, you also are going going to need experience. You have have studied hard for this occupation, yet when you you graduate and apply for jobs jobs it is as though you are applying for the CEO position with a major company company. Who is going to hire a conductor without experience? And how do you get experience if no one will hire hi re you ou?? There are many routes you can travel once you have finished your degree and begun your path to becoming a professional professional conductor. conductor. There is no proven right route. rou te. It is an unpredi unpredictabl ctablee field. field. Some of of the possib possible le route routess and choice choicess that  you might face are described described here. The industry has some stereotypes regarding some of these choices, but I have have always always believed believed that you should should take the position that is put in your path. path. If you do everything everything you can to be successful at at your  job, then you will achieve your goals. Hard work breeds success; success breeds more success; success; and, eventually eventually,, the “cr “cream eam always always rises to the top.” In deciding a career career path, you must first first assess your personal personal tolerance for stress. You also must recognize recognize your strengths and weaknesses. This is not to say  that you will not improve improve in your your weak areas over over time but, rather rather,, to encourage  you to focus on what you do well and to use that as your starting place on your career path. It is also also important that that you hav havee a clear idea of where you you want to go. What type of orchestra would you you ideally like to work with in the the future? future? To put this in perspective, consider the following scene from Alice in Wonder-

 

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Beyond the Baton 

land: Alice Alice,, lost, appr approache oachedd the Cheshire Cheshire Cat Cat and asked, asked, “Which way way ought I to

go?” The Cheshire Cheshire Cat replied, replied, “First I must know which way way you you want to go. go.” Alice said, said, “Oh, I don’t don’t know. know. It doesn’t doesn’t really really matter matter..” The Cat wisely answered, answered, “Then it doesn’t really matter which way you go.” One of the big decisions you you will have to to make is whether whether to become become an assistant conductor first, or to become a music director with a community level orchestra chest ra (youth (youth,, adul adultt volunte volunteer er,, or semipr semiprofess ofessiona ional). l). If you enjo enjoyy working working with with

 young people and want to to have an an opportunity to try new things, you might try  starting starti ng as a conductor conductor of a youth youth orchestra orchestra.. If you feel feel you need need to observe observe more more conductors,, are interested conductors interested in major repertoire repertoire,, and not so interested interested in specific conductin cond uctingg time, you would would be better better off  auditioning to be an assistant with a major orchestra. Each job has its advantages and disadvantages. disadvantages. We all see the world diff ererently.. What may be perceived ently perceived by one person as a disadvantage might be perceived as an advanta advantage ge to someone someone else. else. He Here re is an introd introducto uctory ry list of some possibl possiblee working wor king situatio situations ns for a condu conductor ctor,, and an overvie overview w of some of of the possibl possiblee advantages and disadvantages.

Assistant Conductor Local Orchestra (Volunteer or Per-Service)

You will have the opportunity to watch numerous rehearsals; sometimes you also might play in in the orchestra. orchestra. As a first job, job, this will provide provide some résumé résumé material. Occasionally you you will have have an opportunity to conduct perhaps one piece on a concert concert or an entire children children’’s concert. This type of position will provide an opportunity for feedback. Advantages.

Your actual conducting time will be limited. The learning level will be directly related related to the professional quality level level of the music director director.. You might be be faced faced with widely widely varying levels levels of musi musical cal abilitie abilitiess in orchestra orchestra.. The pay will be part-time or volunteer. Disadvantages.

Mid-Size Professional Orchestra  Advantages.

You will be able able to learn learn extensive extensive amounts amounts of repertoire and

watch many many rehearsals, rehearsals, often with the same same conductor conductor.. There will be be opportunities to to conduct conduct childre children n’s concerts, concerts, runo runout ut concerts concerts of stand standard ard repert repertoire oire,, and pops concerts. concerts. This position provides provides an opportunity to to learn about about the other other

 

Chapter 1 Preparing for Success   

staff  positions within the organization. A concert you conduct conduct might get get re-

viewed. This position could pay pay enough to live on very very modestly. modestly. Usually sually,, the music director director will not be there to see you you conduct. You can get overloaded overloaded with learning new repertoire. Sometimes this will make you you sacrifice quality for quantity. quantity. The repertoire you you conduct will often be Disadvantages.

assigned to you, not chosen by you, you, and you will have have very little rehearsal rehearsal time to prepare prep are the conce concerts. rts. Becau Because se of this this,, it is often often hard hard to win the respe respect ct of the ororchestra. Usually sually,, these positions positions require require you you to move. Major Professional Orchestra 

You will have an opportunity to network with the top people in the industry and you will see how things things are done at at the top level level of the field. This  job requires learning (understudying) a lot of repertoire repertoire.. You will be able to watch many many rehearsals. rehearsals. Othe Otherr staff  members will see your work and will be excellent references references for future future jobs. You might get reviewed. reviewed. This is usually a fulltime position with benefits. Advantages.

Often, you will not have have much “qu “quality” ality” podium time.Y time. Your actual conducting will usually be for children’ children’s concerts, or pops and family concerts. With this type of job, you will have very little rehearsal rehearsal time time and is very hard to win the respect respect of the orchestra. The music director director will probably probably not see your work and sometimes it is di fficult to get constructiv constructivee feedback. You may have to relocate or have a second residence in the city where the orchestra performs. Disadvantages.

Opera Orchestra 

This is a grea greatt starting starting position position ifif you are a piani pianist. st. This job job will help you master languages and will allow you to observe vocal coaching and stage direction. Opera companies usually usually provide an assistant with conducting opportunities in a controlled controlled environment. environment. You will find yourself conducting piano rerehearsals hear sals with vocalist vocalists, s, or off -stage -stage chorus and small small ensembles. Usually the musicians sicia ns in the orchest orchestra ra are all all professio professional nal and of a high caliber caliber.. Salary ranges ranges from fro m part-time part-time to full-time, full-time, depen depending ding on the size of the organiza organization. tion. Advantages.

You will have limited opportunities to conduct the orchestra in an entire entire production. production. This is a very very difficult job to get unless you are an excellent pianist. pianist. The best of these positions positions would require require moving moving to Europe. Europe.Y You will have no input on repertoire, repertoire, and you will probably probably only be exposed to opera Disadvantages.

 

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repertoire reperto ire.. Beca Because use of of thi this, s, you migh mightt become become ster stereotyped eotyped as an an opera opera coach/ coach/ conductor. Ballet Orchestra  Advantages.

You will learn about about dancers and the the quirks of ballet repertoire. repertoire. You will master consistency consistency of tempo that is required required by the dancers. You will be able to study and perform standard orchestral repertoire that is used in ballet performances. performance s. Us Usually ually,, the orchestra members are well-qualified professionals. You might have the opportunity to conduct multiple multiple performances. performances. Salary  ranges from from part-time to to full-time, depending on the the size of the ballet compan companyy. You might have to conduct conduct hundreds of performance performancess of  The  Nutcracker . You may become stereoty stereotyped ped as a ballet conductor. conductor. You will have to limit your musical interpretation interpretation to tempos that work for the dancers. You will have very very little rehearsal time with either the dancers or the orchestra. Disadvantages.

Music Director Youth Orchestra Conductor 

You will have an opportunity to learn and experiment in a protected environme environment. nt. You will have have control control over over the repertoire. repertoire. Local reviewers might attend your concerts. concerts. You will have substantial conducting conducting time. Your orAdvantages.

chestra will be composed composed of young people who who are passionate passionate about music. music. Disadvantages. You might be limited by the the technical ability of your players. players. You might find yourself     percent teacher and  percent musician (not necessarilyy a bad thing). In this position, saril position, it is easy to develop develop habits habits of ov overc ercondu onducting. cting. The quality of your players players will vary tremendously tremendously.. You will spend time time dealing with parents, parental expectations, and community relations. This position usually requires requires a lot of time for part-time pay pay. College Orchestra 

Most colleges are open to more diversity in programming than a professional or community community orchestra. This position provides extensive conducting conducting time.Y time. You will not have to worry as much about budgets, budgets, fund-rais fund-raising, ing, or audience audience development. The students will be be committed committed to their music-making, and you will Advantages.

have continuity of orchestra members members from rehearsal to rehearsal. rehearsal. You also will have your your summers totally free. free. This is usually a full-time position with benefits.

 

Chapter 1 Preparing for Success   

You may have to spend additional time teaching other classes that may or or may not be of of interest to to you. You will probably have have other univeruniversity administrative administrative duties. duties. The quality of your player playerss will vary year year to to year, year, which Disadvantages.

will aff ect ect the repertoire you are able to program. program.Y Your overall quality level might be limited by by the amount of scholarships available available to attract excellent excellent players. players. Your quality level also will vary depending on whether you are teaching at a musicc conservato musi conservatory ry,, a universi university ty school of music music,, or a liberal liberal arts college. college. Volunteer Community Orchestra 

This job will provide many hours of conducting time. time. You will be working wor king with people people who really really want want to to play play. If music is properl properlyy selected, selected, you can produce quality musical performances. performances. These orchestras usually have have a posAdvantages.

itive energy energy.. Some of the concerts concerts might be reviewed by a local paper paper. The limite limitedd technical technical ability ability of the group group will aff ect ect which pieces piec es you can can program. program. Inco Inconsist nsistency ency of pla player yerss from rehea rehearsal rsal to rehea rehearsal rsal might aff ect ect the the quality quality of you yourr concerts. concerts.Often, Often, you will be more more of of a teacher teacher and and friend than a conductor. conductor. You will be expected to help with administrativ administrativee duties. If you yourr concert concert is reviewed reviewed,, the reporte reporterr might talk talk more more about about the pro program gram notes than the actual performance. performance. This is a part-time position. position. Disadvantages.

Regional Per-Service Orchestra 

You will be in charge of selecting the repertoire, repertoire, and you can help build the organization artistically artistically.. You will have have a “gene “general” ral” consistency of players from rehearsal rehearsal to rehearsal and concert to concert. You will be able to focus more on the music. You will have fewer overall rehearsals rehearsal s than a volunteer group, but your concerts concerts will probably have a higher overall overall artistic quality. quality. There will be opportunities to have concerts concerts reviewed. Pa Payy ranges from modest to full-time. Some orchestras might pay benefits. Advantages.

Disadvantages.

You will need to travel or move to where the orchestra is lo-

cated. Thi cated. Thiss type of pos positi ition on is difficult to to achiev achieve. e. Mo Most st of these orch orchestra estrass perperform only five to ten concerts concerts per year. year. The quality level is often limited by the orchestra’’s location. You might discove chestra discoverr “deadwood” “deadwood” within the sections that could be difficult to address. It is easy to become become stereotyped as a conductor for a certain budget level. Your ability to improve improve the orchestra might be limited by the musician’’s pay scale, the local economy musician economy, or how close you you are to a major major metropolitan area. area. You job will require require a lot of commun community ity involvem involvement ent and fundraising, which might take time away away from your your score study. study.

 

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“Core” “Core” Professional Orchestra  Advantages.

These orchestras orchestras usu allyfull-tim ha ve ae.higher quality quality of music-making because the “c because “core ore” ” musi musicians cians are areusually paid fulhave l-time. This type of orch orchestra estra will will perform many concerts. You will conduct a variety of repertoire and you you will have have the ability to impact a community. community.This This job will pay very very well—full-time plus benefits. You will need to know and feel comfortable conducting large amounts amou nts of repe repertoir rtoiree with very little little study time. time. Sala Salaries ries for player playerss might not be high enough to to attract the best best quality nationally. nationally. The orchestra will be dependent pende nt on the the local local econom economyy. If larg largee businesse businessess move move out of of the area area,, or experience financial difficulty culty,, this will have have an impact on the orchestra’ orchestra’ss budget. The Disadvantages.

competit com petition ion for this this type ty pe of posit position ion is very daunting daunting (“Don (“Don’t ’t call call us, we’ we’llll call  you”). You will need to be very invol  you”). involved ved in the community to help promote the orchestra and assist in the fund-raising eff orts. orts. This job might involv involvee hours of  travel if you do not already already live live in the area. area. Opera Orchestra 

You will be able to influence the entire production, which is wonderful if you have a theatrical approach to music-making. music-making. You will be working with many people and sharing ideas. ideas. The orchestra musicians musicians are usually usually good Advantages.

and very very flexible. Salary ranges ranges from from part-time part-time to full-tim full-time, e, depen depending ding on the size of the organi organizati zation. on. There are very few positions as music director for opera companies in the United States; you may have have to move to Europe.Y Europe. You will have to commit weeks to to each production, production, which may may limit your your other conducting. conducting. You will Disadvantages.

never have enough rehearsal time with the orchestra.Y orchestra. You must be fluent in several languages. You will have to deal with difficult stage director directors, s, lighting designers, designers,and and ballet and chorus masters. You might become classified as an opera conductor conductor.. Ballet Orchestra 

You will conduct large, mainstream repertoire. repertoire.Y You will work with professional musicians. musicians. There may be opportunities opportunities to collaborate with the choreographer on new productions. productions. You will be able to conduct pieces for multiple performan perfo rmances. ces. The salary salary ranges from part-tim part-timee to full-time, full-time, depen depending ding on the size of the organi organizati zation. on. Advantages.

You might be involved with long touring productions, requiring week weekss of of tr traavel. Diff erent erent conductors might conduct the same pieces for Disadvantages.

 

Chapter 1 Preparing for Success   

multiple performances so you will never have a personal stamp on your musicmaking. Tempos will always be limited to whatever works best for the dancers. You will have have very very little rehea rehearsal rsal time, time, and sometim sometimes es none, if it is a standar standardd piece. piece. New Music Ensemble 

Working with this type of ensemble allows allows you to be on the cutting edge of music-making. You can select your your own own repertoire. repertoire. You will probably be working working with excellent musicians. musicians. They will be committed committed to performing performing this type of music. You will probably conduct many many world premieres premieres and and be able Advantages.

to work personally with many composers. Disadvantages. This type of ensemble will rarely rarely perform the standard standard works— works— Moza ozart, rt, Bee Beetho thove ven, n, Bra Brahms hms,, or Tcha Tchaiko ikovsk vskyy. You will will spend spend man manyy hours hours re re-searching new music. Every time you conduct conduct a piece, piece, it will probably probably be new for  you and and for the players players.. (This makes it hard to settle into an interpretation.) interpretation.) You risk being being typecast as a “ne “new w music” music” perso person. n. The pay pay for this type of posit position ion will probably be part-time and very low. Forming Your Own Orchestra 

You will be able to define how many concerts you perform each  year,, who will perform,  year perform, and what you are going going to play play.. You can experiment with repertoire and musical interpretations. You can develop excellent organizational organizational skills and an ability to understand the organization as a whole. You will gain solid conducting experience to put on your resume. resume. Your concerts might be reviewed. Advantages.

When you form your own own orchestra, you usually have have to spend an excessive excessive amount of of time organizing organizing and raising money. money. You will probably  probably  have to form a board of directors and become incorporated. This will take take time awayy from your awa your focus on the music. It is hard to raise money money for organizations that are unknown. The repertoire will be defined by how how much money you have have available for hiring hirin g players or how many friends you can talk into playing playin g for you. It is hard to gain credibility in the industry, industry, because you have have not been hired for this posit position. ion. Often the orch orchestra estra folds when you lea leave. ve. This type of orch orchestra estra pays pa ys very very littl little, e, if an anythi ything. ng. Disadvantages.

Final Thoughts As you review the diff erent erent types of orch orchestra estrall situat situations, ions, try to to match match up the things that are important to you. You will have many diff erent erent jobs throughout

 

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Beyond the Baton 

 your career career.. Each one should change and enhance enhance your your approach approach to music music making. Remem Remember ber,, there is no “right” path that works for everyone. Take the the time to analyze what works for you. Manyy believe that the surest path to the top is to attend the best-known Man best-k nown schools (such as Juilliard Juilliard or Curtis), Curtis), participate in all the most famous summer festivals (Tanglewood (T anglewood and Aspen), become an assistant conductor with a major orchestra (such as as Boston, Boston, Philade Philadelphia, lphia, or Clevelan Cleveland, d, for example), example), and become become a music music directo re ctorr of a “cor core” e” orc orches hestra tra (the (the size size of of Fo Fort rt Worth Worth,, Kno Knoxvill xville, e, or Buffa Buffalo). lo). The Then, n,  you should should go overse overseas as and become become music music director director of of a European European orchestra. orchestra. In a few years, you eventually return return as a music director for a major American orchestra. This is the basic path path followed followed by Michael Michael Tilson Tilson Thomas, Thomas, Andre Andrew w Litton, Litton, Marin Alsop Alsop,, and others. others. It is a path to the the top that that can work, work, and has worked worked very  very  successfully succe ssfully for many many conduct conductors. ors. Ev Even en so, it is not the right right path for everyone. everyone. Many people have have started out on this path with stars in their eyes, only to discover

that they hit a glass ceiling, or that perhaps they were very happy working at a certain level that was not necessarily necessaril y perceived as the “top.” Remember Remember,, we need great conductors for all of the orchestras—i orchestras—in n the United United States and abroad. abroad. Goal Setting 

Often, an individual will take take the first job off ered ered regar regardle dless ss of if it is the “r “righ ight” t” position to ensure ensure success. A failure early early on can be tremendously tremendously damaging, both personally and professionally professionally.. In order to avoid avoid this mistake,try mistake, try to plan your future by asking asking yourself the following questions: What are your greatest strengths? How can these be best put to use as you move forward? What are your weaknesses? How can you improve in these areas? What job are you ready for currently? What steps can you take to get that th at jo job? b? What goals would you like li ke to accomplish in the next year? Where would you you like to be in five years, years, and how do your your strengths help  you get there? there? What else do you you need to learn, learn, master master,, or experience in order order to achieve achieve this next level? Ten years from now—Describe your life: What type of orch orchestra estra will you you be conducti conducting? ng? What will you have have accomplished that has made a diff erence erence in other people’s lives?

 

Chapter 1 Preparing for Success   

How much money will you be making? How will you spend your time? As you work through through these questions, take the time to really think them through. through. Write down your answers and reflect on your possible choices along the way. We often are taught that the larger the budget is of the orchestra we conduct, the more successful successful we are, are, or the better we are as conductors. conductors. I challenge you to leave this viewpoint behind. There are are more than a thousand orchestras orchestras in the Unite nitedd States, States, not countin countingg ballet ballet orchest orchestras ras and and opera orch orchestra estras. s. All of these

orchestras need excellent conductors conductors with exceptional leadership skills and a passion for the art ar t form. Just because you are are not conducting the New York York Philharmonic does not mean mean that you you are not making making music of a high quality in a comcommunity where where it is important. There are no small jobs, only small minds. As you set your your goals for the future, make sure sure that the goal is challenging but attainabl atta inable, e, set a specific specific deadline deadline for achieving achieving the goal, goal, and develop develop a list of what  you need to do to accomplish accomplish what you want. want. This might include breaking each goal down down into easily easily doable doable tasks, tasks, assi assigning gning a priority priority level level to each task, task, and making sure that you you address address top-priority items first. Remem Remember ber,, life is often a self-fulfilling prophecy; prophecy; you may may not necessarily get what you you want, but you you usually get what you expect.

 

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Chapter 2 Path to the Podium As I said befor before, e, ther theree is no “one path path” to success success as a condu conductor ctor.. Each person person somehow finds their own own way to achieve their their goals. I spoke with leading American conductors conductors and discovered discovered a variety of successes and frustrations frustrations that they  experienced experie nced on their their way to their their current current positions. positions. Her Heree are examples examples of thei theirr career paths and their words words of of advice.

Interview: Inter view: Leon Leonard ard Slatkin Slatkin

“Right place at the right time —and prepared” —Leonard Slatkin  ■ ■ ■ ■ ■

Juilliar Juill iardd Scho School ol of Music, usic, BM Assistant Conductor Conductor,, Saint Louis Symphon Symphony  y  Musicc Director Musi Director,, New Orleans Symphon Symphony  y  Musicc Director Musi Director,, Saint Louis Symphon Symphony  y  Festival Director Director,, Cleveland Orchestra Blossom Festi Festival val

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Beyond the Baton  ■ ■ ■

Principal Guest Conductor Conductor,, Royal Philhar Philharmonic monic Music Mu sic Director Director,, Nat National ional Symphony  Principal Guest Conductor Conductor,, Los Angeles Philharmonic at the Hollyw Hollywood ood Bowl

Path to the P Podium: odium: Leonard Slatkin My career career developed partly fro from m being in the right place at the right time, but mostly from being prepared. prepared. I suppose one could say that I had a built-in advantage because because my entir entiree family were mus musicians; icians; from the ear earliest liest possibl possiblee age, there was music in the hou house se constantly constantly.. I would sa sayy that fr from om the aage ge of about thr three ee or so, I already rrealized ealized I wou would ld become a musician. There was rreally eally no choice. When I got got to th thee poin pointt in m myy stud studies ies of musi music, c, partic particular ularly ly in pia piano no and composit com position, ion, wher wheree my par parents ents th thought ought th that at I exhib exhibited ited a de degree gree ooff talen talent, t, they  tried to explain to me how difficult the music profession profession was, and rather than encourage, they said “y “you ou have to be prepa prepared red to make sacrifice sacrificess and work really  hard.” At one point, my mot mother her actually lock locked ed the piano because I refused refused to practice. pract ice. After tthree hree day dayss of scre screaming aming and kicking ttoo get it bback, ack, she ga gave ve in, and I understood understood wh what at was expect expected. ed. If you wa want nt to hav havee a career in mu music, sic, you ha have ve to be prepared prepared to sacrifice a lot of your own persona personall life and your childhood becausee of practi caus practicing cing an andd stud studying. ying. I think it is diff erent erent today then when I was a child in that today’s young people are are more aaware ware of the wo world rld than m myy generatio generation n was. As I was gr growing owing up, it was easy ttoo be isolate isolated. d. I think it is imp important ortant toda todayy for a you young ng person to be awar awaree of the vari variety ety ooff experi experience encess th that at li life fe off ers, ers, not just just iin n mu music sic,, bu butt in everything. The musi musicc business still re remains mains difficul cult, t, bu butt if yo you u loo lookk br broa oadly dly,, there are are more choic choices. es. You can go into the pop end; conduct mu music sic for film or musical mus ical th theat eater; er; or yo you u can con conduct duct ch churc urch h musi music, c, you youth th or orches chestras tras,, regi regional onal orchest orc hestras, ras, acad academic emic or orches chestras tras,, or oper operaa and ball ballet. et. Ther Theree is plenty of wor workk for a good conductor. My interest interest in conducting was started by the fact that I was playing viola in a  youth orchestra, and the conductor was called awa awayy to the phone. As he lef left, t, he threw the score do down wn to me and said, said,“Here, “Here, you cconduct. onduct.”” After that experience

I began to pursue studies in conducting, although, at the time I was still int intent ent on being a composer composer and pianist. It really wasn wasn’t ’t until m myy college yyears, ears, after my father (who had also been a conductor) conductor) died, that I felt the path open for me. I attended Juilliard Juilliard and I thi think nk a lot of my ear early ly success was be because cause I would solicit the players players to per perform form extra conc concerts. erts. I would sa sayy to them, “Let’ “Let’ss do this;

 

Chapter 2  Path to the Podium   

let’s play that.” let’s that.” I was always putting groups together and doing everything I could to conduct as much as possible. Later,, when I was a conducting Later conducting student at the Aspen Aspen Music Music School, the music director there there was Walter Susskind. During my third third year in Aspen, he asked me to come to to his new orchestra in in Saint Louis as his assistant. assistant. After nine years of  being an assistant assistant conductor conductor,, acquiring a manager manager,, and getting more more experience through guest conducting conducting dates, dates, I was appointed music director director of of the New New OrOrleans Symphony. Symphony. Two years after that, I was invited to return return to Saint Louis as the music director. Heree in Washington, Her Washington, D.C., the opportunity with the National Symphony Symphony happened because the the president of the Kennedy Kennedy Center and Bill Clinton attended attended a concert I conducted. conducted. I felt fortunate to have have been in the right place at the right time. It doesn’t doesn’t happen to everyone, everyone, but I was was there and and I was ready ready.. Being ready  is the most most important thing. thing. Learn as much as you can; conduct as as much as as you can; go to many rehearsals and concerts; concerts; and always always be ready ready..

Successes At this point, the thing that satisfies me the most as a conductor is reaching someone who has never been to a concert or who is inexperienced, and feeling that you have made made a connection with them. Pe People ople will come backstage after a concert concert and tell you how much much they enjoyed it, or in a pre or post-concert discussion they  will talk about it being their their first experience. I find it tremendously tremendously gratifying to be able to reach people. people. I have also enjoyed enjoyed my my work trying to help the education system. Although far from from ideal, I know that I have have made some inroads (though (though not nearly as many many as I would like to); to); I have had some impact in terms terms of schools having to reinstate, reinstate, or create music music programs where where none existed.

My relationships with the players from di ff erent erent orchestras throughout the worldd are important to me. worl me. I value these relationsh relationships. ips. I value the friendships friendships that I have, have, not just within within the music music community community,, but outside outside that area. area. I think I have have grown more more in the last ten years years of my life than than I did in the first fifty, because I expanded my own horizons. horizons. I became less obsessed obsessed with music as being the beginning and and end of life. I initially initially learned learned this from from Carlo Maria Giulin Giulini,i, but itit took  me a long while while to to really really take take it to to heart. heart. If you don don’t ’t experience experience life, you hav havee nothing to bring to your music, music, and doing it the other way around just doesn’t doesn’t work. wo rk.Y You think think itit does, does, whe when n you you are are young young . . . “O “Oh, h, all I ha have ve is is music, music,and and musi musicc will shape my my life.” Well you do that, that, and you have have a pretty pretty boring life. If you go to to a dinner party and you are only able to talk about one thing, it turns people off .

 

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Beyond the Baton 

Skills Set I always suggest to every conducting student that it is important to study a string instrument. The majority of your remarks during rehearsals rehearsals will be to the string section. This doesn’t doesn’t mean that you you have to to play a string instrument fluently, fluently, but  you must understand understand the mechanics of string playing, no matter how lousy you you might be at the actual playing. Then what you say to to the orchestra will be dictated by your your experience of knowing that an up-bow and a down-bow are are really two diff erent erent things. things. Ev Everything erything is as basic basic as understandi understanding ng what the the impact of the bow stroke stroke is; from that you can go to to everything else. I also believe that even even if you are a good pianist and able to read read a score at the keyboard, you should not rely rely on the keyboard keyboard because you will get the sound of  the piano in your head head rather than the sound of the orchestra. You have to to look at a score the same way a screenwriter or director looks at a script and envision in  yourr mind  you mind what what the sound will be. be. For me, the scor scoree is nothin nothingg more more than than a book  book  in another language. The language happens to be circles and dots and lines and we translate transl ate that that in our head head to sounds. sounds. It is important important to to have have the sound sound of the instruments strum ents themselv themselves es in your head, head, not the sound of the keyboard keyboard.. Rea Reading ding a score score at the piano is a nice skill to have, but ultimately it is more more important to be able to look at a score, score, hear it in your your head,and head, and understand it.So it. So how do you you do that? Most Most of it is thr through ough experienc experience, e, I am afraid afraid,, but a lot of of it is thr through ough imagin imagination ation.. Lear Learn n

to read one or two lines at a time and imagine how they sound together, together, then gradually add another another line, and another one.Eve one. Eventually ntually,, you will read read a score score with ease. I always suggest suggest to every conductor to go to to as many rehearsals rehearsals of as many different conductors conductors as possible. This is not so much to mimic mimic their skill, but instead, to watch for their mistakes. mistakes. If you watch watch for what a conductor does not achie achieve, ve,you you will learn more more than watching watching what what they do achieve. achieve. In other words words,, you need need to learn how to to avoid avoid mistakes. We all make mistakes up there. there. I am the first one to acknowledge the ones that I make on a day-to-day basis. Learn how to avoid avoid doing the things that don’t work for a conductor and strive to not make the same mistakes. tak es. If you simply simply try to imitate imitate the the things that that do work, work, you will will be an imitation. imitation. Another skill that is critical critical today, today, but might not have have been a long time ago, ago, is the ability ability to communic communicate ate to individu individuals, als, both socially socially,, in rehearsa rehearsall circumcircumstances, and in every other way way.. Speaking has become become more more important important for conconductors and it is critical that you are able to communicat communicatee verbally to audiences and the media. media. I advise every every young person person to use the the experience experience of doing radio radio in some way way. This will help help you learn learn to talk talk without without huge pauses. pauses. If you are are at a university vers ity,, go to the local local university university station station and and do a couple couple of interviews. interviews.If If you can get  your own show show,, it is even bette betterr. Do what whatever ever you can to gain speaking experience.

 

Chapter 2  Path to the Podium   

Social skills are more difficult to acquire but they are important impor tant to acquire at the  youngest  you ngest possi possible ble age. age. Unders nderstand tanding ing how how to deal deal with boar boards ds of dire director ctors, s, fundraising issues, issues, and public relations situations is essential. essential. I know that that these things are not directly directly related related to conducting, conducting, but they end up being being a large part part of the job. job. At one time, I was highly ineff ective ective in communicating communicating with others. others. I was terrible at it. I was nervous and I couldn’t couldn’t deal with people on a one to one basis, much less in a group. group. So what was I going to do? It It meant sitting down very very carefully and trying to find a way to improve improve this area. That is why I went into radio. radio. I did three years of radio. There was nothing better for this shy shy introvert introvert than sitting in a studio alone and talking talk ing to nobody. nobody. Ev Eventually entually I was able to translate this skill to speakin speakingg in front front of thou thousands sands of people and I am am no longer longer afraid afraid of  public speaking.

The Conductor’s Role

The world has changed changed and we are more more conscious of our communication communication with others than than we were were before. before. The conductor conductor now now exists in many many roles: roles: you are are a psychologist, you are are a father-m father-mother other figure, figure, you are a doctor doctor,, and you are also a spokesperson spokesper son for for the the ensembl ensemblee that that you you lead. lead. In the the role role of of spok spokesper esperson, son, you have to be able to communicate to many people peo ple in many diff erent erent ways. You have to be awar awaree of every function that your your particular orchestra participates in, be it fund fu nd-ra -rais isin ing, g, de deve velo lopm pmen ent, t, pu publ blic ic re rela lati tion ons, s, me medi dia, a, co comm mmun unity ity ou outr trea each ch,, or everyth ev erything ing else else;; yo you u have have to to be awar awaree of yo your ur surr surroun oundin dings. gs. In the the past, past, it was was fairly easy for for a conductor conductor to just just come in, conduct and go home. They were the maestro and the organization didn’t didn’t expect much more than that. Well today they  do,, esp do especi eciall allyy in the region regional, al, co commu mmunity nity,, and small smaller er orche orchestr stras. as. The Theyy expect  you to be a part of the community—t community—too get out there, work in the schools and work with young people. You must develop relationships relationships with the board board of directors, rect ors, atte attend nd meetings, meetings, and really really establish establish commun communicati ication. on. It doesn’t doesn’t matter matter whether you are are from this country or from abroad, abroad, you have have to find a way to be  yourself and be outgoing enough to communicate, communicate, without being off ensiv ensive. e. Demanding your way doesn’t doesn’t work anymore, anymore, either either.. You could be off ensive ensive in the past; you could could pretty much much do anything. anything. No Now w you can can’t. ’t. You have have to be careful careful what you you say, say, and make make sure you you are always always politica politically lly correct. correct. Despi Despite te this, people still want you to be a little di ff erent. erent. You still have to be the “Maestro. “Maestro.”” People Pe ople like that. (I don’t don’t care for the term term very much, but that is how how it is.) Each person acquires their skills for these various roles in a diff erent erent way way.. There is no one solution for it. A lot of it is simply understanding that that you have to have have interpersona terpe rsonall skills. This is a large large part part of the job job these days days..

 

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Beyond the Baton 

National Conductors Institute The Conductors Institute Institute was designed to help bridge the gap between the conductors who are are in university university,, community community,, or amateur amateur circumstance circumstance who might be making their debut with a major orchestra or an orchestra that plays full time. I started this because I remembered that my first professional orchestra experiences, (even though I came from from a musical household) household) were fraught with peril. The musicia musicians ns of the orchest orchestra ra knew far more more than than I did, did, and had had played played the the repertoire many many, many more times—what times—what was I going to say to them? What was I going to bring bring to the Philadelphia Philadelphia Orchestra Orchestra in a rehearsal rehearsal of a Rachmaninoff 

Symphony, for instance? I wanted to address how to get past this intimidating gap Symphony, and how to be successful. This idea turned into a conducting Institute Institute where one week is about the conductor’ conductor’ss relationship to every every aspect of the musical organization administratively administratively.. How does does a music director interact interact with the community? How can they reconcile a budget with their own artistic vision? How can they be a leader for the organization? organization? These are things we talk about. about. The second week is watching me work with the orchestra, followed by a session where the ororchestral musicians musicians discuss the rehearsals, what was successful, what didn’t didn’t work, work, and how we interacted interacted with each other other.. Then in the third week, week, the conductors conductors actually deal with the professional orchestra orchestra themselves. themselves. The National National Conductors Institute strives to develop the skills you need to communicate to professional musicians. musicians. It is very very intense and itit is a program program that I am very very proud of. I am really really pleased that most of our conductors conductors have have gone on to positions, positions, either as assistant assistant conductors, conductors, or music music directors directors with orchestras worldwide. I think a lot of it is because after they finish the Institute Institute’’s program, they have have much more more knowledge as to what is is really expected of a music director director..

Words of of Ad Advice vice If I were were to pass on words words of of advic advice, e, I would would have have to to say: say: .

Be pr prep epar ared ed . Cr Creat eatee your your own opportun opportunitie itiess . Co Condu nduct ct as much much as as possib possible le If you want to be a con conduct ductor or,, you ha have ve to condu conduct. ct. Con Conduct duct an anyy type of  group,, even if you hate group hate it. It is important important to get as as much physical physical experience experience as you you can. That is the rule rule for the first first ten ten years of you yourr conducting conducting existenc existencee at least, least, so don’t turn your nose up at anything. anythin g. You must love everything when you are starting out and and never turn turn anything anything down. down. Lea Learn rn to read read lead sheets, sheets, learn to to ac-

 

Chapter 2  Path to the Podium   

companyy, and try to compan to work work with a band, band, a chorus, chorus, a jazz jazz group, group, you young ng people, people, and old people. people. Late Laterr on you you can be be selectiv selective, e, but when when you you are are young, young, you cannot cannot.. I look back and think of all the things I did when I was was starting out which I would would neverr do again, neve again, but which which I am really really glad glad I did. Fo Forr example, example, I conducte conductedd con-

 Jesus Christ Supercerts with rock groups—I conducted the first performance of  Jesus star. Would I do things like li ke that now? No. No. But I learned so much from doing it.

Strive to get asYou much as possible. possible. Experience is the best way way of learning anything. don’experience don’t t need a teacher—experience teaches you.

Interview: Inter view: Robe Robert rt Spano Spano

“Dramatic Changes”—Robert Spano  ■ ■ ■ ■ ■ ■ ■

Oberlin Co Oberlin Conse nserva rvato tory ry of Music, usic, BM Curtis Cu rtis In Insti stitut tutee of Music, usic, MM Faculty Member—Bowling Green State University  Faculty Member—Oberlin Conservatory  Assistant Conductor—Boston Symphony  Musicc Director—B Musi Director—Brooklyn rooklyn Philharmonic Music Director—Atlanta Symphony Orchestra

Path to the Podium Podium:: Robert Spano I guess the first thing that that occurs to me is that there is no set path. For ev every ery person,, the pat son path h is diff erent erent and it is valuab valuable le to tr trust ust your instincts. I know that along the wa wayy, in a sen sense, se, everyth everything ing I did was wr wrong. ong. For exam example, ple, man manyy peop people le

 

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Beyond the Baton 

would say say that if you want to conduct professionally professionally,, you should not take a university job. job. The first job I took was was a teaching position at at Bowling Green Green State University niversity,, but it was great for me. I learned so much conducting a university university orchestra. Having to develop develop that orchestra and make make them better better made me develop my my skills much more more quickly quickly,, through necessity necessity.. So, it was a great thing for me to do, do, despi despite te the common common wisdom, wisdom, so-ca so-called lled anywa anywayy, of that not being a good idea. So there is something something about trusting your your own intuition regarding regarding what is going to be musically satisfying and what you need to do next for your own development that I think is worth paying attention to. The other thing about “the path” path” is that things things happen, not necessarily increincrementally or gradually gradually,, but often dramatically . The first professional professional orchestra I ever conducted was the Boston Symphony. Symphony. After I taught at Bowling Green University University,, I went on to teach at Oberlin. Then, I suddenly got the opportunity to audition for the BSO (Boston Symphony Symphony Orchestra) Orchestra) assistant conductor position. It surprised me that, Iyou that, hadalso applied to be Aespen Tanglewood and had always beenbecause, rejected. reject ed.before So, I guess you have to have bAspen luckyand lucky. . ForTanglewood me, the opportunity me, oppo rtunity to auto dition for the BSO assistant conductor position, and then being able to to take that position, posit ion, was luck. luck. It created created a dramatic dramatic change change in my conducti conducting ng career career. I guess I was ready for the next step, step, but I certainly didn’t didn’t feel like it at the time. My approach approach to my career was pretty simple-minded. simple-minded. I just wanted to conduct and ifif I got an opportuni opportunity ty to cond conduct, uct, by God, God, I was going to do it. At the beginbeginning I took everything that came came my way way.. I loved loved teaching and I still do, do, but in a sense, the reason I took took the teaching teaching position initially, initially, was so that I could could have my  own orchestra orchestra to conduct. That was alwa always ys what I had wanted. wanted. So for me, me, it wasn’t wasn’t so much about “I want to conduct this orchestra—or that opera house.” house.” It was more, “I want to do this for a living. living.”” At the beginning, you do everything, everything, but at a certain certain point, you get so busy that you have to to start making making choices about how you are going to spend your time so that you you can continue to do your work work well. Once you have have been around around a lot of orche orchestras, stras, you know which which ones you you have have better better chemistry  chemistry  with than others and where you want to go back and what is most rewarding.

Management After the BSO assistant assistant conductor conductor position, I spent three years as an itinerant conductor,, guest conducting conductor conducting many many diff erent erent orchestras. orchestras. I had a wonderful agent at the time, Mariedi Anders, who was getting me engagements all all over. over. It was really a profound education education to conduct so many many orchestras orchestras in so many places. places. I don’t don ’t know how anyone anyone does anything without good management. management. I feel very dependent pende nt on them. them. If I had to to promote promote mys myself, elf, I would would be rec recomme ommending nding other

 

Chapter 2  Path to the Podium   

people all the time. It is much easier to to have someone someone else lobbying on your your behalf. Even if you are so inclined to promote yourself, I think that nice things being said about you by other people is much more eff ective ective than saying them about  yourself. The other thing about having a manager is the way that they can seek  out opportunit opportunities ies that that you might might not even even be aware aware of withou withoutt that help. help. As a conductor,, there is just so much conductor much musical work work to do, that there there is just no time. So I have have felt very lucky and very well taken taken care of by good artist managers. managers.

Successes My greatest greatest thrills have have always been working working with living composers. Recor Recording ding Jennifer Higdon’s Concerto for Orchestra and CityScape ; or having having John John Adams Adams here when we performed El Nino or working with him in Brooklyn when we were Ride of Paul Redoing Nixon in China. David Del Tredici Tredici just finished fin ished A Midnight Ride vere . He dedicated dedicated that to me and and we will perform the premiere premiere in Atlanta. These types ty pes of musical projects projects are are peak experiences for me. For me me there there is no greater thrill than working with the composer and bringing the music to life.

Frustrations When I was teaching, I was applying for other assistant assistant conductor conductor positions and things like that, that, and nothing was was working out. out. All I got was a tremendous tremendous pile of  rejection letters. I think it is important to have have a thick skin about things like this. I remember how painful it was for me and I often wondered just how bad I really  was. It is important to not let rejection get get you you down. Wi Winston nston Churchill Churchill said, said, “Success was moving from failure failure to failure without losing your enthusiasm.” I think that that this this is the most most important important part part of it, not to get get discourage discouraged. d. Ev Everyon eryonee gets rejected. rejected. I don’t don’t know of any anyone one who didn’t didn’t have have some things things not work out the way they thought they wanted wanted them to. to. Just keep applying and learning, learning, sometimes things that don’t work out the first time actually work out for the better.. My university teaching ter teaching feels that way way to me. When I realize all that that I learned during my first job,it job, it was the greatest training that I could possibly have gotten— gotten— I don’t think I really knew that at the time.

Skills Set When you are talking about about skill sets for conductors, obviously I think the founfoundation necessary to be a conductor and music director is to have really strong musical mus ical ideas ideas and and skills. skills. Exam Examples ples of of this are: are: list listenin eningg very very well and and very prepre-

 

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Beyond the Baton 

cisely; having great interna internall rhythm; rhythm; and having having the tools with which to to eff ecectively tiv ely study study scores scores,, dige digest st them, them, and own own them. them. I also know how how much much I have have learned from from playing chamber music and accompan accompanying ying singers, so becoming involved inv olved as a musician musician who is actually making making sounds is also important. I know  there are are great great conductors conductors who didn’t didn’t go through through a lot of that, but I think they  they  are the the excepti exceptions, ons, not models. models. Mo Most st of us need “ears on” on” mus musical ical activi activities ties.. After these these items, items, the range range of skills needed beyond the musical musical is is extraorextraordinary.. As music directors, dinary directors, we act as ambassadors ambassadors for music music in our cities cities and in our commu communiti nities. es. Spea Speaking king skills are are imperati imperative, ve, right down down to the diff erent erent ways that that one handles handles stage behavior behavior,, to a television television appearance, appearance, a radio interinterview,, or a talk view talk at at a Rot Rotary ary Club Club.. I think think each each of thes thesee requi require re a diff erent erent approach. I remember that the first time I was on television I couldn’t believe how  broad everything everything seemed when I saw it played back. I was used to gesturing from a stage, stage, whe where re large large gesture gesturess are appropri appropriate ate,, but with a televisi television on camera, camera, the situation was entirely diff erent. erent. On TV, TV, all gestures gestures must must be smaller and more more direct. Throu Throughout ghout my career career,, I’ve learned learned many things things by doing, but I have have also hired consultants consultants to help. I hired a director at one point to help me with television appearances. appearances. The first few times times I spoke spoke in public public at the the beginning of my  career were horrifying. No Now w that I do it a lot, my neurosis neurosis level is is much lower lower.. I don’t don ’t know of any way way to to train yourself yourself for all the the skills that you actually need need as a music music director director,, but public public speaking is an incredibly incredibly important part of the role that we play.

Be Who You You Are A re I think the other more difficult and more more personal personal aspect aspect of being a public public figure as a music director is to really trust in being one’s one’s self. To be a good con-

ductor, first and foremost ductor, foremost,, you hav havee to be be who you are. In other other words, words, I am not not going to be more eff ective ective if I put on a fake fake accent—I accent—I am am an American. American. I have have to be that, because that that is what I am. I think it is easy to say say that a conductor conductor is supposed to to be certain things, things, when in fact, a conductor conductor could be many many, many different things. Man Manyy diff erent erent kinds of personalit personalities ies end end up being conduct conductors. ors. If  one’’s basic one basic personali personality ty is kind of soft-sp soft-spok oken en and gentle gentle,, tha thatt can be just just as eff ective ective in its own way as a more extroverted personality who has lots of  charisma char isma.. Both of thes thesee can work. work. You must must strive strive alwa always ys to be who who you are. are. Friedrich Nietzs Nietzsche’ che’ss autobiograph autobiographyy, written late late in his life, is titled How One  Becomes What One Is. I think that it is hard for us to trust ourselves because we

 

Chapter 2  Path to the Podium   

have so many models that we think a conductor have conductor must be like. Pe Perhaps rhaps twenty   years ago, it may have have been true that symphony boards were lookin lookingg for a more specific model, model, but now now it is a much diff erent erent field. field. As we get get more racial racial and gender diversity diversity in the the field, it is changing.

Understandingg Priorities Understandin Priorit ies In working working with a board board of dire director ctors, s, it is important important to be sensiti sensitive ve to the conconcerns of a board which are are very real and and very important—like financial stability stability.. I don’t don’t have have to be be an expert on those things, but I do have have to be be mindful of them and know how to understand understand what language they they are speaking, what their priorities are, are, and what their needs and interests interests are. are. I attend board meetings meetings when I am able to, to, and I spend time with board members members individually. individually. Eve Even n when I give speeches speec hes around around the city, city, I try to encourage encourage board board members members to attend attend.. Givin Givingg speeches at Rotary Clubs and for other civic organizations requires requires knowing k nowing the priorities of each specific group group.. It is important important that we express ideas ideas that will appeal to to their values, values, so that they they will be interes interested ted in us. us. I think most most of this is all all about paying attention and listening to people.

Words of of Advic Advicee

I have two things to to say regarding regarding words of advice for young conductors: conductors: .

Know wh Know whoo you you are are . Kno Know w where where you live live and and whom you you live live with It is vitally important for you to live in the community where you are conducting. To me, what any any orchestra needs needs to do in a given given community community has a lot to do with what is already going on there. I don’t don’t think there are universal universal solutions, although there there might might be unive universal rsal principles, principles, or paradigms, paradigms, that will work  from one place to to another. another. Ultimat Ultimately ely,, it is about creating creating the orchestra that that fits the needs of the place where where you you exist. Ev Everything erything must be designed designed for that parparticular community community.. To me it is really not about my agenda, agenda, it is about music’s music’s agenda. I believe that that great music needs needs to exist for a healthy society society.. It is part of  being human. My job is to bring bring the music to the people and to help help the organization find the best way way to do this. I must find the artistic vision that is right for that specific place.

 



Beyond the Baton 

Inter Interview: view: JoAn JoAnn n Fallett alletta a

 JoAnn nn Falletta  “Slow and Steady”— JoA

■ ■ ■ ■ ■ ■ ■ ■ ■

Manne Ma nness Co Colle llege ge of Music, usic, BM The Ju Juillia illiard rd Schoo School,l, MM, DMA Music Director—Queens Philharmonic Music Director—Denver Chamber Orchestra Associate Conductor—Milwaukee Symphony  Music Director—W Direc tor—Women’ omen’ss Philharmon Philharmonic ic Music Director—Long Beach Symphony  Music Director—Virginia Symphony  Music Director—Buff alo alo Philharmonic

Path to the P Podium: odium: JoAnn F Falletta alletta I dreamed dreamed of being a cconductor onductor since I wa wass eleve eleven n years old, long befor beforee I ev even en knew what a conductor really really did. I began my musi musical cal life as a classical guitarist when I was seven, seven, but I soon fell in love with th thee orchestra an andd I tried to absorb everything I could about about it. I feel very fortunate th that at I was able to stud studyy at the Mannes College of Music, where I rreceiv eceived ed m myy ba bachelor’ chelor’ss degr degree, ee, and tthen hen aatttended the Juilliard Juilliard School for a master master’’s and doctorate. I think that the most fortuitous thing for me was that my conducting career developed slowly and steadily. I found mysel steadily. myselff in situa situations—whe tions—whether ther aass the aassociate ssociate conduct conductor or of the Milwaukee Symphony Symphony,, or as the cconductor onductor of the W Women’ omen’ss Philharmonic—that

 

Chapter 2  Path to the Podium   

challenging to me, but also allowed were challenging allowed me to work work with success and fulfillfulfillment.. Beca ment Because use of of this this,, I was was alwa always ys able able to to learn learn and and develop develop.. In looking looking back back,, I am sure that there were other career paths that I might have taken, but I am not sure if I knew what those were were at at the time. In this this profession, profession, we seem to create create our own path, so my first first job—working job—working with a volunteer volunteer orchestra, orchestra, the Queens Queens Philharmonic—was Philharm onic—was a tremendous tremendous learning experience that worked worked for me. The Queens Philharmonic was already in existence when I became the music director,, but I really tor really had to rebuild rebuild it. The orchestra orchestra needed someone someone who was willing to work hard (without any financial compensation) and who had contacts with advanced advanced music students in order to ask them them to come and play play. It was a great deal of of work, but it was a wonder wonderful ful way way to learn. There might have have been been

other paths—perhaps paths—perhaps going to Europe Europe to study, study, or working in an opera house, or becoming an assistant conductor in a large orchestra—but I took the opportunities that were were available available to me. We all want that “big break” break” to happen right away—it didn’t didn’t happen for me, and I feel that I am a much better conductor becausee of tha caus that. t. Ev Every ery step step of my care career er path path enabled enabled me me to grow; grow; eve everything rything haphappened slowly and at the right time.

Successes During my career as a conductor conductor,, there have have been many special moments—the night the Virginia Virginia Symphony Symphony made its debut in Carnegie Carnegie Hall, or returning to Carnegie with the Buff alo alo Philharmonic, Philharmo nic, or my first recording with the Women’ Women’ss Philharm Phil harmonic. onic. All of of these wer weree wonder wonderful ful experienc experiences, es, but I think think what what reall really  y  has meant the most to me is looking back over the years years and seeing what we accomplished as an organization, and realizing that a music director can can help to make a diff erence.All erence. All the concerts concerts are thrilling, but the sum is more than than the concerts.. It is about certs about helping helping a community community begin to to embrace embrace an orchestra, orchestra, to get to know them personal personally ly,, and to consider consider them them valuable valuable to their their quality of life. Seeing slow and important change in an orchestra is the most deeply satisfying accomplish com plishment ment.. It is well worth worth those :  am breakfast meetings at the Rotary  and the Lions’ clubs to look back and you see that that somehow you you have helped helped to knit together an artistic vision for an organization, organization, a vision that everyone everyone can share sha re.. Of co cours urse, e, it come comess with a pric price. e. As a music music dire directo ctorr of a regio regional nal orch orchesestra, you are are always always worried about challenges in addition to to the music—ticket music—ticket sales,, perso sales personnel nnel issue issues, s, fund-r fund-raisin aising, g, mana manageria geriall dutie duties, s, and the rela relations tionship hip of  the orchestra to its extended community community.. It is daunting and it takes a tremendous amount amou nt of wor work. k. Seein Seeingg that the hard hard work work and time make make a diff erence erence has really  been a great satisfaction for me.

 



Beyond the Baton 

Frustrations Our industry tends to foster foster two ideas that are unfortunate: the supposition that  you have to have have success early in in life, and that the budget budget size of your orchestra is very important.

We have all been frustrated with questions like What is our next career move?”” and “Why aren move? aren’t ’t we conducting conducting a bigger orchestra?” orchestra?” In the music business, we are conditioned conditioned to early early success—the -year -year-old -old prodigy playing the violin or piano—so that if your conducting career doesn doesn’t ’t happen happen right away away,, we think something is wrong. Sometimes young young conductors are so focused on looking for the next step that they forget that they are actually doing what they always dreamed of doing—they are conducting conducting an orchestra orchestra and they are enriching enriching the artistic artist ic life life of a comm community unity.. In ter terms ms of of cond conducto uctors, rs, it might might be best best if the care career er doesn’t blossom right away. away. Too much repertoire for a young conductor can result in a lot of repertoire done badly; and too much pressure to increase increase your current orchestra’s orchestra’s budget might lead to half-filled halls and financial instability for the organization. Take the time to learn and grow musically with your orchestra. Often, it is actually a disadvantage to work work with a professional orchestra situation situation too soon. soon. If you have have a number number of bad experiences experiences becaus becausee you are are not ready ready,, you might be actually setting your career back by many years.

Perseverance Because of Because of the critic critical al natur naturee of of the field field,, eve every ry single single conduc conductor tor,, at eve every ry level, level, has days, days, week weeks, s, and even even years, when he/she he/she is depressed depressed or confuse confusedd about his/ her career.where career . Thereyou willcan be practice be moments when you will feel as if you will as never bethese in a situation you what youyou trained so diligently for. During for. times, time s, it is the love love of of music that that keeps keeps us going. going. We just can can’t give give up. up. We keep keep on conducting and learning. That is why why it is so important for each of us to try to understand under stand that that we must must live in the the moment. moment. I believe believe that all of us must focus focus on how we we can develop further as musicians. At a certain point, you will be very  glad for all the study and for all the time you invested in every score and every  professional training opportunity.Y opportunity. You should never scatter your energy by wondering why and why not—it diff uses uses your concentration. concentration. Your energy should be targeted on what you you are doing musically. musically. In reality, reality, the conductors that that seem to spring out of nowhere nowhere,, really have been putting putting in their time—often time—often decades of  study—beforee people decide that they are study—befor are the next “hot” conductor conductor.. It is not a profession where you can graduate from the conservatory and be immediately 

 

Chapter 2  Path to the Podium   

successful as a conductor conductor.. No Now, w, I no longer longer spend energy frustrated frustrated by what I can’t can ’t control control or by asking “What is next?” Instead, I have discover discovered ed wonderful music, musi c, won wonderfu derfull colleagu colleagues, es, and wonder wonderful ful experience experiencess within the the orchest orchestra ra and within the communities. communities. I try to live in the the present. This has made a very very positive diff erence erence in my life.

The Conductor’s Role Over the last last twenty years, the conductor’ conductor’ss role has changed dramatically dramatically.. I think  that our job job is actually harder now now. In the past, past, the conductor conductor was completely completely in charge. char ge. An Anything ything the maestr maestroo said or did was never questione questioned; d; decisi decisions ons were arbitrary and sometimes made without any attention to the needs and desires of  the musicians. musicians. Now we deal in a more collegial way way with our orchestras, but at the same time, time, we still have have the final final responsibility for the results. We recognize recognize that the work environme environment nt of the musicians with whom we work work is critically important. I think this has added new challenges to what what was already a very very difficult profession, but in the the end, our role is much more satisfying satisfying because the conducconductor is fully collaborating collaborating with the musicians in the the music-making. We should think of conducting an orchestra orchestra as an expanded chamber chamber music music experience. When you are faced with making difficult decisions, you know that you you are makmaking them because they they are best for the the total organization. organization. It should always always be a question of “What is best best for the orchestra?” Orchestr Orc hestras as are compris comprised ed of extr extremely emely talent talented ed and diverse diverse people. people. I think  that this aspect is quite quite challenging and rarely addressed addressed in music school. In the conservatory you study study music and occasionally preside preside over an an orchestra of your colleagues and your friends. When you are are in front front of a professional professional or semiprosemiprofessional fessi onal orchest orchestra, ra, you are are in front front of seve seventy-fiv nty-fivee to one hundre hundredd experts. If you add up the number of years the the musicians have have studied studied and the number number of hours they have have practiced practiced,, it is absolute absolutely ly daunting. daunting. Man Manyy of thes thesee musicians musicians never never expected pect ed to be in an orchestr orchestra; a; they expected expected to be soloists. soloists. Someh Somehow ow,, you have have to build them into a performing team and psychologically make it satisfying for these talented individuals. individuals. To be successful, you have have to recognize recognize the incredible incredible artistic mosaic in in front of you. You begin to to realize that it is the human human beings behind  those instrume instruments nts lives, who are really are making music. Theirds,music directly rect ly influenc influenced ed by their liv es, their moods, mood s, their the musical musi cal standar standards, tastes, tast es,isand

aspirations. Working with extraordinarily gifted gif ted artists in a situation that doesn’t alwayss allow for their personal satisfaction is, perhaps, the most difficult issue you alway will face as a conductor.

 



Beyond the Baton 

Residency  Another concept concept that has changed regarding regarding the role of conductor conductorss is the fact of  residency.. I don’t residency don’t know when our our current practice practice of a conductor conductor spending only  five to ten ten weeks in a community community became the norm, or why orchestral orchestral associations accept accept this this lack of com commitm mitment ent from their their artistic artistic leaders. leaders. The great great conductors like Toscanini, Stoko Stokowski, wski, Ormandy lived lived in the cities where they they conducted. duct ed. They went went to to dinner dinner parties, parties, atte attended nded social social functio functions ns as a part of their normal norm al life. They knew their their community community.. Mae Maestro stro Orman Ormandy’ dy’ss yearly yearly bill for flowers was $,! He knew so man manyy people people perso personally nally.. If a supporte supporterr or a donor was was ill, they recei received ved flowers flowers from from the Maestr Maestro; o; if some someone one had their their first first grandchild, they received received flowers. flowers.This This was a man who relished relished being being a part of the community.. It is critically important that you community you become become a part of the community  community  in which you conduct. To magically appear for each concert is not enough. If you are are a music music directo directorr, the organiz organization ation should should come come first, first, not your your career.. I get calls from people who have reer have been off ered ered their first job and they are already worried about what their next step will be: “Should I stay here three years? years? Should I try for something else?” I always remind remind them, “Y “You ou were just entrusted with the the incredible incredible respons responsibili ibility ty of this preciou preciouss artistic artistic entity. entity. Don Don’t ’t worry  worry  about what you will do next. Worry about what you are going to do now for this orchestra.” You may not be able to conduct the all the pieces you want to, or take the orchestra on tour, tour, or hire expensive soloists. It is more important to make make decisions that are are best for the orchestra orchestra and the organization, organization, not best for you you or  your ego. ego. What is the point of being a conductor if you are just just going to use the orchestra for your your own interests—if interests—if you are are not changing the orchestra for the the bette bet terr, if yo you u are are not not build building ing it, it, if yo you u are are not not helpi helping ng the the memb members ers of the orchestra realize their potential as musicians? Your orchestral musicians are completely committed committed to the organization. organization. Can the music director director be anything less?

Fund-Raising  Conducti Con ducting ng is abou aboutt making making music, music, and sharing sharing owner ownership ship of of that musi musicc in every public every public way way that you can. If you yourr time time is is well well utilize utilized, d, all of of these extra involvements volv ements will have a positive impact on the organization and help with w ith fundraising. After giving a speech speech at a local Rotary Club, Club, you might might discover discover that the president of the cement company company in town town happens to be an avocational avocational cellist—

perhaps he would would love the opportunity of sponsoring Lynn Lynn Harrell as a soloist. soloist. Or that a wealthy wealthy patron has a daughter who who is very interested in art, and would enjoy helping create create the visual component component of your concert concert that is focused on art.

 

Chapter 2  Path to the Podium   

Because of you Because yourr access access to this this type of of infor informati mation, on, you yourr role role in in fund-rais fund-raising ing is is strategizing and sharing information that you have collected from your interaction with the community community.. As the music director director,, you are the the appropriate appropriate person to explain your artistic vision and to share your enthusiasm for specific projects. Why is it important to perform the Mahler Second Symphony on the seventyfifth anniversary anniversary of the orchestra? Why is this particular guest guest artist so critical? Why do you need two t wo more cellists in the orchestra? No music director, director, howev however er,, would be well used by by going on every call and asking for small gifts. Your involvement volv ement should be focused on on larger or sustained gifts, in communicating communicating artistic vision, and in building building long-term long-term relationships. relationships.

Community Interaction More and more demands are More are being made on conductors conductors in the area area of administration, and community community interaction. interaction. I sometimes sometimes joke that being a music director director could be a full-time job without without the concerts; concerts; we could easily easily spend  percent of our time on our noncond nonconductin uctingg responsibi responsibilitie lities. s. In fulfilling fulfilling these these demands, demands, good communication communication skills are critically important. You will write the columns for the the newsletter; newsletter; you will present present preconcert preconcert talks; you will give give speeches speeches to to countle cou ntless ss civic organi organizat zations. ions. Each of the these se encount encounters ers will requir requiree a diff erent erent perspective. perspecti ve. How do you you communicate communicate with people? In our society society there are many who are are curious about music but don’t don’t have have a background in the arts. It is important that we are able to clearly express ex press our thoughts about the repertoire we conduct. Man Manyy people tell me that while it is enlightening to hear a professor professor or music critic speak, they really enjoy enjoy hearing from the performer performer.. The relationship relationship is diff erent. erent. If the speak speaker er then then gives gives a performa performance nce of tha thatt piece, piece, it gives gives immediimmediate relevance relevance to what they are saying. As a conductor and music director director,, you have have to be able to communicate on many diff erent erent levels—a talk for a third grade class, for a high school school band, band, for an orchest orchestra ra managers managers’’ confer conference. ence. Few of us have have forformal training in areas areas such as public speaking speaking and professional professional writing. Instead, Instead,we we

learn on the job. It is critical for conductors to be willing to become spokespeople spokespeople for our art and ambassadors ambassadors for the presence of music in a community. community.

Words of of Advic Advicee Here are my my words of of advice for conductors: conductors: .

Enjoy stud Enjoy studying ying the the musi musicc . Be prepa prepared red for disa disappoin ppointmen tmentt . Be per persi sist sten entt

 



Beyond the Baton 

conductors need to be prepared to I think that conductors to spend the rest of their lives studying music. You can never know enough and you you can never learn learn enough. If   you are not content content with being on a sort of an endless journey, journey, then you should really find a diff erent erent profession. profession. As much as you study a score and as many many times as you perform it, there is always that feeling on on the podium of “I want to know  this better” or “I wish I could have spent spent more time with this score. score.”” It is an intensivee process and there is tensiv is always more more to learn. There is no setting it aside and saying that “I’m “I’m finished.” finished.” It is never at an end. Secondly,, conductors need Secondly need to be prepared prepared for disappointment. disappointment. You will face many challenges and you you will need to be as flexible as possible. I think that if you want to conduct conduct for the right reasons—if reasons—if you want to to conduct because you are totally in love totally love with with the symphon symphonyy orchestra orchestra,, the idea idea of the symphon symphonyy, and the the musical repertoire—then repertoire—then you will find a way to do it. If there are other other reasons reasons why you you want to conduct, conduct, it is probably not going going to be a happy life for you. you. This is a profession profession where where you create your own path, nothing is laid laid out clearly clearly.. As much as organizations have tried to put apprentice programs and training programs in place, place, essentially essentially,, the route route of of your professional development will be designed by you yourself. yourself.Y You need to relish the the kind of a lifestyle where you you are part entrepre entr epreneur neur,, part musicia musician, n, and part fundra fundraiser iser.. It can can be deeply deeply satisfying, satisfying, but it is a full-time, full-time, full-l full-life ife job. job. Persistence in this field is critical. You would never continue in this profession Persistence if you didn’ didn’tt have have courage, courage, flexibility and persistence, persistence, combined with a thick thick skin, so that reject rejection, ion, which alwa always ys hurts, will not keep keep you from from succeed succeeding. ing. At the the core, cor e, you must hav havee a firm firm belief belief in what what you you can do. do. This, I feel, feel, is separat separatee from from

ego. It is a belief that through through your intense desire desire to make make music, music, you will develop develop to a point where you will have something something musically to say that is valid. You will need to care care so deeply deeply about about this body body of repe repertoir rtoiree and this organiz organizatio ation, n, the symphony orchestra, orchestra, that you are are willing to be persistent despite all discouragediscouragement. Sometimes it takes takes literally literally decades decades before before things happen. You must must be dedicated to to the art form. Do not expect instant success, success, and always always try to see the beauty beau ty in what you you are doing, doing, wher whereve everr you are. are. Thro Through ugh your your eff orts orts you can have a lasting musical impact on an entire community. community. Reco Recognize gnize the incredible beauty and the true value in raising musical consciousness.

 

Chapter 3 Your First Job Getting the Job Once you have have finished your your formal training in conducting, in order to be a conductor duct or,, you hav havee to first first get a job. job. As I mentione mentionedd at the beginning beginning of of the book, book, “How can you get a job job if they require require experience?” and “How do you get experience without having having a job?” Somehow Somehow,, you have have to figure figure out how how to get your your first step on the ladder. If you have have been out there there working for a few years, years, you may may want to move move into a better better position. position. This also require requiress applying for jobs. Most people assume assume that

the longer they they are in the the field, the more experience they will have, have, and the easier easier it will be to to get the the next next job. job. This is is just just not true. true. In the the field field of con conducti ducting, ng, you are always paying your dues.When dues. When you move move to the next level, you pay pay your dues there the re,, and so so on. No matte matterr what, what, if yo you u want want to to be succ success essful ful,, yo you u will will need need to spend a lot lot of time time,, ener energy gy,, and money money applying applying for jobs. jobs.

Applying for Jobs To get a job, job, you should follow follow up on every possible opportunity. opportunity. There are are job announcements in the Conductors Guild job bulletin and the American Symphony Orchestra Orchestra League League (ASOL) (ASOL) announcements announcements that will cover cover most of the larger universities and the regional and professional orchestras in the United States. These are are both organizations organizations that that you you should join. join. They will provide provide you with many resources resources throughout your career career. You also will want to check the Chronicle Chronic le of of Higher Educa Education  tion . This publication often lists jobs that do not show  up on the other other lists. lists. This is especial especially ly useful useful if you are are looking looking for a universi university  ty  position. Take the time to send a personal letter to every orchestra in your area to let them know kn ow that you are available and interested in helping in any way they might need. Eve Even n better than a letter letter is taking the time to call and arrange a meeting meeting with the music music director director,, ex execut ecutive ive directo directorr, or a member member of the staff . The orc orches hes-

 



Beyond the Baton 

tra might might not have have an opening opening at the the moment, moment, but if they like you, you, you might might be the first first person person they they think think of when an opening opening occur occurs. s. Re Rememb member er,, peopl peoplee hire hire people they know—make sure sure they know who you are. Ke Keep ep in touch with them and add them to your contacts list. Keep your eyes eyes and ears out for the the unadvertised jobs. jobs. Man Manyy times, in the field of con conducti ducting, ng, the jobs jobs are filled filled from the the inside or from from a small list list of names that that are familiar to the organization. organization. A press packet packet sent at the right time with the right refer reference ence names names on on it might might get you you on a short short list, list, even if no official announcement hasorchestra been made. When hear a person is leaving, make sure  you contact the contact orch estra to see howyou how their searthat search ch will be handled. Apply Ap ply for everythi everything. ng. When you you are are starting starting out in in the field, field, you can can not aff ord ord to to be picky. picky. To be a good conduct conductor or,, you need need the experienc experiencee of wor working king with an orchest orchestra—sc ra—score ore study study alone alone is not enough. enough. If you are are an experience experiencedd

conductor, apply for anything that is more challenging than your conductor, your current position. It is importan importantt for a conduct conductor or to work work with with a variety variety of orch orchestra estras. s. Whenever you you apply for a job, job, don’ don’tt be disappointed if you are cut from the next round. round. There are usually between two hundred and three hundred people applying for every single conducting job advertised advertised in the country country.. Do not get discouraged; discouraged;  just send out more more applications. applications. The next one may may be the the right one for you, you, and, at worst, worst, eve everyone ryone is still still becoming becoming familiar familiar with with your your name. By the law law of av avererages,, the more ages more applicatio applications ns you send send out, the better better chance chance that that one of them will will work out. Sometimes the jobs are not what they seem from the description. Apply even if you have have concerns. concerns. These concerns concerns can be worked worked out later, later, after you have have been made an off er. er. Often, you will will not progre progress ss far enough enough in the sear search ch to worry  worry  about it anyway anyway. Some jobs that look less than attractive from their advertisements advertisements actually turn out out to be wonderful. wonderful. Others look great great on paper, paper, but when you you get there, you might find out that there are are huge personality personality or financial issues. issues. When you apply apply,, try not to judge judge the position—just position—just put your name name in the hat.

Becoming Known in the Field One of the best ways to be moved up the list from the massive massive number number of applicants for each job is to be well known. Establishing “name “name”” recognitio recognition n does not happen happ en by accident. accident. Name recogn recognition ition comes comes from from years years of atte attending nding conferconferences, ence s, cond conductin uctingg workshop workshopss and master master classes, classes, and from from following following up with people whom you you met at concerts concerts and social events. events. Ev Every ery conductor must be part “publicity agency” when they first start start out. It is essential that that you be be a self-

 

Chapter 3 Your First Job   

promoter promoter and that people know you are looking for conducting positions. positions. It is also important for you to be willing to do almost anything at the beginning of   your career—and even into the middle middle of your career career.. Quite often, it is the small, small, off -stage -stage conducting position for a community opera production that opens a door to a larger larger conducting opportunity; or it is the time you you worked worked as a librarian in the summer for a major orchestra that eventually led to a guest conducting engagement for a children children’’s concert series. Pe People ople hire people they know. know.

Work hard to become known.

Putting Your Best Foot Forward Résumé Rés umé,, Pho Photo to,, and Biograph Biography  y 

It is essential when you apply for a job that you you present yourself yourself in a way that will get you you into the finals. finals. The overall overall look and and quality of you yourr press materi materials als are critical. It is very important early on in your career to spend the money money for good presss photos. pres photos. A conductor conductor is a very very visual person person in a community community,, and people people want a face that they can sell and that people will trust. It is also important that your resume be organized in a professional manner. Even Eve n if you have have very little experience, experience, try to find a way to present present it so it showcases what what you are are capable capable of doing. Abo Above ve all, do not list every every concert you you have have ever conducted, conducted, and do not put emphasis on anything anything before before college. Even your college experience should be minimized as soon as you have have real work experience to replace it. Your resume should be short (one to two pages) and easy to read. A résumé should include: Name Education (college and summer festivals attended) Conducting Experience Related Relat ed Work Work Experience (if applicable) Honors and Awards (–) References () As you mature, less emphasis should should be placed on education education and more more on  your experience. A sample résumé résumé is available available in the Resource Resource section. section. Along with with your résum résumé, é, you should should also also include include a short biograph biographyy of you yourr work. This is usually one page or less in length. length. It should be centere centeredd on the page with your your name name in bold bold at the the top. top. It is a pros prosee version version of the highligh highlights ts of you yourr résumé. I usually include include this first first in my my press packet, after the photo. photo.

 

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Beyond the Baton 

Repertoire 

Repertoire conducted should be listed on a separately attached repertoire sheet. Repertoire This should be updated yearly as you you progress in the field. It is not always to your your advantage to list which orchestras orchestras performed each piece you you have conducted. conducted. If  the orchestras you have have conducted are are not larger, larger, well-established orchestras, orchestras, this will probably work work against you, and it is better to leave leave them off , unl unless ess spe specifi cifi-cally requested. Reviews 

In addition addition to a photo photo,, you yourr résumé, résumé, and a repertoi repertoire re list, list, a press press packet packet should should include inclu de one to three three reviews reviews,, if you hav havee them availa available. ble. It is good to to outline outline the parts of the review review that that deal directly directly with with your your conducti conducting; ng; this will will enable enable the reader to find them quickly.

By all means, never include a bad rreview! eview! Do not include reviews that are hard hard to read. rea d. Often it iiss difficult to photocop photocopyy newspa newspaper per revie reviews ws adequ adequate ately ly.. If you ar aree not able to create create a “c “clean lean”” copy copy,, I would ad advise vise you ttoo retype the article in a newspaper format. format. This will ke keep ep your press pack packet et looking pro professional. fessional. Do not include reviews in other languages. This create createss a pretentio pretentious us element that will

 

Chapter 3 Your First Job   

work in your not work your favor favor.. If you absolu absolutely tely want want to include include the the review review,, inclu include de a translation. Do not include copies of programs or excessiv excessivee materials. materials. Symphon Symphony  y  offices are drowning in paperwork—do not give them more. References 

You also may be asked asked to provide letters letters of reference reference.. Usually three are required. required. It is good to have a generic letter from your your most recent conducting teacher teacher,, a letter from a colleague colleague or orchestra orchestra member, member, and a letter from someone someone on the staff  or board board of an orchestra orchestra you you have have worke workedd with. Mak Makee sure these these people people know you well enough to write a good recommendation before you ask them. They should be personally familiar with your your work. These letters are usually usually addressed “T “Too whom it may may concern,” with no specific date. Once you have have these these letters, you will not have to bother bother your contacts contacts every few weeks when you want to apply for yet another job. If the job is a very specialized specialized position and you you think  that a personalized letter would be more eff ective, ective, by all means means ask for one and include it in the packet. Some people only ask for the names and contact contact information information of the three refreferences, ere nces, not letters. letters. Mak Makee sure that, that, as you are are listing people, people, you have have contact contacted ed them to let them know you you are using their name name as a reference. reference. No one likes to receivee an unexpected phone call. You also should send them an updated resume receiv so they have have the most recent recent information to refer refer to if someone contacts them. them. Often,, this type of refe Often referenc rencing ing now tak takes es place place thou though gh e-mail e-mail.. Ma Make ke sure you have a current e-mail address for your references and permission to distribute it. The names you use use as references references are are very very important. If someone on the the committee knows one of your referenc references es personally personally,, this will go far towar towardd moving  your resume to the “yes” pile. You will probably want to vary your referenc referencee names for each job to which you apply. apply. This way you can identify people who you think might have a relationship relationship with the organization. Try to utilize contacts who know your work work but also are well-respected by the field at large. large. If you don’t don’t yet know people in the larger circles, then use people who have have very persuading personalities and who totally believe believe in you. Good references references are very important to getting the position. Also, recognize that the search committee committee will undoubtedly  be who bridges. are not listed are as references. referenc why field; it is sothe importantcontacting not to everpeople burn your burn The music worldes. world is aThis veryissmall very blind reference is the one they will usually take more seriously. Be very clear with the organization to which you are applying whether it is proper for them to contact contact anyone anyone at your your current orchestra. orchestra. Often, you will not

want to rock the boat boat with your present job, job, yet you still want want to be looking for  your next step up the ladder ladder.. Most search committ committees ees are sensitive to this and will

 

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Beyond the Baton 

your current employer not contact your employer without notifying you, but you might want to to double doub le check. check. This is usually usually only only done in the final final round round of a search. search. Videotapes 

More and more, videotapes are being required More required in the second and third rounds of  applications, before people are actually actually invited to to conduct. As much as we would prefer the search committee committee to come come and observe us in person, realistically this is often not possible. Videot Videotapes apes or DVDs give the committee committee an opportunity to see  your work, so that they can narrow down their search to the people who will work best with their orchestra. It is difficult as a conductor to make make a good videotape. Conductors new to to the field are greatly greatly limited by by the quality of their musicians and also by the quality  of the sound produced produced from from the built-in built-in microphones microphones of most low- to mid-range video cameras. It is good good to invest invest early early in a high-quality video camera. This will not only help you create a decent audition tape but also will enable you to use it as a learning tool tool your whole whole life. If you are are a conductor conductor who happens to to be working with a union orchestra, orchestra, it is important that you get authorization authorization to to videotape at rehearsals rehearsals and concerts, and that you have have permission to to use portions of  this tape for auditions. For your your video, the camera should be focused on the conductor’s conductor’s upper torso (shot from within the orchestra), orchestra), not too close, but not so far that they have have difficulty seeing what you are doing. Bes.sure have adequate have andrelathatall gestures gestur es are clearly within focu focus. It is that also you also important to see a lighting to little of the rela tionship with the players, so make sure the camera is not focused too “tight.” Sound is always always an issue with conducting conducting videotapes, because the camera camera is often placed by the percussion or other loud instruments that totally distort the sound.. If you are able to have sound have a prof professio essional nal video video produce produced, d, you can take take the the sound feed off the audio audio recordin recording. g. This is the best solution solution,, and well worth worth the cost. You also can look into purchasing a remote remote microphone microphone system, system, where a mike can be placed in the hall that will w ill react with a radio-controlled unit on your camera. This will produce a better musical musical impression for the search committee committee

to evaluate your work. The overall tape should be short (twelve to fifteen minutes) but no longer than twenty minutes (unless a diff erent erent length has been specified by the search committee committ ee for the job to which you you are applying). Ev Everything erything should be clearly  marked on both the tape and the box. The labels for your tapes and boxes should be prepared on your your computer so they look as professional as possible. Make sure sure  your name name is on everything everything you submit, because it is easy easy to confuse confuse video tapes

 

Chapter 3 Your First Job   

when the committee and packets when committee is looking through over over a hundred. hundred. It is also good to include the the name of the ensemble and a little background background on the type of  orchestra.. A repertoir orchestra repertoiree list of the content contentss of the tape is also importan importantt to include, include, along with the starting points points (in minutes or tracking numbers) of each piece. In selecting repertoire repertoire to put on your videotape, you can either submit an entire piece or often the committee likes to see short selections from two to three contrastin cont rastingg pieces. pieces. Try to demonst demonstrate rate a variety variety of musi musicc style periods periods.. If you do have access access to both concert concert video footage and rehearsal footage, footage, it is good to include both. In order to to prepare short examples, you will need to to purchase a video editing program for your your computer. computer. This is a useful tool because it allows you to insert titles titles and to add fades, up and down, of both the the music music and the picture. picture.This This will add to the the professi professionali onalism sm of you yourr presentat presentation. ion. If you do not not have have access access to this type of video editing equipment equipment and programs, try to locate locate a person person in your your community who who films weddings. weddings. They will be very very experienced in editing tapes tapes and they will be more reasonably priced than a commercial editing studio. There is a trend to shift from videotape to DVD DVD technology. technology. DVDs are are actually easier to copy than than VHS tapes. Search committees committees are now now accepting DVD DVD formats, form ats, so either either is accept acceptable able to send. send. If you are sendi sending ng VHS, you need to be be very care careful ful when when making making copies copies of the tape. Often Often,, two diff erent erent VHS machines will vary in speed. This will actually distort distort your sound and image. image. Make sure you you take the time time to check each tape before before it is sent. Sometimes a tape becomes becomes distorted or the picture is not clear. clear. Abov Abovee all, you want to avoid avoid sending an inferiorquality or defective defective videotape. It also is important to to note that European European and Asian VHS and DVD formats are di ff erent, erent, and not compatible compatible with what is used in the United United States. States. Applicants should should be aware aware of this when they are are preparing preparing their tapes, tapes, and they should should make make every every eff ort ort to have the tape adapted to the

proper format for the country to which they are applying. Cover Letter 

When you submit materials, materials,you youin often be require required to write letter letter that expresses whyyour you are you interested interested thiswill position. With Wit hdthis lettera, cover letter, be positive and honest. Try to phrase things in terms terms of what strengths strengths you you would bring to the organization. organization. Emphasize your your work work experience and accomplishments accomplishments that parallel their job description. Try to let your personality come come through, but don’t don’t ramble on and on. It is advisable to to keep the the letter short, no more than than two pages. A three paragraph paragraph format is usually the best approach. approach. During the first paraparagraph, tell them them why why you think think you you are a good good match for this this position. position. In the second paragraph, paragraph, emphasize the two or three main main examples examples of your experience

 

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Beyond the Baton 

you for this that qualify you this job. job. In the third paragraph, thank them and make make sure they have have your your contact contact information. information. After you you have have finished the letter letter,, alway alwayss have someone someone else proof your resume resume and cover cover letter for typos and grammar before you you send them. A good, concise cover cover letter is your your best opportunity to make make a unique impression. Submitting the Press Packet 

When you submit your cover cover letter and press packet, be sure to mail it weeks before the deadline. deadline. Sometimes organizations organizations look at applications applications as they arrive. arrive. They spend more time theofones that arrive early beforeagain the rush. Makeemight Mak sure that that your your nam name e is reviewing on the front front your you r press pres s packet. pack et. Once again, , it is easy to confuse packets packets that are are not well labeled. Before you you mail your packet, packet, double check to make sure it includes the following: Cover letter Bio and résumé Photo Repertoiree list Repertoir Two to three reviews (in English)

Two to three three letters of recom recommendation mendation Copy of brochur brochures es or programmi programming ng from from current current job job (if availab available) le) Videotape Videota pe or DVD (only if required required))

Dealing with Rejection There will be many times times when you will send a press packet, packet, but you will not hear anything an ything for for months. months. If you do not hear back from from the comm committe itteee within within a month mont h after the close close of thei theirr deadline deadline for applicati applications, ons, this usually usually means means that they have have selected other candidates candidates for their second and third third rounds. Often the entire search will take place before you are o fficially notified that you are no longerr being consider longe considered. ed. This constant constant waiting waiting can be extremely extremely stressfu stressful.l. The best strategy is to apply for many many jobs, but do not get your your hopes up for any any of  them. Conducting is an incredibly competitiv competitivee occupation. occupation. You might get rere jected for fifty positions before you get your your first interview. interview. Just because because you are not selected for the finals round does not mean that you are not qualified to be a conductor.. Each organization conductor organization is looking for the right match for their their position. They also want to make sure it is the right job for the candidate and that the person they select will be able to work work within the artistic level level of their orchestra and and fit in the community.

 

Chapter 3 Your First Job   

There also are other elements that aff ect ect conduct conductor or searche searches. s. What type of  image does the organization organization want to convey convey to the the community? If an orchestra had an older older cond conducto uctorr, they might want to hire hire some someone one young. young. If they had someone European European as their previous previous music director, director, they might want to try an American. Amer ican. If the orch orchestra estra speci specialize alizess in in new new music, music, or in cham chamber ber orch orchestra estra repertoir repe rtoire, e, or opera, opera, thes thesee conside consideratio rations ns will aff ect ect whom they promote to the nextt round nex round of the their ir sear search. ch. Re Regar gardle dless ss of the these se facto factors, rs, yo you u cannot cannot chang changee who  you are. You must always always be true to your musical musical beliefs, standards, and creativity.. Neve ity Neverr try to add a foreign accent, accent, change your your name, or alter your true true musical passions, just to get the the job. Just believe believe that the the right job is out there there for you that is the perfect match for your skill set and for your current artistic level. Conducti Con ducting ng is not an occupatio occupation n for the the faint faint of heart. It can be be very disdiscouraging to get one rejection letter letter after another. another. Having the door constantly  constantly  shut in your face can make make you want to do something else with your life. Resist

the temptation temptation to just give up. up. If you really really want to conduct for the the right reasons,  you will somehow find a way. way. Often, you will have to conduct for free to simply  acquire the experience and résumé material material to apply at the next level. The more  you conduct, the better you will become. Look at every opportunity oppor tunity and try to build it into a stepping-stone to the next one. Concentrat Concentratee on continually growgrowing as a musician so that that when the right opportunity drops drops in your lap, lap, you are are ready to to shine. Kee Keeping ping a positive positive attitude attitude throughout throughout your your career career is one one of the most important factors in achieving success.

The Interview  Phone Interview 

If you have have made it through the first round and your reference reference checks have gone well, you might might have have the opportunity of a phone interview interview before you you are invited in person to work work with an orchestra. Interviewing is an art and not one in which most conductors conductors have a lot of experience. Before this interview, interview, do your your research research about the orchestra you you are applying with. You should know about its past programming, gramm ing, the size size of its budge budget, t, the numb number er of con concerts certs it perform performs, s, and the the size size of the board. board. Much of this resear research ch can now be done on the the Web Web because because almost almost every orchestra orches tra has a Web Web site. You also can use Guidestar.com to obtain information regarding an orchestra’s IRS  tax filing or simply ask them for last  year’ss audited financial records. This will give you a window into their financial  year’ position, posit ion, and it will help you to evaluat evaluatee where they they spend their money money.. It also may help help with assessing the salary level. Before the interview interview,, write out a few (but

 

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Beyond the Baton 

not more than five) five) questions that you would would like to ask. ask. Us Usually ually,, at the end of  of  the conv conversa ersation tion they they will ask you you if you have have any any questions. questions. Durin Duringg a phone interview it is only appropriate appropriate to ask one or two, but a longer list helps to keep keep  you focused during the rest of the conv conversation. ersation. One question I alway alwayss ask is, “Where would you like this organization organization to be in five years?” Their answer to this question quest ion will tell tell me a little more more about about their their vision of the future future of the organiorganization. zati on. Fr From om this this answer answer, I can see if I would would be a good good “fit “fit”” to take take them them where where they want want to go. It is also important important to to spend time writing writing out, out, and answering, answering,

some of the main questions questions that you you think may may be asked. asked. Some popular interview  interview  questions include: .

Tell us a little about about your background background and why why you think this position would be the right position for you. . What have have you accomplishe accomplishedd in your your current job that you are are proud of of?? . How would your your current current employer employer describe your your strengths strengths and weaknesses? . What do you cons consider ider the the three three most most important important respon responsibil sibilitie itiess of a . . . . . .

conductor? Describe your your programming programming style and how you select your your music. What are are your your feelings feelings about about new new music? music? Describe Descr ibe some some ideas you you have have in the the areas areas of educa education tion and and outreach outreach.. What is your your opinion on a conductor’ conductor’ss involvement involvement in fund-raising? How would you you balance balance this job with your your other current current responsibilit responsibilities? ies? Where wou would ld you you like to to be in five five years years??

As you go through the interview, interview, answer each question in three to five minutes or less. Avoid talking too much, and make sure sure that you really really answer the question they asked. Never go into long explanations about things they haven’t haven’t asked you you about.. The interviewers about interviewers are usually usually on a schedule, schedule, and a person who meanders meanders in a phone conversation conversation might also be “unfocused” on the job. Try to avoid asking or answering any questions about salary and benefits. A phone interview is too early  in the process process to talk about these details. Above all, make sure sure you convince them that you really want the the job. job. No matt matter er how how good you look on paper paper,, if they perperceivee that you are not really ceiv really interested, interested, they will move on to someone else. else. Ev Everyeryone wants wants to feel feel that their job is the the most important important.. Mak Makee sure that, even ifif you already have have other conducting jobs, the search committee committee feels that the position with orch estra is committ yourmittee, ultim ultimate time to create create a warm, rap-. port their with orchestra the search com ee,ate butgoal. donT’take don’t joke around around during the open interview. interview Above Abo ve all, be honest. honest. Rem Remember ember that that they are are judging and weighing weighing every every word  you say say.. They need need to sense sense that that you you are are a person person whom whom they can trust. trust.

 

Chapter 3 Your First F irst Job   

Live Interview 

If you are are lucky enough to progress to the live interview interview round, it will probably  probably 

be in the conte context xt of a guest guest conductin conductingg off er er or an audition with an interview  component. When you arrive, make sure that that you are professionally professionally dressed dressed to assume assu me the level level of job for which which you you are applying. applying. The same same preparati preparation on and questions apply for this interview as the phone interview, interview, only now they will have have an opportunity to judge your personality personality and your presence. Find out as much as possible about the process and who will be involved involved in advance. advance. Continue to do as much research research as you can about the organization, organization, and be prepared to answer answer questions about your future career goals and how this position would fit in. If the interview is for an assistant conductor conductor position position with a large orchestra, orchestra,  you should be confident, but you should also appear moldable. No one wants a know-it-all as an assistant conductor conductor.. During this interview, interview, you will probably probably be asked about programming programming educational concerts and pops concerts. You should have a couple couple of programmi programming ng examples ready so that you you can demonstrate your your expertise in both both of these are areas. as. You also also should should bring bring a copy copy of the repert repertoir oiree that you have studied and conducted conducted so that they can can see the depth of your experience. You also might be asked asked to present a short short preconcert talk as part of the interview process, or to speak with the education committee committee about how you might be involv involved ed with the educational educational outreach of of the organization. organization. If you are are interviewing interviewing for for a music music directo directorr position, position, you will will want to to talk  about your your programming programming philosophy philosophy and artistic vision. The committee committee will often ask for examples of subscription concerts concerts or seasons you have have conducted conducted in the past. In addition to this, you might be be given an exer exercise cise to submit repertoire for the next two seasons seasons of of their orch orchestra estra.. Do not be worrie worriedd about about giving up up  your “gre “great” at” programm programming ing ideas. This type of request is part of the process process to to see if you are are a good good fit for the organization organization and most of the repertoire repertoire examples examples are only used during the the interview process. process. After they have have finished finished their list of of questions, you will have have an opportunity to find out out more about about their organization. organization. Questions you might want to ask them could include: .

What are are some of the biggest biggest challe challenges nges that that this this organiz organization ation face faces? s? . Ho How w are you you dealing dealing with these these challeng challenges? es? . Descri Describe be your your ideal ideal music direc director tor.. .

How many many subscribers subscribers or regular regular audience members members do you you have have currently? Is that number going up or down? To what do you attribute this trend? . Des Descri cribe be the the backgr backgroun ounds ds of som somee of the orc orches hestra tra memb members ers and and elaborate on on the strengths strengths and weaknesses of the overall overall ensemble.

 

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Beyond the Baton 

.

Describe a concert experience that you you really really felt was exciting. exciting. . Where would would you like this orchestra orchestra to be be artistically in five five years? years?

As with the phone phone interview interview,, av avoid oid talking talking about salary salary and benefits. benefits. When the subject does does come up, up, try to avoid avoid being the first one to state a number number.. If you have done your your homework homework well, you should should have have a pretty accurate accurate idea of what they should be off ering. ering. When they they have have decided decided that that you, you, and only only you, you, are the the one they want, you will be in the best position to negotiate negotiate a good package.

The Audition Short Auditions 

A conducting audition can range in length from ten minutes to an entire week. Forr assistant Fo assistant conduct conductor or jobs, most large large orchestras orchestras select select a field of sev seven en to ten candidates and run them through a very short audition process (sometimes only  ten minutes each). each). Finalists may be invited invited back to conduct a longer rehearsal rehearsal or to perform a children’ children’s concert. Us Usually ually the repertoire for these auditions is provided just just a few weeks weeks in advance advance,, so you will will not have have a lot of time to to prepare. prepare. Often Oft en they they will will specify specify sect section ionss of a larger larger work work.. Ev Even en if thi thiss is the the case, case, in prepreparing for the audition, make sure sure you are familiar familiar with the entire composition. This will bring further depth to your interpretation. One of the biggest questions you you might have have during your audition audition is whether to rehearse rehearse or to just run through the pieces. pieces. It is usually best to ask the commitcommittee in advance what they what like, although often they are not clear Regardle in their expectation. Ultimately, Ultimately , youwould will have hav e to rely upon your your best judgment. Regardless, ss, don’t stop to rehearse anything until you have given the orchestra a few minutes to get used used to your your style of cond conductin ucting. g. Ev Every ery orchestra orchestra needs needs time to to settle. settle. If you are going to correct correct something, try to talk about the music and what you you want regarding gar ding phrasing phrasing and articulatio articulation; n; do not single out individual individuals. s. Some Sometime timess an orchestra will use an audition as an ear-training ear-training test. test. Be sure to listen listen for purposelyy play posel played ed wrong wrong note notes. s. Often, if you do not not corre correct ct these these wrong note notes, s, you will have failed the test, and they will move on to the next person. person. When you first first come onstage, onstage, be pleasant and shake shake the concertmaster’ concertmaster’ss hand. Smiling at the orchestra orchestra will help you feel more relax relaxed, ed, and it also helps them to to feel more more comfortab comfortable. le. Tell them wher wheree you want want to start, start, and then then begin.. The time begin time will usually usually go quickly quickly.. At the the end of the audition audition,, mak makee sure that that  you thank the orchestra. It is also common to shake the concertmast concertmaster’ er’ss hand before you leave.

 

Chapter 3 Your First F irst Job   

Guest Conducting Auditions 

For guest conducting auditions, auditions, you will probably be involved involved with the organization for four to five days. days. Remem Remember ber that every every minute of this time you you are being  judged and analyzed. Usu Usually ally you will have four rehearsals rehearsals to prepare a concert. Sometimes you will be inv involved olved in selecting the repertoire and sometimes it will be already already chosen chosen.. Often Often,, it is a combi combinati nation on of the two, two, wher wheree perhaps perhaps the the guest guest artist’ss repertoire is decided beforehand, but you can submit ideas for the rest of  artist’ the program. These suggestions are usually usually narrowed narrowed down through conversaconversations with the executive director director or the search committee, committee, until you come up with a mutually mutually satisfying program. program. If you really really want the job, job, it is best to fill your your short list of suggestions with pieces such as Tchaikovsky’ Tchaikovsky’ss Symphony No. No. , Res Respighi’ pighi’ss Pin ines es of Rom ome  e , or Muss Mussorg orgsky sky’’s Pictures at an Exhibition , re repert pertoir oiree that that has has proven over and over to be “standing ovation” proven ovation” pieces. pieces.Y Your success as a guest conductor will be weighed not only on your your response from the the orchestra, but also by  the response response of the audience. audience. Mak Makee sure that you you put your your best foot forward on both fronts. fronts. A piece with an exciting, exciting, dramatic ending will help seal the deal. At least five weeks weeks before the concert, concert, make sure sure that you you have have sent all of the information that might be needed needed to make the concert concert a success. This would include special instructions for for the crew crew,, seating diagrams if you like the orchestra arranged a certain way way, and specific notes for the the staff or orchestr orchestraa members. members. In doing this, you will demonstrate that that you are are an organized person who pays pays attention to details. Often you will be required to do a preconcert preconcert lecture as part of  the audition process. Let the staff know what type of equi equipment pment you you will need need for the lecture and make sure you you are fully fully prepared. prepared. If you are are going to use use musical examples during the talk, test all equipment with your recording recording samples ahead of  time. Nothing is worse than a lecture with musical examples that play incorrectly. incorrectly. As you you work work with the orchest orchestra ra througho throughout ut the week, week, kee keepp a chart of thei theirr names handy on your music stand. Try to call people by name as much as possible. Mak Makee sure that you you have have sent an accurate accurate rehearsal schedule schedule ahead of time, and stick with it. You will be judged on how how well you use your time. time. During rehearsals, hear sals, as in the shorter shorter auditi audition, on, try to focus focus on musical musical concept concepts. s. You want the musicians to know that you have something to say musically. musically. Be relaxed and

pleasant at all times, and no matter matter what what happens, never appear appear frustrated, frustrated, angry, or nervous. The ability to to “keep one’ one’s cool” in stressful stressful situations is the mark of a good leader. leader. Sometimes, this skill alone will actually get you you the job. Usually sually,, any of the five finalists finalists for a position are all all educationally prepared prepared to do the job. job. At this level, it often comes comes down to chemistry chemistry.. The job must must feel right

 



Beyond the Baton 

auditioning, and the relationship for the person auditioning, relationship must feel right for the orchestra members. The search committee committee and orchestra members must have have confidence in this person’s person’s ability to take them to the next level, and the audience must connect with the energy that is coming from the stage. You could conduct a very presentable senta ble conc concert, ert, but if the exc excitem itement ent is not not ther there, e, you will pro probabl bablyy not not be be off ered ered the job. job. Like any any type of com competit petition, ion, ther theree must be winners winners and and losers. losers. Don’t Don ’t let it bother you. View the guest conducting as an opportunity to make new  friendss and to conduct friend conduct great great music. music. The rest rest will take take care of itsel itself. f.

Negotiating the Contract

Negotiating Diff erent erent Types of Job Jobss After the search committee has decided dec ided that you are the one they want for the job, it is time to to negotiate negotiate a contract contract.. A contract contract is really really just just an outline outline of basi basicc responsibilit sponsi bilities ies and a definition definition of the payment payment structure structure.. A well-drafted well-drafted contract contract is important, but even more more important is a clear clear understanding from from both parties of of the mutua mutuall expectation. expectation. You need need to clarify clarify,, unde understan rstand, d, and fully fully accept accept  your responsibilities. responsibilities. Your contract will usually usually be signed by by the president president of the board, boar d, or the chairm chairman an of the departme department nt if the job job is at a univer university sity,, and you you will report to him directly. directly. Wit With h smaller orchestras, this contract will be negotiated by  the president president of the board. board. Wi With th larger orchestras, it might be negotiated negotiated through through the executive executive director director.. Regar Regardless, dless, you will work closely with the the leadership leadership of the organization and it is important that you retain a good relationship with them at all times. times. If you have professional management, the negotiations negotiations will be probably  coordinated coordinat ed between the executive executive director and your manager. manager. The board may be brought in only to approv approvee the final contract.

Do not allow yourself yourself to be talked talked into accepting a job job without a written contract or at least a letter letter of agreement. Man Manyy conductors conductors have have experienced hardship because of items verbally verbally promised, promised, where they had no written confirmation confirmation or clarification. clarification. It is not only critical critical that your agreement is done in writing, but also that in multi-year contracts, contracts, both parties honor the dates for renegotiation. renegotiation. After you have have been with an orchestra for a few years, it is easy to become relaxed relaxed about this issue. This is when it is most important for you to remind remind the board of  their renewal commitments commitments regarding your contract. contract. Failure to do this might end in a surprising end of your tenure tenure without proper notification. notification. You are in a strong negotiating position when you begin a job. Arts organizations, howev however er,, tend to be relatively relatively set in their their pay levels, and you may find that encouraging them to to spend more money money is not always always possible. Sometimes it is

 

Chapter 3 Your First Job   

better to negoti better negotiate ate flexibili flexibility ty of sched schedule, ule, fewe fewerr concerts concerts or or classes classes to teach teach (if (if it is a universi university), ty), or other other benefits benefits such as the the use of a car or an apartme apartment nt when  you are are in town (for a regional orchestra). Sometimes these additional additional perks can be donated to the organization so they do not add substantially to the budget. Look for creative solutions that add to your overall compensation package but that don’t don’t add additional stress stress to the organizational organizational budget. The search comcommittee will appreciate your eff orts orts in this area. The negotiation will be dramatically diff erent erent dependi depending ng on the type of of orchestra. Assistant conductor conductor jobs are are usually fixed in salary and they often will not pay travel or extra expenses. Youth conductor jobs will usually require that  you live live within driving distance of the orchestra. orchestra. They will also be fixed in salary  with very little room room for negotiating. negotiating. Uni University versity jobs have have criteria of course loads and committee responsibilities responsibilities that are defined by the university, university, but sometimes this can be negotiated. negotiated. With a university university,, really push for the highest salary possible when you begin the job because because after that, raises are often fixed across across the board for the entire university university.. Benefits at a university university also tend to be the same for everyone. Regional orchestras will be the most flexible in the negotiating process. process. It is important to to remember remember that the actual act of negotiating is not only acceptable, but it is expected by by the other party. Do not be concerned concerned that they will think less of you if you are specifi specificc in what what your your needs needs are; are; and do not not be afraid afraid that they will rescind their job o ff er er if you yourr stated stated needs needs are diff erent erent than what

they first off ered. ered. Do your your homew homework ork ahead ahead of time and and know your your full full worth. worth. It is also good to know k now what similar orchestras are paying paying across the country. You will actually actually gain gain respect respect if you can can present present your your needs in a clear clear, pro professi fessional onal manner.. As you negotiate, try to help your manner your new employer employer find creative creative ways to to meet your needs. Strategies Str ategies of Ne Negotia gotiation  tion 

Success in negotiating negotiating is relative. relative. It usually depends on knowing what you you really  want, and knowing what you will settle for. for. It is important to have have your your goals defined in your your mind before you you start. Us Usually ually,, when you go into a negotiation, negotiation, the higher your your aspirations, aspirations, the higher higher your your rewards rewards will be. Ev Every ery person enters enters a negotiation with a preconceiv preconceived ed idea of what they want. You will adjust this goal goal during the negotiating process in response to a positive reaction from the other party, or a negative. negative. When you do this, recognize that you you have have more power than than  you think. If the orchestra orchestra has gone gone through through a two-year two-year search proces processs to identify  that you are the chosen chosen one—they really really want you. you. Using this power, power, howeve howeverr, entails risks. You do not want to to alienate people before you you even begin begin the job.

 



Beyond the Baton 

Prenegotiation Questions 

Before you you begin the negotiation, negotiation, answer these questions: questions: What compensation do you really want? In what ways can you be flexible? flex ible? What areas do you both agree on already? How can you help them see your needs more clearly? What are your unique strengths that merit higher compensation? How can you turn your weaknesses into strengths during the negotiation process? What are the financial limitations of the orchestra orchestra association or uni unive versi rsity? ty? What is their deadline for completing the contract? When communicating about about issues, it is more more eff ective ective to present both sides of  an issue and to discuss the pros and cons involved.This involved. This enables you to let the other

side know that you you fully understand their their concerns. concerns. As you do this, you will have have a better relationship relationship during the negotiation negotiation if importance is placed on similar similar issues and positions rather than diff erences. erences. Often, agree agreement ment over contro controversi versial al issues is greatly improved improved if these items can be related to to issues on which agreement can easily be reached. reached. Repeating items items that are are important to you you will help these concepts to be accepted accepted more readily. readily. Repetition is a very useful negotiating tool. When you are discussing pros pros and cons, it is best to present your your favored favored viewpoint last. Somehow Somehow,, listeners always always remember the the last thing that was presented. presented. In addition to remembering remembering the ending statements, statements, you will note that people reremember the beginning of a conversation conversation more than than they remember the middle. middle. Keep Ke ep this in mind as you organize organize the presentation presentation of your wants and needs. needs.

Community Orchestra and Youth Orchestra Contracts Community orchestra or youth orchestra positions will probably involve weekly  rehearsals and between three to five five concerts per year. year. During the contract negotiations, you should should clarify what your your specific duties are, are, both on and and off the podium. Some of the basic categories that that should be included on your contract are: are: Terms of of agre agreemen ementt and terms terms of ren renewal ewal Numb Nu mber er of ye years ars Renewal notification dates and process Services duties Number Nu mberand of conc concerts erts

 

Chapter 3 Your First Job   

Basic schedule Basic schedule of reh rehears earsals als Procedures Proc edures and responsibilities for: Select Sel ection ion of mus music ic Auditioning and terminating players Selection Select ion of guest artist artistss Other responsibilities Compensation Because community and youth orchestras often do not have paid sta ff s, you mayy find yourself ma yourself assu assuming ming the the roles roles of libra librarian, rian, stag stagee manager manager,, perso personnel nnel manman-

ager, and condu ager, conductor ctor.. It is is important important that that these these separ separate ate dutie duties, s, along with the the compensa com pensation, tion, are clearly clearly stated stated in the contra contract. ct. As the organiz organization ation grows, grows, you may be able to delegate delegate some of these responsibilities responsibilities to members members of the orchesorchestra. Mak Makee sure that the contract contract also clarifies clarifies your role in selecting the music, music, arranging for soloists, and working with the board and the community community.. You should ask for a multi-year contract so that you are able to plan for the long-term artistic development development of the orchestra and it is always always advisable for the the written contract to state state the terms terms for renewal renewal.. At least least six months’ months’ notifi notificatio cation n by either party is standard if the contract is not going to to be renewed. renewed.

Regional Orchestra Contracts Regional orchestra positions are the jobs that will give you the most flexibility in  your contract. There are a variety of variables that will need to be settled before  you can come to a mutually mutually beneficial agreement. Most conductor conductorss with regional orchestras will schedule their their time by the week. week. Often, they might have have more than one orchestra. orchestra. It is very important to be clear regarding regarding how how much of a conducconductor’s time will be available to the organization according to the current contract. These types of contracts will also specify how many many concerts will be be performed, and what other other duties the conductor conductor will be responsible responsible for. for. Sometimes, the fees in the contract will be separated into two areas or even two separate contracts. One would apply specifically to your your duties as a music director; director; the others would clarify your fees and responsibilities responsibilities as a conductor conductor,, including the number number of  concerts and the additional fees to to add or subtract subtract if this number changes over over the years. years. This type of cont contract ract allows allows for for more more flexibility flexibility for the the organizat organization ion duringg times durin times of gro growth. wth. Mo Most st orchest orchestras ras will off er er a new music director a three year contract that includes terms for renewal. If you are successful in your first threee years, thre years, you might might be off ered ered a five-year five-year contract. contract. It is rare to see see a contract longer than five years, years, as most contracts are negotiated negotiated far in advance. advance.

 



Beyond the Baton 

In every contract you you will see the same same basic basic categories categories.. Each of these catecateevery contract gories must be discussed and negotiated, negotiated, but the most important sections are are those dealing with duties duties and compensation. compensation. A generic regional orchestra orchestra contract is available in the Resourc Resourcee section.

Contract Categories 

Definition of terms (not always always necessary): Board, Boar d, Conc Concert ert Week, Exe Executi cutive ve Dir Directo ectorr, Orc Orchestr hestra, a, Musical Mu sical Event, Event, Subscription Series, Week, Year Engagement Term of of agre agreemen ementt and term termss of ren renewal ewal Numb Nu mber er of ye years ars Renewal notification dates and process Servicess and duty of Service of a conducto conductorr Audition and recommend Audition recommend engagement and termination termination of orchestral musicians Recomme Rec ommend nd engagement engagement of gues guestt artists Plan repertoire Rehearse and conduct concerts Provide Pro vide overall musical direction and guidance Involvement in the community  Presence and Availability  Per erce centa ntage ge of tim time, e, num number ber of tri trips, ps, or spec specific ific num number ber of da days ys Compensation Salary  Benefits Benefi ts (if appli applicable cable)) Who pays for travel travel and housing (if applicable) Independent contract or employee (who pays taxes) Extra concert fees Disability Disa bility,, Deat Death, h, and Force Force Majeure Majeure Miscellaneous Exhibit Exhib it A: Job descript description ion Artistic responsibilities Operations and community responsibilities Board interface Exhibit B: B: List of specific concerts concerts and dates cove covered red under this this contract contract

 

Chapter 3 Your First Job   

Compensation 

When discussing compensation, compensation, you need to keep in mind the overall overall budget levell of the orchest leve orchestra. ra. Music directo directors rs of regio regional nal orchest orchestras ras are known for being being paid anywhere between  to  perc percent ent of of the overa overallll budget. budget. Add Addition itional al perks, perks, such as housing and travel travel expenses, can often be more beneficial beneficial than a higher salary.. Contracts can be written either as an employee salary employee contract contract or an independent contractor contractor contract. The independent independent contractor contractor contract contract is only helpful if it allows allo ws you you to to avoid avoid paying paying extra extra state state tax. Eithe Eitherr way way, if you agre agreee to an an independent contractor contractor contract, contract, make sure that you you are are making enough enough extra money so that you can pay the federal (FICA) taxes that the employer usually  pays. pay s. It is also good good to negotiate negotiate preset preset fees fees for additional additional conce concerts. rts. These fees fees should be lower lower than your your standard guest-conducting guest-conducting rate. This allows the organization to consider consider expansion without any unknown variables. Wit With h your negotiations gotia tions,, try to make make sure that that if the orchest orchestra ra is large enough, enough, you are are covere coveredd on its medical benefits plan. Also, you should should try to negotiate negotiate into your your contract the option for personal personal development. development. See if they will agree agree to to pay your expenses to attend attend the the ASOL conference, conference, the Conductors Conductors Guild conferenc conference, e, or a special conducting seminar seminar. An extra $, per year for personal development will keep  you fresh and help you to stay on the cutting edge of the field. The knowledge you you bring back from these conferences and seminars should be very beneficial for the orchestra in the long run. Often there are special special grants that the organization organization can apply for to cover cover these these additional additional costs. Below is a more more concise concise list of some of  the negotiable points in a music director’s director’s contract: ■ ■ ■ ■ ■ ■ ■ ■ ■

■ ■ ■ ■ ■

Salary  Number Nu mber ooff day dayss in cont contract ract Numb Nu mber er of co conce ncerts, rts, types of co conce ncerts rts Fees for additional concerts Fees for additional meeting days or weeks Benefits Benefi ts (hea (health, lth, disab disability ility,, wor worker kers’ s’ comp comp)) Retirement Retirem ent contributions,   (b)/(k), or pe pension nsion plan Housing provided/housing stipend Meals or entertaining expense ex pense reimbursement Travel paid for or a partial reimbursement Personal development monies for attending conferences Use of a ccar ar Score purchase stipend Phone stipend

 



Beyond the Baton 

Wi With th a music music director’ director’ss contract, the phrases “part-time “part-time”” and “full-time” are not really applicable. When you sign a contract, contract, you are are responsible responsible for the duties promised and the basic time it takes to accomplish accomplish them. Because you do not have to be at the o ffice every every day, day, you yourr job can be perce perceive ivedd as part-time. part-time. As a music director director,, though, you are are also responsible for for the overall overall artistic direction of the organization. organization. This is seen seen by many to be a full-time responsibility responsibility.. Whether  you are full-time or part-time is not really relevant as long as you you are are performing performing all aspects aspects of the job. job. Somet Sometimes, imes, this distinctio distinction n has more to to do with your your qualification ifica tion for medica medicall benefits benefits than anyth anything ing else. else. Also Also,, the higher higher the salary salary,, the more likely you you are to be listed listed as full-time. Being full-time with one orchestra should not exclude you from working full-time for another.

Single-concert Contracts As you go through your career, career, you will have a need for contracts that cover a single concert. concert. This type of contract can also be used for guest guest conducting conducting jobs jobs that double as interviews. interviews. Often a job interview guest conducting conducting will pay a fee much lower than a normal guest conducting conducting fee. To avoid confusion confusion later on, make sure sure that the fee is discussed before before you agree to be put into into the finals. If   you have a manager, make sure that you have told the search committee that they should speak to your manager regarding the schedule and the guest conducting fees. fees. If you are are intereste interestedd in the job, job, it is not advisable advisable to argue argue too much much over the fee. That will only only create create conflict, conflict, which will follow follow you you through through the search process. A single-concert contract contract will cover cover many many of the same basic basic parameters as a regular regu lar contra contract, ct, but it will be shorte shorterr and more more specifi specific. c. (A sample sample of a singlesingleconcert contract is available in the Resour Resource ce section.) These contracts should include the the exact dates dates of the rehear rehearsal sal and conce concerts. rts. They should should specify specify who is paying for the airfare or travel reimbursement and whether hotel or other appropriate accommodations accommodations are included. included. (Meals are are usually the individual’s individual’s responsibility.) sponsibility .) They also should clarify any other other expectations, such as a preconpreconcert talk talk or a reception reception after after the concert. concert. If the concert concert is also a job intervie interview w, the administration should should include a separate separate schedule of interview activities that that will take place during the week.

A single-concert single-concert contract will include all all of the following: following: Rehearsal and concert dates Fee Repertoire

 

Chapter 3 Your First Job   

Travel and hotel Other expectations Payment of Fee Fees  s 

Usually the check for a guest conducting performance is given to the conductor beforee the last befor last concert concert of the set. set. If you hav havee a manager manager,, it will be be mailed mailed to them them right after the concert. Your manager will take their percentage and mail you a check for the remainder.

Getting a Manager As you move forward forward in your career, career, at some point you are going to think about getting a manager. manager. There are a few few diff erent erent ways ways you can go about this. this. The first question to ask yourself yourself is whether whether you really need mana manageme gement. nt. A manager will usually take  perc percent ent of you yourr fee for each each guest conduc conducting ting engagem engagement. ent. They  will also take  perc percent ent of of you yourr salary salary the first first year year of of a new job and and  percent for each consecutive consecutive year after that. that. Some smaller management management companies companies also charge retainer fees that amount to between $  and $ per month month.. In addiaddition to this, this, you are are also responsi responsible ble for paying paying for all of the phone phone calls, mail mailing ing expenses, and publicity done on your behalf. Even Eve n though having a manager will give you you a position of perceiv perceived ed success,  you must evaluate whether you really have have enough work to merit it. One of the good things about management is that it is easy for people to find you nationally. nationally. Most managers advertise in Musical America , a national national direc directory tory source source that everyone eve ryone in the industry industry uses to to keep track track of guest artists artists and perform performing ing groups. grou ps. It often has has been said said that if you are are not listed listed in Musical America , you do not exist. It is advisable to figure out a way way to have your your name in this directory, directory,

even if you have have to take out your your own ad. You want to make sure sure that you are al ways easy to find. As the Internet Internet has developed developed into an industry industry tool, most musicians are are establishing their own Web Web sites. Check early in your career career to see if you can buy  buy  the domain domain name name of you yourr own name. name. This will be be very useful useful later later on on to help help people find your Web site. This way, way, no matter how many many times you you change addresses, everyone will still be able able to track you you down. If you are are working working toward toward a career career as a conduct conductor or of a regional regional orchestra orchestra,, it is advisable to take some some time, if you are are near the New York City City area, to meet with some of the artist artist managers. managers. If you stay stay in the the field you you will be hiring hiring guest guest artists artists from them, them, and these relationships relationships will become become stronger stronger over over the years. years. Try to

 



Beyond the Baton 

person from each meet at least one person each of the major management management companies companies (contact information is available in the Resource Resource section). section). See if they are open to looking at your press materials and giving you career advice. advice. Mak Makee sure you are not pushy,, and understand that, just because they are willing to meet pushy meet with you you does not mean that they are in any any way interested interested in adding you to their their list of artists. Young conducting talent talent is a very hard sell, and they will be cautious about about adding names to their roster that will not bring in enough work.

First Year—D Year—Do’ o’ss and a nd Don’ts Now that you have Now have accepted accepted the job and signed the contract, you are ready ready to begin your new position. What you do in your first year year on the job is critical to  your ongoing success success with the organization. organization. Eve Every ry conductor has a preconce preconceived ived idea of how things things should should be done and what what constitut constitutes es a standard standard of high qualquality of musi music. c. I encourage encourage you you to put put most of you yourr thoughts thoughts and ideas ideas on on hold for the first year. year. The most important thing to do during this time is to develop trusting relationships and to learn more about the current vision and goals that have already been established by the organization.

Building Relationships Board 

Many orchestras are governed Many governed by a board board of directors. During your your first year year,, systematically try to meet as many many individual individual members of the board as possible. They will be flattered that you made the eff ort ort to know them better better. Ask each of  them why they are involved and what goals they hope the organization will accomplish in the next five years. You will probably discover that the answers will be very personal and will vary tremendously. tremendously. Kee Keepp notes regarding what you have have learned. lear ned. Durin Duringg these these conv conversa ersations tions,, you ma mayy “te “test” st” a few new ideas, ideas, but spend spend mostt of the time mos time jus justt liste listenin ning. g. If yo you u don’t don’t hav havee a boar boardd of dir direct ectors ors,, app apply ly the the same tech technique niquess to the pare parents nts’’ orga organiza nization, tion, if it is a youth youth orch orchestra estra,, or to to the other faculty members members if you are are working at a university university.. Orchestra 

Next, meet with Next, with as many many of the principa principall player playerss in the orchest orchestra ra as possible possible.. If  time allows, allows, try to do this this separate from the orchestra orchestra’’s regular rehearsals. This can be done individually or in small groups groups of similar instruments. instruments. Your goal is

 

Chapter 3 Your First Job   

to learn more about each person’s personal expectations and their history with the orchest orchestra. ra. If appr appropria opriate, te, ha have ve them them assess assess the the strengt strengths hs and weaknesse weaknessess of  their the ir sectio section. n. Als Also, o, ask them where they would like the orchestra to be in four to five years. years. Mak Makee sure that you really really listen to the answers.Don answers. Don’t ’t spend time telling them about the wonderful wonderful things you you have done with other other orchestras; they are only concerned with their  orch orchestra. estra. If you are wor working king in a unive university rsity setti setting ng  your role will be more of a teacher/stude teacher/student nt relationship than a colleague relationship but it is still important to develop a good rapport with your musicians and to discover ways to motivate them to perform at their highest level. Sta  ff 

Spend time talking with the staff  to see what types of thing thingss have have been tried tried in the past: past: what has work worked, ed, what has failed, failed, and why why. This might might be be a paid paid staff , a volunteer staff , or student helpers. It is especially especially important that that you work closely  closely  with the people people performin performingg the duties of libra librarian, rian, stage manage managerr, and personnel personnel manager.. In some manager some situations, situations, you will be directly supervising these people. Assess

their capacity to take on new projects projects and assess their tolerance for change. change. Hav ing a good relationship with the sta ff is important because they will be the people who will eventually implement implement change throughout throughout the organization. organization. A solid relationship with the people who work behind the scenes will facilitate everything  you do. do. Community 

If you are cond conducti ucting ng a youth youth orch orchestra estra,, comm community unity orche orchestra, stra, or regiona regionall orchestra, it is very important in your first first year that you get to know the community that surrounds surround s your orchestra. You should work with the executive director, director, the preside president nt of the board, board, or the head head of the parents parents associa association tion to to develop develop a list of peopl peoplee to to meet. meet. This list shou should ld cove coverr four four cate categorie gories: s: com communi munity ty leaders leaders,, music educators, educators, current top-level top-level donors for the symphony symphony, and other possible new donors. donors. If you are are with a youth youth or or communi community ty orchestra orchestra,, you will will probabl probably  y  set up the meetings and make make the the introductions introductions yourself. If you are are music direcdirector of a regional orchestra, the introductions introductions should be set up through members members of the board board and throu through gh the office. It is important to establish these these relationrelationships in the community early during your tenure. You should make it a goal to have met met everyone on the list by the the end of the first year. year. All of this will take take time. As a conductor conductor,, you are are probably probably not used to spending time in this manner. manner. I cannot stress enough how how important it is to spend the time learning about the organization and building a trusting relationship with

 



Beyond the Baton 

everyone invol involved. ved. It is the foundation upon which everything will be built. Ultimately tima tely,, if you want to be be successf successful ul as as an artist artistic ic leader leader,, you simpl simplyy cannot cannot aff ord ord not to do this.

Proc Pr ocess ess of of Cha Change nge Begin the the process process of chang changee slowly. Once you have begun to see an intersection of  goals and ideas, you can begin to to formulate and prioritize the artistic vision for the orchestra. You will want to spend a lot of of time with the executive executive director as  you further define the areas to move forward in. It is most eff ectiv ectivee ifif yo you u can can present ideas together to the board where you have anticipated every concern.

You will need the executive director’s full support for any projects or programming challenges that you you wish to undertake. Eve Everything rything you propose should be in alignment with what what you have learned about the board, board, the orchestra, orchestra, and the staff . Mak Makee sure that you you also spend time analyzing analyzing past concert programs programs and outreach outr each activiti activities. es. This will give give you a better better idea of wher wheree your audienc audiencee is, and what type of expectat expectations ions they have have for the organization. organization. Unless the organization is in complete complete disarray, disarray, you should not implement implement major organizational changes or new initiatives in the first six months or so. Allow yourself yourself time to learn about about the organization so that that you can be sure sure that  you are are moving in the right direction. direction. The only time I would change change this philosophy is if you have have accepted accepted a job with an orchestra orchestra that is disorganized, disorganized, with rapidly falling subscription subscription sales and and in immediate immediate need of a major transfusion of  funds.. These types of situ funds situation ationss call for immed immediate iate crea creativ tivee programm programming ing and new outreach programs that will stimulate community interest and increase fund-raising capacity capacity..

First Season Assess Your Audience  Audien ce 

With most orchestras, you will inherit either With either a completely completely planned season or a partially planned one. It is frustrating when when you are are starting a new job to to not be able to demonstrate demonstrate your programming programming creativity creativity right from the start. Work  closely with the executive executive director and and the board chair, chair, or the department chair of the univ univer ersity sity,, to evalu evaluat atee if an anyy person personali alizat zation ion of of the conc concert ert progr programs ams is is possible. You want to make sure possible.Y sure that you are able to to meet the expectations of your long-term longterm audienc audiencee members, members, and not come come across across to the community community as if you are changing changing things things at the last last minute. minute. If the program programming ming is already already planned, planned,

 

Chapter 3 Your First F irst Job   

it is best best to lea leave ve it it and to to get thr through ough the the year year as best as you you can. can. If only the the soloists are confirmed confirmed and you you are in a position position to select the remainder remainder of the repertoire,, make sure that you repertoire you have studied the past programming programming philosophy so that you are in alignment with most of your audience’ audience’ss listening level and expectations. To perform a large work work beyond their their current expectation or comfort comfort

level is not a good thing to do in your first season. You will only alienate people before you you start. It is best to create create interesting and exciting exciting programs exactly at their expectation level during your your first season. This will allow you to develop trust. Later on, you can put in place the plan to expand the audience’ audience’s listening skills and to take them where you want to go. Do Not Reaudition the Orchestra 

Some conductors conductors are asked asked by the board or by the executive executive director if they  would like to re-audition the orchestra orchestra when they begin the job. To do this is the “kiss of death. death.”” When you announce that that you want to reaudition the orchestra, orchestra,  you will erect instant walls of distrust and fear between you and the current members memb ers of the orchest orchestra. ra. And what what would would you really really acco accomplis mplish h if you did did rerequire everyone to audition? You certainly are not going to terminate a large portion of you yourr orchestra. orchestra. The fact is, is, you will will accomplis accomplish h very little. little. It is best to to work  with the orchestra for the first year and to spend that time assessing the strengths and weaknesses of each player player.. You will be able to tell tell as you conduct conduct who is not playing up to your standard. It is best not to put any players on probation during  your first year as a conductor of a new orchestra. They are still trying to get accustomed to you, you, your conducting technique, and your your artistic standards. Besides this, you will need a year or so to assess the level level of player playerss available in your comcommunity and the surrounding surrounding areas. areas. Every orchestra orchestra is limited limited by its pay scale, but often, no matter matter how much much you you pay, pay, if you are are a long way way from a major major city, city, you yourr pool of exc excellen ellentt players players will be limite limited. d. At the the end of you yourr first year year or into into your second year, year, you can begin to have individual meetings with specific players to see if they can improve. improve. Because everyone’ everyone’ss situation will be diff erent, erent, it is best best to deal individually with each person rather than than requiring a mass audition. audition. Remem Remember ber to keep keep good notes of issues and to create an environment environment where where people are are treated fairly and given every opportunity to achieve. Prioritizing Your Time 

Many conductors fail during their first year because they are suddenly faced not Many only with the the task of prep preparing aring a lot of musi musicc for concerts concerts but also also with large large administrative responsibilities. There will be many many demands on your your time during

 



Beyond the Baton 

 your first season. season. You will be called on to attend more meetings than than normal and extra time will be spent with marketing marketing and publicity opportunities.It opportunities. It is important that you make make this time available to the organization, organization, but you also have have to know  when to say no. no. You always must reserve reserve enough time for yourself so you have time to properly prepare prepare for the concerts. concerts. It is important for you to make make this priority  ff 

clear the board sta . Ne Neve ver r lose sight of the sight fact fact tha t the music mu sic is the the majortofocus of you yourand r job. job.the Everything Ev erything else else is important important, , but notthat critical. critical. Sometimes Sometim es  just asking them to mov movee a meeti meeting ng to a time after the conce concert rt will relea release se the pressure and provide provide the extra time you need for your your preparation.Also, preparation. Also,discourage discourage the organization from scheduling your meetings right before rehearsals.You need time to regroup and focus so that your thoughts can be centered totally on the music. Your Leadership Lea dership Role on the Team  Team 

Make sure that you spend your first year in the job bonding bondi ng with the executive director and the preside rector president nt of the boar boardd or the the chairman chairman of you yourr department department.. It is very important important that that you you are all on the same same page. page. Some of of this time time should should be during formal meetings but also take the time to meet informally over dinner or at social social events. events. Striv Strivee to know the people people behind behind the job titles. titles. This is a relarelationship that is critical, not only for your personal personal success but also for the success success of the entire entire organi organizati zation. on.

Getting Organized

Time Management If you become a conductor conductor,, there will always always be many demands on your time. First and foremost, foremost, it is important that you you have have enough time to to study your scores. scor es. In order order to do this, this, you must must be very very good at contr controllin ollingg the use of you yourr time. In anyone anyone’’s life, there are are important issues, issues, as opposed to to issues that that are urgent. You must be able to assess the diff erence erence quickly so that you can identify the best use of of your time time to accomplish accomplish your goals. goals. Urgent versus Important 

If you haven haven’t ’t yet develo developed ped a really really clear clear view of who you you are and where where you you want to go, go, it is easy to get get distracted into into dealing with the supposedly supposedly urgent, but unimportan unim portantt matters. matters. Often, these issues issues are are important important to others, others, so there there is a lot of pressure for you to deal with them. them. We are lured lured into spending our precious precious time solving little situations and problems that have no real lasting impact on our

 

Chapter 3 Your First Job   

long-term goals.. Train you yourself rself to deal only with impo important rtant issue issues. s. If some something thing long-term goals is important, it moves you toward toward your your goals and ties in with your mission. Deal first with issues that are are both urgent and important. Then concentrate concentrate the ma jority of your time time and energy energy on items that are important but not not urgent. Time spent in this fashion will develop your perspective for your long-term musical vision and move you toward toward your long-term long-term musical goals. Often we put off what is truly important because it is not urgent. We run around seeming to look very  busy,, but at the busy the end of the day day, what have have we really really accom accomplish plished? ed? Relationships and Results 

In dealing with time management, the other area to concentrate concentrate on is your relationships with other people.So people. So often we are taught to to use our time efficiently and told not to to waste waste it socializing. socializing. But as conduct conductors, ors, all of our music-ma music-making king is created and heard through through other people. It is critical that you allow time time to develop and nurture your your personal relationships relationships with the musicians, musicians, the staff , an andd you yourr colleagues. Preserving and enhancing these relationships will allow you to be more successful in the end. This will have a larger impact on your your overall success than that immaculately clean office desk, or the fact fact that you you finished everything on  your to-do to-do list. Proper Tools and Work Space 

As you begin your your career as a conductor, conductor, you will need specific tools to do your  job.. Set up  job up an office area that that is conducive conducive to to creative creative study. study. The type of space you you work in is is important to to the quality of work that that you you produce. produce. It should aff ord ord a lot of light and be a room room that you you like to spend spend time in, and be both comforta comfortable ble and productive. Your office shoul shouldd have have a read readyy supply supply of var variou iouss types of pap paper er,, sta sta-tionery,, and mailing supplies. tionery supplies. This will save you you from having having to make a trip to the store every time you need single items. You also will need many bookcases and file cabinetss for your cabinet your score collecti collection, on, your resear research ch books, and referenc referencee CDs and recordings reco rdings.. The paper work work you accumulate accumulate as a music director director is tremendous. tremendous. It is helpful to develop a filing system early on that enable you to deal with the massive amounts amounts of paper paper,, press packet packets, s, and new scores scores that will will arrive on your your desk.

Time-Saving Procedures

Everyone is given the Everyone the same twenty-four hours in in a day, day, and yet some people achieve so much much more than than others. Why is this true? true? In reality reality,, what is important is not the amount of time that you spend working each day day, but how much you you

 



Beyond the Baton 

actually accomplish. To ensure that you make the best use of yo your ur tim time, e, her heree are are a few timesaving tips: E-Mail 

Be clear with the office regardin regardingg the types of issue issuess on which you you need to be copied Organize your e-mail into folders Work folder—everyday important items Industry Indu stry e-mails—all e-mails—all trade e-mails, e-mails, or e-mail lists, lists, or newsletter newsletterss Personal e-mails Limit the time you you allow yourself yourself to be on the Internet Internet to one hour perr da pe day  y  Tell the musicians, musicians, the staff , and your colleagues colleagues that you you check your your e-mail once a day at a specified specified time. If they need to to reach you about about important items items at other times, they should phone phone Paperwork 

Concentrate on on accomplishing major major goals, not on finishing paperwork  Keep only one project on your desk at a time Only handle handle each each piece of paper once— once—thr throw ow it out, out, or file it Avoid all unnecessary paper Master dictating and pay someone to type ty pe your letters Use the phone and learn to keep your conversations short Never spend time doing something you can have someone else do— delegate! Phone 

Return phone calls in a timely manner Leavee detailed messages so that a response is not alway Leav alwayss necessary 

Time your conversations so you can see how you utilize your time Keep the conversation related to the specific topic you called about When possible, return your your phone calls personally—this personally—this will strengthen  your network  Delegating 

Delegating Delegati ng is part of being a leade leaderr. No one one can possibly possibly do do everything everything themthemselves. A good leader knows how to to delegate eff ectively. ectively. When you are delegating delegating a project— project—like like the the research researching ing of a community community-wide -wide Beetho Beethoven ven Festi Festival, val, the forming form ing of a new civic civic chorus, chorus, or perhaps perhaps just just requestin requestingg that the the librarian librarian rere-

 

Chapter 3 Your First Job   

search the cost and availability availability of the repertoire for the following following season—be sure that you first first clarify and prioritize exactly what you you want to have have done. This will help the person you have assigned assigned to do the task know what you expect. It is important that you assign the “right” person to the job so that the required skill set matches match es the stren strengths gths of the person person invol involved. ved. If you assign the the wrong wrong person, person, not only will the job not get done, but you will also have have a demoralized person whose attitude will aff ect ect others. Once you you have have selected selected the person person and they have agreed agre ed to the task, task, they will need need you to explain explain the “big picture picture”” befo before re they  begin. This will enable them to keep keep focused on what is truly important important to you and to the organization. Allow them time to ask you you questions about the project before they start so you are sure they understand exactly what you want them to accomplish. As you you are clarify clarifying ing the issues, issues, you can can also help define define the timeline timeline and the deadlines that you expect expect to be met. After the job has been explained, it is important that you give them the full authority and responsibility for getting the project completed, completed, and that they verbally accept this responsibility. responsibility. Timely follow-up follow-up is a key to successful delegation. After you have have assigned a project, don don’t ’t just forget about it and move move on to other things. You will need to check back with the person or group group of people periodically to make make sure they are moving forward on the goals goals and to see if they need any any additional help. help. As projprojects are completed, you will want to review the results with them, both positive positive and negative. negative. It is important to be generous generous with your rewards rewards and to publicly  publicly  compliment people for a job well done. Take time time to develop develop a system system for delegating. delegating. If you can aff ord ord it, it, it is good good to to hire a personal secretary to do your weekly paperwork so you can spend your

time on more more important important things things like score score study. study. Rem Remembe emberr, if some someone one else can do it, have them complete complete the task. task. As you are working working with the orchestra staff or the board, board, if someo someone ne throws throws a problem problem at you, deve develop lop the ability ability to toss it right back with a few suggestions suggestions on how they can solve solve it themselves. themselves. This deflection skill is dependent upon your knowing k nowing what your own  job  job is. This way you won won’t waste time on details that belong to to others. Try to minimize interruptions and focus your concentration on your your primary responsibilities. responsibilities. This is the only way  way  that you will be able to to stay on top of the administrative administrative as well as the musical reresponsibilities of of being a music director director..

Scheduling Scheduli ng Your Your Day  Score Study 

Reserve a block of at least two to three hours hours daily for score score study. study. Just as as an instrumentalist practices daily, daily, so you must study. study. This should be be at a time when  you are are fresh. (I prefer the morning hours.) During that time, do not answer the

 



Beyond the Baton 

telephone or allow yourself yourself to be distracted distracted with other paperwork. paperwork. Tell everyone that you will not be available during during these specific hours each each day. day. Block your study time time into sections of one hour or less; changing the piece you you are studying each hour or so will help to keep your mind fresh. You might be familiar with the score study outline that is used by the Brussels Conservatory and also the Paris Conservatory.. This entails going through a composition Conservatory composition multiple times in order to master it. Each time you work work through the score score you focus on a diff erent erent area: .

Instrumentatio Instrument ation n and and transpo transpositio sitions ns . Tempos and and tempo tempo relations relationships hips . . . . . .

Form ana Form analys lysis is of of the co compo mposit sition ion Harmonic Har monic stru structura cturall analy analysis sis Melo elodic dic lin linee anal analysi ysiss Study Stu dy of the phra phrasin singg and inner inner rela relatio tionsh nships ips Dynamic Dyna mics, s, phra phrase se climax climaxes, es, and speci specific fic articu articulat lation ionss Iden Id enti tific ficat atio ion n of of sp spec ecia iall eff ects ects and possible problem spots

As you can tell, tell, this process is quite quite time-consuming. You will want to make make notess of majo note majorr melodies melodies and and themes, themes, harm harmonic onic charts, charts, and structura structurall graphs for for

each piece. piece. A thorough thorough knowledge knowledge of the score score is the only only way way that you you will be successful as a conductor. conductor. Mak Makee sure that you reserve the time time in your schedule to properly prepare for your concerts. Planning Time 

You should spend a little time each evening reviewing what you accomplished that day day and preparing your list for the following following day and the rest of of the week. By  doing this in the evening, you start the next day with your goals clearly set in your mind. During your your planning time, prioritize your your activities activities so that that you you are concentrating cent rating on the the most important important tasks. tasks. Dev Develop elop a chart of you yourr concert concert dates dates and which pieces have to be prepared prepared for each rehearsal. Your planning should reflect gradual progress progress on many pieces at the same time. This keeps you focused during your study time and allows for better better absorption of the material. material. Organizational Time 

I prefer to do my paperwork paperwork and phone calling in the early afternoon, when my  concentration level level is lowest. Most paperwork paperwork is “pr “process” ocess” work and does not requiree a lot of crea quir creativity tivity.. Put a limit limit on the amount amount of time you you are going going to spend spend on paperwork each day day, or it will expand to fit the time that you have have available available (like all all afternoon). afternoon). Gr Group oup “like “like”” task taskss so that they they can be be done even even more more

 

Chapter 3 Your First F irst Job   

quickly quickly.. For exampl example, e, I always always listen listen and respond respond to sample sample CDs and résumés résumés from potential guest artists and new composers composers about once a month. Until then, I keep everything everything in a box so that it does not clutter my my work space. After listening to each each CD, CD, I dictate dictate a response response letter letter,, and then then I throw throw out everything, everything, unless it is an artist with whom I want to work work in the next year or two. I collect these press packets in a special “gu “guest est artist” file. Meetings 

As a conductor conductor,, you will be asked asked to attend attend many many meetings and fund-raising fund-raising events. eve nts. Depe Depending nding on the size of you yourr organ organizat ization, ion, this might bec become ome ove overrwhelming. Avoid agreeing to be present at every meeting you are asked to attend; assess whether your attendance attendance at the meeting is necessary. necessary. Do you have have infor-

mation that needs to be conveyed? Is this the only way this information can be communicated? communicat ed? Is this the best way to get this information out to other people? Do others attending the meeting have information that you need to know? Are there other ways to get this information? Does the meeting relate directly to how   you perform your job? If you are not at the meeting, will it be interpreted that you don’t care, or that you don’t don’t don’t want to be involved? involved? Are Are there ways ways of changing this perception? Work closely with your board chairperson, executi executive ve director director,, and volunteer volunteer committee committ ee members members so that that everyone everyone understands what types of meetings are are the most efficient use of your time. time. Mak Makee sure you you express your your willingness to do whatever whatev er is necessary for the organization, organization, but that your your major focus focus must remain on the artistic product. Recreation 

As a conductor conductor,, you often will work on evenings evenings and weekends. Ev Even en though you are busy, busy, block out some time every week just for you. It may seem that you you can’t can’t spare this time, but it is essential to creating a balanced life and to allowing allowing yourself mome moments nts to refl reflect. ect. Witho ithout ut this, this, you yourr interpre interpretati tation on of the music music could could bebecome stilted stilted and mechanical. mechanical. After taking time off , you will will find that you you return return to your daily tasks with a renewed vigor and commitment.

 

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Chapter 4 Artistic Leadership

Understanding Underst anding Leadership

Leadership Styles Leadership requires requires two things: someone to lead lead and someone to follow follow.. Just bebecause you want to be a leader and think that you have good ideas does not mean that any anyone one will autom automatica atically lly follow follow you. you. The art of leade leadership rship is is an art of persuasion.All suasion. All great leaders know where they are are going and they are able to persuade persuade others to follow follow them. They can do this through through two diff erent erent types of of lead leadersh ership ip power po wer:: the po power wer of pos positi ition, on, or the po power wer of tru trust. st. Power Po wer of of Po Positio sition  n 

The pow power er of of pos positi ition on is one one of the mos mostt basic basic types types of lea leader dershi ship. p. It is is used used by  leaders who take control because they have the positional authority to command, reprimand repr imand,, or fire ifif thing thingss are not done done to their their satisfac satisfaction. tion. This is the the manner manner in which many of the great great maestros maestros of of the past functioned. functioned.Because Because they were were the “music directors, directors,”” their commands were unquestionable by the orchestra members. Some even even resorted resorted to intimidation and and fear as their means of accomplishing their goals. goals. People followe followed, d, not always always because because they wanted wanted to, but because because they had to. They did not trust the leader leader,, nor did the leader trust trust the followers. followers. Unfortu nfortunate nately ly,, exam examples ples of this type of leade leadershi rshipp are still present present in our field, and some conductors are taught early on that this is the means to their greatness. g reatness. Although this ty type pe of leadership has worked worked in the past, due to the restructuring restructuring of uni unions ons and the the structu structure re of mos mostt orchest orchestras ras’’ adm admini inistra strati tive ve staff s, s, th this is is no longer a viable way way to move move one’s one’s career, career, or an organization, organization, forward. Power Po wer of Trust 

To be great leaders today, we must select and master mas ter the more difficult but more eff ective ective type of lead leadersh ership ip power power,, the power power of of “r “respe espect ct and trus trust” t” that com comes es 

 



Beyond the Baton 

from the cowo rkerss themselves themselves and is entrusted entrusted to the leader. leader. This type of  coworker leadership is based upon inspiring ins piring people to work for you when they are not obligated. ligate d. Ev Everyone eryone wants to be led by leaders who have have knowledge and expertise, but they also need to be led by by people they can trust. They will follow you you because of what you you have have done for for them personally personally,, they will follow follow you because because of wha whatt you you are are doing doing or ha have ve done done for for the orga organiza nizatio tion, n, and, fina finally lly,, they will will follow you because because of of who you you are are and the values that that you you represent. represent. Leaders empower people. You cannot accomplish great goals for an organization without many people working together together towards towards those goals; you cannot make great great music without inspiring  perce percent nt from your your orchestra; orchestra; and you cannot lead people without loving them. Some conductors conductors are afraid afraid of their orchestras—afraid orchestras—afraid they they will be questioned; tione d; afrai afraidd that they might might be wrong; wrong; afrai afraidd that the musicia musicians ns will not want to cooperate; cooperate; afraid that their imperfections imperfections will be exposed. exposed. To hide their their fears, they flaunt overconfidence and sometimes put others down in order to make themselv them selves es look good. good. A leader leader cannot lead lead if they are are afraid. afraid. The leader leader has to be be vulnerable vulne rable,, willing to to fail and able to to admit their their mistakes mistakes.. A leader must must lead through thr ough trust, trust, not intimida intimidation. tion. Inclu Inclusiv sivee leadership leadership forgoe forgoess superficiali superficiality ty.. It is based upon a relationship that allows people to be involved and fully accountable.. Some of the traits able traits of a good good leader leader inclu include de the the followin following: g: ■

■

■

■

■

Excellent leaders lead bbyy exam example—they ple—they aare re eenergetic, nergetic, enthusiastic, and confident. They are able to use persu persuasion asion to help people see what is in it for them. All leaders are totally committ committed ed to the organization and the overall vision. They are able to stay focused on the ma major jor goals. Leaders inspire others and they care about the people they work with. They are able to delegate to people and they are consistent with their follow-up. Leaders consider the “right” people in each position their most valuable asset. They show appreciation and re respect. spect. Leaders embrace change and see it as a great opportunity opportunity..

I“People read a very on in until my career—and it hasmuch stuckyou withcare” me. don’timportant care how quote much early you know they know how (Reflections for Managers by Bruce Hyland and Merle Yost, Yost, p. ). Re Reme membe mberr, as a conductor,, you do not per conductor personally sonally crea create te an anyy sound; you rrely ely fully on you yourr orchestra to produce what what you hear in yyour our head. Ke Keep ep this in mind the next time

 you are are about to berate a pla player yer in fr front ont of other membe members rs of the orchestra orchestra..

 

Chapter 4  Artistic Leadership   

Steps to Becoming a Successful Leader

Meeting Individual Needs Eff ective ective leadership leadership is based on relationships. relationships. A successful leader needs needs only two thin th ings gs:: () knowledge knowledge of what follo followers wers want or need, need, and () a spirit spirit of of ex excit citeement and commitment commitment that energizes people. To be successful successful as a leader leader,, you need to make those who work with you more successful. You need to identify— what is in it for them? People are concerned first and foremost with themselves. They often can’t can’t concentrate concentrate on the good of the whole unless their own own needs are being met. met. Some of thes thesee individual individual needs needs might might include: include: The need for security  The need to be appreci appreciate ated, d, thank thanked, ed, and reward rewarded ed The need to be able to control their future The need to be held accountable for their actions The need to to be part of something larger larger than themselves themselves As you you work with your orchestra, you must must ask yourself: yourself: How can I incorporate activities for the musicians that might meet some of of these needs? How How can I change the way I deal with individual musicians to to reflect these issues? Often, the repertoire and the organizational goals are just fleetingly presented to the orchestra members. Playing music is their future, future, yet often they are the last to be involved involved in organizational organizational changes. As you you develop develop your skills as a music music director director,, I encourage you to explore avenues avenues for further involvement involvement of your orchestra orchestra members. Try experimenting with surveys regarding what repertoire repertoire they would like to perform and involve the players in long-range planning for the organization. Strive to get to know your your players personally personally.. Take time to learn learn all their names. name s. Try to find out out about about their their families families,, how many many childr children en they hav have, e, and what the names of their spouses spouses or significant others others are. Honor your orchestra members memb ers by by knowing their perso personal nal likes likes and and dislikes. dislikes. Re Remem member ber,, if pro problem blemss occur in the workplace, workplace, it might not be about about work at all, but rather be reflective reflective of other larger (and (and perhaps more more critical) problems problems in an individual’s individual’s personal

life. People deal deal with death, death, pain, illne illness, ss, and other other challenge challengess every day day. Take the the time to listen, listen, and try to see the world world first from from their eyes. Players Playe rs usually want to do their best, but as standards rise in an organization, theree may be a variety ther variety of artist artistic ic levels levels that people people feel are are acceptable acceptable.. Period eriodiically,, have little prodding conversations cally conversations with players players to encourage excellence in a supportive way way and and to develop develop systems systems of accounta accountability bility.. Try to do this this before problems become become larger larger.. Good leadership requires asking the right questions,

 



Beyond the Baton 

setting setting the right standar standard, d, and giving the the right assistanc assistance. e. It is your your job to help everyone be successful. It is the leader’s job not only to set the standard but also to make it easy for your orchestra members to do their work at the highest possible level. Ask them what they really need to be successful in their jobs. Do they need the music earlier? Do they need more places to warm up before rehearsals? Do they need sample recordings of unfamiliar works to to help them prepare prepare better? Do they need more light on stage? Do they need better instruments? Do they need a new shell on the stage? Do they need more risers? Fewer risers? More More restrooms? Remember Remember,, they might not all agree, but just going through this process process with the musicians will go far toward building a better relationship. relationship. Work with them in trying to prioritize these needs into catego into categories ries such such as: “esse essenti ntial, al,” “im “importa portant, nt,” “wo “would uld be great great if . . . ,” or “cou could ld prob pr obab ably ly survi survive ve wit witho hout ut . . . ” In all all of of th thes esee discu discussi ssions ons,, th thee majo majorr focu focuss shou should ld be on how you and the administration can give the musicians the tools to promote a higher caliber caliber of of musica musicall performance. performance. As a music music director director,, you must must be totally  totally  committed comm itted to this this goal. It is only after you have have given given the orchestra orchestra all of the tools they need that you can hold them accountable for producing at the highest level.

Unifying Principles and Goals Once you have identified individual needs within an organization and found ways of incorporating these these into the overall overall goals, you then then need to to identify unifying principles and goals. These are items that transcend personal interests interests and that would universally be considered a high priority item by all the members of   your organization. organization. Pe Perhaps rhaps you want to instill the goal of being the best orchestra in the region, or you want to do a European European tour the the following season. season. Are

there items items you could incorporate incorporate that would would create a symbol of a united vision? Something as simple as providing the orchestra members with shirts showcasing the symphony’ sy mphony’ss name with w ith the byline “music “music for the region, region,”” goes a long way  in developing pride in the organization. organization. Or perhaps you you could organize organize a fundraising to personal help raisebuy-in the-in money fororganization. the Eur European opeanFind tourways tour. . Per Personal sonal involthe involvevement isconcert the key to buy with an organiz ation. way s of sending message, not only to the orchestra but to the entire community community..

Energiz Ene rgize, e, Ins Inspir pire, e, and Empower Empower Creating positive energy and momentum in an organization is necessary for sucCreating cess. It is the leader’ leader’s job to set the positive “can-do “can-do”” attitude and to lead lead by example. It is easy for a music director director to become become burdened burdened with too much work  and too much pressure. pressure. Ke Keep ep your own motivation motivation and energy level level high by 

 

Chapter 4  Artistic Leadership   

taking time out for yourself. yourself. This will allow you to to return to the the project with renewed vigor. vigor. Encourage your your players to do the same and you you will avoid “burnout” within the organization. When working with musicians, be sure to praise even the slightest slightest improveimprovements. ment s. Prai Praise se and recogn recognition ition is one one of the most most powerful powerful motiva motivator tors. s. These acactions will inspire others to keep striving toward toward excellence. Everyone loves loves to feel as though they are making progress, progress, and they enjoy being rewarded rewarded and appreciappreciated in front of others. We all work work for money money,, but most will go the extra mile for recognition and praise. Take the time time to celebrate celebrate the little triumphs, triumphs, and inspire and empower the musicians to set and achieve their own artistic goals.

Institutional Values and Universal Purpose Discoverin Disco veringg Your Your Values 

Institutional values are the fundamental qualities that define the way an institution does business and the way it wants to be perceived by the community. community. These values create create hierarchies hierarchies that influence influence priorities in terms terms of the allocation allocation of the resources resourc es of time and money. money. They are a definitive definitive statement statement about what is vitally  important to the organization. An organization’s organization’s values are universal universal and will not change over time. Usu Usually ally an organization will have fewer than five main values.

If, in trying to come to consensus consensus on your value value structure, you identify more than five items, items, chances are are you are confusing confusing values values with goals. goals. Some sample values for orchestras in the United United States, as defined by those organizations are: Cleveland Orchestra 

Individual and collectiv collectivee excellenc excellencee Artistic integrity  Always Alwa ys striving Tradition of continuity and stability  stability  A symbol symbol of com communi munity ty pride pride

Saint Paul Chamber Orchestra 

Striving for peak performance individually and collectively throughout the organization Excellence:

Striving to create powerful, deep connections through through music between and among performers performers and audiences; fostering close collaboration collaboration and respect among all internal constituencies Intimacy:

Innovation:

Aspiring toward versatility versatilit y and the ability to invent and do whatever

is needed; needed; being willing willing to risk failure failure

 



Beyond the Baton 

Aspiring intentionally intentionally to stay the the course in pursuit of long-term goals,, thr goals through ough thick thick and thin Continuity:

Other values that you might commonly see associated with a not-for-profit organization are: Common Nonprofit Values 

We make a contribution to society  We are dedicated to quality  We make life easier . . . better . . . more enjoyable . . . We value quality service Honesty and integrity  After you have have identified your orchestra’ orchestra’s main values, refine the list by asking the following following questio questions: ns: if financ financial ial circumst circumstance ancess changed, changed, wou would ld this value value

still be important to the organization? organization? If our current leadership leadership changed would it still be important? If we had to to pick only one thing to stand for, for, would this be it? Is this particular value important to everyone in the organization? Would we ever want to produce concerts without this value? From Fro m this proce process ss of eliminati elimination, on, you should be be able to identify identify your your three three most important important values. values. Once you you have have done this, you will need to revisit revisit your your purpose, or your your primary reason reason for existence.Often existence. Often this is done in in organizations organizations in terms terms of of thei theirr mission mission stat stateme ement. nt. Be careful careful,, how howeve everr, beca because use missio mission n statestatements tend to be packed with “something for everybody.” everybody.” They may avoid centering on one one true purpose. Of all the areas mentioned in your your mission mission statement, statement, what is the one item that your your community community would really miss miss if your orchestra orchestra did not exist? Use this to help you identify the most important thing that you do. As a leader leader,, you need need to understand understand the values and the the mission of the organization you you work work for. for. It is only through a complete understanding of these that  you can eventually formulate a plan to move the organization forward. As you clarify these these in your your mind, mind, be sure sure that the the board, board, the orchest orchestra, ra, and the sta staff are coming to the same same conclusions; then work to establish establish a group culture that conconstantl sta ntlyy displa displays, ys, re reinf infor orces ces,, and enco encoura urages ges these these valu values. es. Soo Soon n everyo everyone ne will will understand that “This is the way we do things around here.” here.” When everyone is on the same page, it is easier to strive strive toward toward and achieve common common goals. Conflicts Confl icts of Values 

Leaders are are accountable accountable for expressing the values of the organization organization and these values valu es should be compat compatible ible with your your own personal personal set of value values. s. If you find find that  you are personally at odds with the organizational values of an institution or if 

 

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the orchestra orchestra associa association tion is in any way way corrupt, corrupt, look to change change jobs. Trying to work within a structure that is contrary to your personal values will damage you. This will aff ect ect your performance performance both as a musician and an employee, employee, and it will be difficult for you to be a positive leader.

Developing Artistic Vision The artistic vision for an organization incorporates why why you exist, identifies where

 you currently are, and then focuses on where you want to be in the envisioned future. Your vision should be based upon goals that are not currently c urrently within your grasp. These should be concepts concepts that the entire organization organization can support and rally around. Event Eventually ually,, you must translate translate the vision from words words on a page to a living descript description ion of how you you will achieve achieve these these goals. But how how do you come come up with a unified vision of where the organization should should be in ten to twenty years? Most orchestras start by converting the mission statement into specifics and by  trying to improve upon what they are already already doing. Others evaluate evaluate the needs of  ff 

the community and they assessdowhere theyand cantry really makeupon a di similar erence. ere nce.ty Still others rs might identify what the best to focus upon types pes othe of activities. As you work toward toward envisioning your your future, future, it helps to first develop develop an artistic artist ic profile: profile: What type of musi musicc do you play? play? Where do do you perform perform?? And what would you like to improve on? This profile will keep you centered as you discuss realistic plans for the future and develop your long-range plan. Ideally,, the focus and direction Ideally direction of your long-range plan for the organization will be the measuring stick from from which everything everything is judged. It will dictate and clarify artistic programming programming decisions; it will control control the expansion activities of  the organization; and it will help you decide where to spend spend your time and and your money in order to to move you you closer to your your goals. The important thing in reremaining focused as an organization is to pursue only what is essential to the “big picture.” Setting up the Vision 

As you you begin to develop your your institutional vision, you need need to identify who shouldd be involv shoul involved ed in the proces process. s. Often Often,, it is good to to start with some some general general brainstorming sessions. You might want to involve involve members from the orchestra, ff , vol bo boar arddrs.ofStart dire di rect ctor orssaor facu fa culty , offiment ce staof olun tee eers rs, , do dono nors rs, anddfile, an ticket tick et then pur-pur chasers. chase with specific specifi clty, assess assessment your you runt curre current nt artist artistic ic, profile, pro and allow people people to dream a little about about the possibilit possibilities ies of the future. future. At this this point, do not allow anyone anyone to limit limit their thinking due to lack of organi organizationa zationall resources, resources,

 

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space, or time. It is only after all ideas are are expressed that you should should prioritize and select the best ideas for the envisioned future.

To discern discern the detailed components of the organizational organizational plan, howeve howeverr, you will need a much smaller group. Make sure that you you get the “right” “right”people people involved who can really help to to move the the institution forward, both artistically and organizationall zati onallyy. It is the collecti collective ve vision vision of the three three centers centers of leade leadershi rshipp (orchestra (orchestra// music dire music director; ctor; staff /executive /executive director; director; and community/board community/board chair) that that must balance and ultimately ultimately determine determine the future future direction direction of the orchestra. Once the direction direction has been set by this committee, committee, it is critical that the vision concepts be translated into a vividly exciting expression of what the organization organization will become. This written document should be continually continually revisited as as goals are achieved along the way way. At this point, you must strive strive to develop “o “ownership wnership”” and build bridges between steps steps on the overall overall plan of the organization organization and each individual’ss goals. “What is in it for them?” dividual’ them?” Remem Remember ber,, people are are concerned concerned first first and foremost foremost about about themselves, themselves, and secondly about the good of a cause greater than themsel themselves. You willsuccessful need to draw dra upon the commonality commonality of a shared set of  set of  values. To beves. ultimately yow you u should paint them a beautiful picture what could could be.Let be. Let them them see it,unders it, understand tand it,appre it, appreciate ciate it, it, and ultimate ultimately ly “o “own” wn”it. it. Setting Goals 

As you define define the specific goals for the organization, test them against your your values and purpose. Are they in alignment? It is also important to to make sure sure that your goals are are achievable achievable and that your your time line is realistic. In goal-setting, goal-setting, two different models models are often often followed. The first takes takes one step forward forward at a time. time. This type of plann planning ing will will move move you you forward, forward, but dependi depending ng on where you choose to step each time, time, you may may end in a diff erent erent place than where you wanted to be.

The other other,, mor moree eff ective, ective, wa wayy of outl outlining ining yyour our go goals als is dec deciding iding w where here yyou ou are, outlining where you want to to be, and then working backwa backward rd to cre create ate a plan of manageable st steps eps to aachieve chieve yyour our ultimat ultimatee goal.

 

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Goals should be be large and just outside of reach—a great great “stretch “stretch”” for the organization. Things such as expanding to double concerts, concerts, commissioning a new  composition, or adding a resident string quartet quartet can be very exciting goals goals for an orchestra orch estra.. Bewa Beware, re, how howeve everr, if a goal goal is too too large large or ove overwhelm rwhelming; ing; inst instead ead of creating excitement excitement and energy, energy, it might actually create dissension and discouragediscouragement. Therefor Therefore, e, it is important to to break your larger larger goals down into achievable achievable activities. It is the leader’s leader’s job to always maintain forward motion by defining intermediary goals that that are are enticing, enticing, but just just barely barely out of of reach reach.. Pe Perhaps rhaps your string quartet is only in residence for a month the first year, year, and then two months the second year, year, and so forth. As you succeed with your your intermediary intermediary goal, you will build more support for the final goal goal of having the quartet in residence residence permanently permanently..

Dealing with Change and Assessing Risk  Change 

As with any process, process, achieving a new vision will involve involve both both change and risk. This will cause fear, fear, relu reluctanc ctance, e, and concerns concerns within within your organizat organization. ion. Artist Artistic ic leadership is about change. change. It is about improving improving and moving the organization organization forward. In working with your your orchestra, you must remembe rememberr that most people view  changee as a threat chang threat and that that resistanc resistancee to change change is normal. normal. Any type of chang change, e, both positi positive ve and and negative negative,, is personall personallyy stressful stressful.. Becau Because se of this, people tend to encourage and support sameness and predictability within an organization. ff 

YourItorchestra orche stra,, sta for , rand boar d ntify member members willrresist resis t change for asovariety for of  of  reasons. reasons.It is important fo youboard to identify ide the scenter cente of their resistance resistance that you that know best how to move move them past this this level. level. The first, first, instinctiv instinctivee reaction reaction to something new is alwa always ys the fear of the unknown. To combat combat this, this, try to provide provide as much information as possible about the eff ects ects of th thee change change pro propos posed, ed, bo both th on the individuals individuals involv involved ed and the group group as a whole. whole. If the person’ person’s individual routine is going to be disrupted because you are changing the entire rehearsal and concert schedule schedule and they were not given a say in the process, process, they will undoubtedly resist.If resist. If you want to move move the concerts concerts from Thursday Thursday night (which has been Symphony night for the last twenty years) to Saturday night in order to attract new subscribers, you had better involv involvee your audience and orchestra orchestra members early in the proce process ss if you want them them to to support support it. Often, people will not underunderstand why a change is necessary, or why they need to deviate from “how “how we have always done it.” it.” Tradition is a formidable obstacle obstac le to change. You will have to explain how the new concert schedule will position the orchestra orchestr a for potential larger audiencess in the future, which will create more fund-raising audience fund-raising possibilities, possibilities, which

 

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will support the programming works and wage increases increases for the the musiprogramming of larger works cians, which will then help help you to to attract and retain retain a higher caliber of playe playerr. Other reasons reasons for resisting change may may center center on an individual’s individual’s fear of failing;; the fea ing fearr of per person sonal al loss loss of pos positi ition on or or money; money; or the ina inabil bility ity of the mus musiician to make the eff ort ort required. This problem problem often occurs when a new music director sets an artistic standard that is substantially higher than what was acceptable in the past. Often, you will have have to move forward with very small steps steps so that this fear factor is reduced and you don’t totally destroy your rapport with the orchestra as you strive strive to improve improve the quality level. Change and new levels of  expectation require a solid base of respect and trust between between the people involved. involved. Make sure that you have worked with your orchestra long enough to earn that trust before you start moving musicians around and proposing new ideas. As you you are are asking membe members rs of the organi organizati zation on to take take owner ownership ship of new  concepts, conc epts, acti activities vities,, or actio actions, ns, you must asses assesss what what is holding holding them back. Are their concerns financial? Or are they worried about the manpower required to achieve the goal? Perhaps there are historical concerns that you are not aware of. It is important that you understand the history history of the organization, organization, past successes successes and failures, and that you do not deviate from its core mission.In mission. In order to be eff ecective you must create a climate that is open and supportive and encourages dialogue about the new ideas. As the members begin to understand the reason for the proposed actions and as they see their input incorporated, incorporated, they will begin to support the new directions. Small accomplishments accomplishments go a long way in confirming that the changes you proposed proposed were justified. Mak Makee sure that the first few things you suggest are guaranteed successes and avoid changing too many things at one time. Once people are no longer afraid afraid to change, you will notice that a general proprocess occurs. occurs. Ove Overr time, they will move move forward forward through through each of thes thesee phases into into finally accepting and embracing organizational change. Phases Pha ses of Cha Change  nge  Conflict Awareness

Indivi vidduals within the organization cannot see the reasons or benefits for changing. People begi gin n to unders rsta tan nd th thee benefits involved.

Accep epta tanc ncee

Y ou exp xper erie ienc ncee bu buy-i -in n and and th thee inp inpu ut of of id ideeas reg regaardi din ng th the change.

Commitment Impact Rea eass sses essm smen entt Success

Staff , boar board, d, or musicians musicians make make the commitment commitment to change change themselves. All the individual changes begin to have eff ect ect throughout the organization. Tim imee mus mustt be be spe spent nt an anal alyz yzin ingg wha whatt is is wor workin kingg and and wh what at is no not. t. You see the results of of the change and th the organization’s go goals are achieved.

 

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Assessing Goals 

As you develop artistic goals goals and objectives objectives for your your orchestra, encourage discussions regarding how how best to meet these goals goals and how to assess new ideas. ideas. As a music director director,, you will be constantly constantly approached approached with concert concert ideas, collaborations, ratio ns, and growth growth opportunitie opportunitiess for the organiz organization ation.. In the proces processs of analy analyzzing new ideas, before you you make a decision, you might ask ask the following questions: questions: What are the positive positive and negative negative aspects of this idea? How does this idea move us forward toward our long-range goals? Does this idea fit with our values and with what is important to us? Are the possible advantages so great that it must be considere consideredd further? Are the negative issues so great that we should not go further? Is this an opportunity or a hindrance? Assessing Risk 

Every new idea or project Every project involv involves es a certain certain amount of risk, and each person person in  your organiza organization tion has a certain certain tolerance tolerance for risk. In order order to move the organizaorganization forward, forward, you will have have to identify identify a median level level of risk that most most members members of your orchestra orchestra or board board will accept.As accept. As you are are assessing the risk level level for an important decision, decision, ask yourself: yourself: Is this this a risk that we can aff ord ord to take? Do we have the misoney, ma npower, , and the artistic crare, edibility toer,be successful? successfu l? which If the anathe nswermoney “no,,”the “no, thenmanpower you should mov move e on. Therecredibility are , howev however , situatio situations ns in risk level is great great but the envisioned envisioned future future of the organization organization is dependent dependent on this change. change. Sometime Sometimes, s, in order order to to be success successful, ful, you hav havee to dramatical dramatically ly alter alter the way you you do things. This might require more resources than you you have available available at the time. Not to move move forward, forward, howev however er,, would be be the wrong wrong decision. decision. In these cases, you have have to step forward boldly and trust that the organization organization will make it

happen. If, howev however er,, everyone agrees agrees too quickly on an issue that is large and risky, risky, do not  make an immediate immediate decision. Adjou Adjourn rn the meeting and give people more time to to think. think. If ther theree is not some discus discussion sion of con conten tention tion when when large large organiza organiza-tional changes are are proposed, then people are not taking taking the decision seriously. seriously. Important decisions should  be somewhat controversial and it is important for everyone to know what they are committing themselves to accomplish. Implementation 

It is important to discuss the the implementation implementation of any project project before the the final decision is made to move forward. forward. You will need to identify how things will be accomplished and and by whom.If whom. If you decide that you want the orchestra orchestra to spearhead spearhead

 

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Beyond the Baton 

a community Beethoven Beethoven Festival, Festival, be sure to select someone to be accountable accountable for the project project and help help them to to organize a work work plan, goals, and specific deadlines. It is important important that that everyone everyone fully unders understands tands what what is being asked asked of them them.. If  possible, “test” the idea with other community members members before you make make your your full commitment commitment to move move ahead. Along with the testing testing stage, establish an emeremergency plan. Some projects projects fail to come come together together,, no matter matter how hard you you try. try. Think through through fall-back alternatives alternatives ahead ahead of time and be ready to implement them if the original idea does not work work out. As the years years pass and the organization moves moves forward, continue to analyze analyze  your past activities activities and programs. programs. Do these programs still serve serve a need? Are these the right activities to continue to spend time and money on? Are you still producing outstanding results and impacting people’s people’s lives? It is important to always evaluate eval uate and and fine-tune fine-tune the future future direction direction of you yourr organizatio organization. n. Once you you’ve ’ve  joined an organization, made your changes, and established your style of doing things, you too can get stuck in that that rut of “we’ve always always done it this this way. way.” Negative Change 

Sometimes the organization will change in directions that you do not support such as moving to a pops concert format, format, or changing from a full symphony symphony into a chamber orchestra. When this happens, you first first need to to refer back back to the val-

ues and vision of the organization. organization. Are these these new ideas in alignment with the the organization’’s core values? Who is pushing for the change, and why? Is it financially  ganization driven? How strong is your own support base within the organization? Is this a bat battle tle worth worth fightin fighting, g, or are are there there bette betterr uses of of yo your ur time? time? Any Any time time you you go against agai nst organiz organization ational al change, change, you use up up tremendo tremendous us amounts amounts of ener energy gy.. If the issue at hand is small and inconsequential, inconsequential, learn to be flexible and learn to change change for the the good good of the whole, whole, eve even n if you do not perso personally nally belie believe ve in in this chang change. e. It is best to pick your your fights carefully and and to not risk winning the battle, but losing the war. war. If, howeve howeverr, the change in the organization organization’’s direction is in direct conflict conflict with your personal core core values, or in direct conflict with the current artistic goals,  you have have a larger problem. First, you must must rally your followers followers to see if you have have the support system to go against the current trend. Pati Patience ence and perseverance are are necessary nece ssary,, and, obvio obviously usly,, good diplomat diplomatic ic skills. Work with those those closest to to you to persuade persuade them them to your your way way of thin thinking. king. If you yourr thoughts thoughts resonate resonate with with the values and mission of the orchestra, orchestra, this should be easy. easy. Let them them move move through through the organization and and gather followers followers who can help refocus the the mission. If your ideas ideas are in alignment with the vision and you can accurately express your concerns over the the current direction direction and define why why it is not in alignment, then you will

 

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have a good chanc have chancee of succ succeedin eeding. g. If, how howeve everr, you do not not have have good rela relationtionships within within the organizati organization, on, or if the organizat organization ion is split in its understandin understandingg of the future future direction direction,, you might might want to look for another another position. position. In order to to lead, you must have followers, followers, and people must want to to follow you you in the direction you are leading. You can easily destroy an organization by encouraging feuding within its various constituents. constituents. Then all attention and energy is used up for the fight fight and there is nothing left for moving the organization forward. Be careful never to turn the board members against each other or actively help to create dissension within an organization, no matter how strongly you you feel about an an issue. This will only weaken the organization and create create instability for the future. future.

The Leadership Team As a music director director,, you are are directly directly accountable accountable for the artistic vision of an organization, but you will work work closely with the executive executive director director and the board

chair regarding the overall overall institutional vision. It is important that this leadership team be cohesive and aligned. Together ogether,, you will be able to move the organization to new heights. Mak Makee the time to meet regularly to assess how the organization is doing on its institutional goals. goals. This will also allow for feedback feedback from all all parties regarding where resources are being allocated and how this is helpful or detrimental in the pursuit of approv approved ed goals. As you you work as a team to move move the organization forward, forward, there is a progression progression of strategies and actions that will make the transition happen more smoothly. smoothly. Here are are some steps that a leadership team should keep in mind as they develop a united vision for the organization: Step 1

Identify and survey stakeholder stakeholderss S.W.O S.W .O.T .T—Ana —Analyze lyze stre strengths ngths,, weakness weaknesses, es, opportu opportunitie nities, s, and thre threats ats Identify unifying themes Define everyone’s self-interests Step 2 

Identify values and overall vision Communicate Commu nicate this vision to all of the stakeholders stakeholders Step 3

Define and allocate resources (prioritize) Research Resear ch and seek out best practices Identify one or two unifying unify ing projects to build followers followers Create an action plan

 

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Beyond the Baton 

Step 4 

Implement the plan Assess results Reward people Remember Remem ber,, the sum sum of the parts parts is alway alwayss more more powerfu powerfull than the the whole. whole. If   you can empower empower those in your your circle to share share values, values, share a vision, and to work  towardd common goals, you will truly be able to make towar make a diff erence erence as a leader leader.. By  being an eff ective ective artistic leader leader,, you will experience more success in achieving  your musical goals and you will be be able to have a lasting impact on the people that

 you work with. To be a music director, director, you must fully understand, support, and bring to to fruition fruition the artistic artistic vision vision of the orchest orchestra ra that you you conduct. conduct. It is only  then that music can truly make a diff erence erence in a community.

Thoughts about Artistic Vision

Interview: Leona Interview: Leonard rd Slatk Slatkin, in, Saint Louis Symphony/National Symphony  “Everyone working together to make the vision visi on a re reali ality”— ty”—Leonard Slatkin  Creating Vision 

Vision is a perfe Vision perfect ct word. word. If you are hire hiredd to be the the head head of an organiza organization, tion, hopefully,, it’ fully it’ss not just just because because of you yourr skills as a conduc conductor tor but but because because of of what you you envision for the the organization. organization. In your your new position, you have have to explain your vision administration andhired the board. ou need toyour tell them “This and is what have to in the mind. This is why why you me.”” IfYeventually me. own vision yourI own goals are not the same as theirs, theirs, then you have have to face the fact fact that perhaps  you shouldn’t shouldn’t be there any any longer, longer, or you shouldn’t shouldn’t be there at all. Unless everyeveryone gets on the same page page and sees what those goals goals are, then you are are not going to accomplish much. A lot of orchestras today today do not have have a clear clear idea of where they want to be five to ten years from now. now. They are worried about whether they are going to have have an audience next next week, or how they will raise the money for payroll. payroll. These are important things things to worry about, about, but the bigger bigger issue is, wher wheree do they want to be in the future and how are they going to get there? What are the objective and goals? I went back to Saint Louis after my my time in New Orleans, Orleans, and the reason it worked was not just because I had this idea for the orchestra about where I

 

Chapter 4  Artistic Leadership   

thought it should be going, but because the executive executive director director and the artistic administrator also saw it the same way. way. Frequent Frequently ly we were at odds with w ith each other, other, but at the core, core, we all had the same end goals. We wanted the orchestra to to have exposure in specific specific new repertoire repertoire nationally nationally and internationally; internationally; at home we

wanted to have a broad-based repertoire that would serve the Saint Louis area; and I wanted to to grow the orchestra in terms terms of having an individual and and unique sound sound. . The three thr ee of us worked wor kedsay very very har d for man , man many y years year s to achieve achieve these goals. Most people people will thathard we did.many We yput ourse ourselves lves ontry thetomap bebecause we had a focus. We knew what we wanted to accomplish. accomplish. I don’t don’t take credit for that alone. I worked closely with the executive director director and the artistic administrator. administrator. It was done as a group group with everyone working working together to make make the vision a reality. reality. One person cannot make an orchestra orchestra successful. You have to be a team player in the sense that you work with the people in manag managemen ement, t, and tog togethe etherr, you bring you yourr board board along. The thr three, ee, tog togethe etherr pushing pushi ng for the same same goals, are the ones ones that drive drive the board. board. The board board often doesn’t doesn ’t realize realize that you you are leading leading them. This is what we call call leadership. leadership. Leadershipp of the orch shi orchest estra, ra, lea leader dershi shipp of the boar board, d, and lead leader ershi shipp of the com commu munity  nity  is essential to the vision. Artistic Programming 

With both both the Saint Louis Symphony and the National National Symphony Symphony, trying to expand the American American reperto repertoire ire became became important important as part of the core core vision. Championing new composers, composers, many who who have gone gone on to be quite successful, successful, has been very very satisfying for me. Unders nderstandi tanding ng the importance importance of the creativ creativee process in this country as well as in Europe Europe was also something I emphasized. emphasized. With the orchestra orchestra here here in Washington, D.C., the nation’ nation’s capital, we have have a mandate to play music of our own country country as well as presenting as many American solo artists as we can. I keep this in mind as I plan each each season. Identifying Strengths and Weaknesses 

As you work to establish the objectives and goals to make your vision a reality,  you need to make a list. Write down your strengths and and your weakness, and then write down your real  weaknes weaknesses. ses. After that, that, ident identify ify what you you want to to achieve. achieve. How do assign to achieve goals? you shore do up you the weaknesses thatyour you strengths need to achieve youryour goals? AndHow whatdoweaknesses have that you you don’t don’t think you can ever change? Everyone needs to do this. Eve Everyryone needs to assess not only the the organization organization they work work for, for, but themselves. themselves. I do a self-evaluation all the time. You have to to be honest with yourself: What can you

 

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Beyond the Baton 

do? What can’t can’t you do? Not Not just as a musician, but as a person. Your life is not just about the music, although sometimes we wish it was. You don’t don’t want to be a different person on the podium and off  the podiu podium. m. Part of you yourr strength strengthss in any  organizational situation is assessing your own personal strengths and weakness as well as your musical ones.

Interview: Inte rview: Rob Robert ert Spano, Spano, Atl Atlanta anta Symph Symphony  ony  “I don’t don’t think vision is something one creates in a vacuum”—Robert Spano  Creating Vision 

I feel that my role as a music director is to create artistic vision v ision for an institution, but unilaterally unilaterally. . In Atlanta, Awhen tlanta,we wedo havour have e these fantastic wh“War where erearweRoom,” have ”a have lott of lo onot f th the e sta staff  present planning. Wemeetings call it the “W Room, Dr.. Stran Strangelove  gelove , ther which we started saying because in the film Dr theree is that wonderwonderful line, line, “Ge “Gentlem ntlemen, en, you can can’t ’t fight fight in here, here, this is the the war room. room.” In this this room we have have the executi executive ve director director,, the general manager manager,, the marketing marketing director director,, the education director director,, the artistic administrator administrator,, the vice president president of development, and my assistant. During Duri ng the discussio discussion, n, we all bring bring what we know from from members members of the orchestr che stra, a, mem member berss of the cho chorus rus,, mem membe bers rs of the boa board, rd, of the volu volunte nteers ers,, and we we talk abou aboutt their their inte interest rests, s, con concern cerns, s, and desir desires. es. Toget ogether her,, we bring a lot lot of perspective spect ive to the the table. table. I think, think, for a musi musicc directo directorr, it is incum incumbent bent upon us us to know our constituency. constituency. Who are the parties involved? involved? And what do we all want? After that, we have have to bring it into focus and give itit shape. There is a great g reat line in John Cage’s “Lecture On Nothing”: Nothing”: “Form without life is dead, dead, but life life without without form form is unseen unseen..” It is up up to us us to unders understand tand all all of the messages that we are getting from from all of these parties, and to sift through through them to to come up with something something that is real. What I have found found very valuable in workworking in this committee committee way way is that we have have a shared shared vision at the end of this process.. We all came cess came to these thing thingss togethe togetherr and it give givess a kind of an institut institutional ional unity about what is is going on and why why that is commonly commonly understood by by all of us. I find that very powerful because I don’t don’t think vision is something that one creates in a vacuum. I feel incredibly lucky because both in Brooklyn Brooklyn and now in Atlanta, I’ve had really great partners on the staff . I know that this is not alway alwayss the case. case. I couldn’t couldn’t

 

Chapter 4  Artistic Leadership   

do it without them. them. Our executive executive director here brings such a wealth wealth of experience and perspective and understanding to all of the aspects of of what we are doing that I am least equipped equipped to deal with—matters with—matters of money and ticket sales. sales. We talk  all the time and we have very common causes and we play our respective roles to achieve those those goals. It is a critical critical relationship. relationship. That is why why we have have so many many different skill sets to run run an orchestra. We need the input of all these people to to make the whole thing work. work. It is important for me to know what is going on so that that I can do my my part of the proces process. s. The other aspect aspect you need for the artistic artistic vision of an organization organization is community muni ty buy-in. buy-in. In Atlant Atlanta, a, I get involv involved ed in the program program copy copy for the season season brochuree and the concert press releases because I enjoy it, and I want the message brochur to truly reflect reflect the music. music. Another thing important important to developing developing community  community  buy-in is the public speaking. I go to to colleges and high schools, and other groups throughout the area. area. I think that that is incredibly valuable. valuable. Artistic Programming 

The biggest issue for for me then ends up being being our programming, programming, and trying to develop an institutional identity. identity. What does the Atlanta Symphony Symphony Orchestra need to be be,, in the the City City of Atl tlan anta ta,, fo forr the the City City of Atl tlan anta ta,, an andd for for the the caus causee of gr grea eatt musicc and great musi great art? During During our war war room room discussion discussions, s, we write a lot lot of ideas down and we test our decisions against certain things we want to be satisfying. Every Ev ery year year,, I will look look at at the seas season, on, fr from om a numbe numberr of angl angles. es. Ho How w much much of the traditional repertoire is being sustained and presented? How much American music are we performing? How much diverse world music is programmed? How  is the balance of the new and the old? The Atlanta Atlanta Symphony Symphony is a flagship institution. tuti on. We are very very diff erent erent then then the Brooklyn Philharmonic, Philharmonic, where the focus was upon trying try ing to create a “niche “niche”” identity in a very competiti competitive ve market. market. As I am looking at the overall programming, programming, there are things things that I don’t don’t feel particularly interested interested in conducting that I know should be done. I know that I am not a Bruckner person, but other guest guest conductors conductors can satisfy musical agendas that aren aren’t ’t suited to me. On the other other hand, I am pretty eclectic eclectic and a lot of  of  musicc does musi does intere interest st me. me. So, becau because se of of my vora voracious cious musi musical cal appet appetite ite,, it is is easy  easy  for me to satisfy my my interests interests and still still be doing a wide range of repertoire. I find

that this this way way of looking at at programm programming ing opens opens up things things for me. me. Fo Forr example, example, I don’t don ’t generally do all-Beethoven all-Beethoven concerts, but I do them here and I love doing them. For the Atlanta Atlanta Symphony Symphony, an all-Beethoven all-Beethoven concert is very appropriate in the larger larger diet diet of what we we are doing. doing.

 



Beyond the Baton 

Interview: Int erview: Jo JoAnn Ann Fall Fallett etta, a, Buff alo alo Philharmonic “You create vision through enthusiasm and  JoAnn nn Falletta  passion about music”— JoA Creating Vision 

I believe that that the music director director is the person responsible responsible for the spark of vision and mission that can galvanize an institution. You can accomplish this through  your enthusiasm and your passion about music. People look to the music director to provide a special energy energ y. You work with gifted gif ted people who create wonderful ideas, solutions and possibilities possibilities,, inspired by the fact that that  you  believe it can be done. As you strive strive to create a unified unified artistic vision, you must always always put the organization first—this first—this is critical. The vision that we have must serve the orchestra orchestra to make it stronger stronger, to make it more relevant relevant to the community, community, and to make it a shining shini ng presence presence in in a city or a region. region. If the music music directo directorr is enthused, enthused, com commitmitted, and dedicated to the orchestra orchestra and to to the possibilities possibilities for the orchestra, peoplee will come on board. peopl board. In this process process,, the executi executive ve directo directorr can be your strongest ally and you you will work closely with him or her her, but your enthusiasm enthusiasm needs to embrace embrace the entire entire team. team. Whether the person person is the finance finance director director,, or the intern intern who meets and greets artists, or the principal oboist, or a member of  the violin section, you must help help them know that they are important important to creating success. succ ess. Shar Sharee the challen challenges ges and share share the the triumphs, triumphs, too too,, becau because se that spirit spirit of  of  cooperation will make a diff erence. erence. Artistic vision develops slowly. slowly. When you take over an orchestra orchestra as music director rect or,, you should should delve delve into into the history history of the organiz organizatio ation. n. You must underunderstand the community. community. What have they enjoyed? What has been problematic? How  How 

do they feel about about themselves? themselves? What is the self self image of the community community as a whole? whol e? And what what is the self- image of the orchestr orchestra? a? All of this is very very important. important. I have have become become more more and more more an advocat advocatee of slow caref careful ul building, building, rathe ratherr than radical change. I think the changes that really really matter matter take take time. When you come into a new situation, you need to meet with as as many many of the constituents constituents as possible. You need to talk to the board member who doesn’t doesn’t want to hear any  music written after Brahms. You must meet with the mayor, mayor, who is not really sure that the community can support this orchestra. You should talk to every single “share-holder “share -holder,,” sharing your vision. Not everyone everyone will agree, agree, and you will hear hear many diff erent erent ideas about what the orchest orchestra ra should should do. do. Shoul Shouldd it be bigger bigger,, shoul shouldd it be smaller smaller,, shou should ld it do

 

Chapter 4  Artistic Leadership   

education concerts, more education concerts, should it go to Carnegie Hall, should it start start to record? record? In the the long run, you ha have ve to to make make those those decisions decisions.. But I think think that that if you hav havee shared your ideas with the community, community, people can come to understand why you want to do something and may may be willing to give give it a chance. If you don’t don’t spend the time to get to know the background background of the community, community, I don’t don’t think you have have a chance of real success. success. Some music directors directors may may know what they want to to play, play, and know what they want to accomplish accomplish in each concert, concert, but they don’t don’t see the value, valu e, or even even the the beauty beauty,, of gett getting ing to to know the the comm community unity.. Ev Every ery commun community  ity  is diff erent erent and each community should treasure the orchestra because it is theirs. But you have have to help them to understand understand the artistic, educational and economic economic value of their orchestra. orchestra. There is no shortcut shortcut to building building a shared shared artistic artistic vision. It tak takes es a grea greatt deal deal of of time time,, energy energy,, com commitm mitment, ent, and passi passion. on. Artistic Programming 

The repertoire you choose should reflect your enthusiasm for the artistic mission. You may choose some new pieces that you are excited about introducing to the community, community, or you may choose choose some repertoire that is good for the orchestra’’s development. tra development. Pe Perhaps rhaps they they haven haven’t ’t done done much of the French French repertoire repertoire,, or maybe they haven’ haven’tt mastered complicated complicated rhythms, so you might start to include those challeng challenges. es. If the communi community ty hasn’t hasn’t heard heard any America American n music from from the th century century,, you should should start to slowly slowly incorporat incorporatee some important important works. works. If   you decide decide to do a piece that you you feel strongly strongly about or or commission commission a new work,

everyone in the organization must feel your passion and your commitment to that project project.. I have have had my my share share of lett letters ers from from irate irate subscriber subscriberss and board board members who ask “Why are we doing this?”Y this?” You have to take take risks. Ma Maybe ybe everyone is not going to like all your choices. May Maybe be the commissioned work work doesn’t doesn’t turn out exactly as you you hoped, but you are are taking chances and the orchestra orchestra is growing. All of the enthusiasm enthusiasm and love you you have have for music has to be present in everything you do. Part of building vision is building quality into everything that happens. Quality must be reflecte reflected, d, not only in the performances, performances, but in everything everything you do as an organizat organization. ion. It should should influenc influencee the pieces pieces you you choose, choose, the audition auditionss you hold, the pre-co pre-concert ncert talks, talks, the appeara appearances nces in in the commu community nity.. Ev Everything erything that that happens around the the orchestra has to to be at the highest level level of excellenc excellencee that is possible. This doesn’t doesn’t mean that we are all going to try to be the New York Philharmonic. What really matters matters is that your orchestra orchestra is playing at its highest possible level. The people who live and work work in your community community simply want their orchestra to be the best it can be. They want to see the passion in the music mak-

 



Beyond the Baton 

ing and to enjoy a positive relationship between the music director and the musicians as they make music together. It is important to have strategic plans for the next five years or so and we are encouraged to plan our programs programs far in advance, but I think the best planning always wa ys allows allows for flexibility flexibility.. Occa Occasiona sionally lly a piece, piece, a theme, theme, or an idea is unexpectunexpectedly intriguing to to the audience audience or to the orchestra.All orchestra. All of a sudden this might create a diff erent erent direction direction with your programming. programming. The same thing might apply apply to building the supporting elements of an orchestra.Let orchestra. Let the organization be flexible so that you can react to what is happening around you. Don Don’t ’t be afraid to make changes in response response to new information. Sometimes the the largest organizations organizations have the most difficulty being flexible because they have so much structure structure at the core. cor e. Often the smaller smaller orchestra orchestrass can be extremely extremely creativ creative, e, risk-t risk-taking, aking, and experimental. Financial Challenges 

Certainly Certa inly,, all of us deal with with the reality reality of the financial financial situat situations ions in our our commucommu-

nities and sometimes this can be very frustrating. You know that you desperately  need to have have more violins in the orchestra, or that you really need to have have a new  concert hall, concert hall, but it is not a possibility possibility at this this time. This can be very very disappointdisappointing, but we can build creative creative steps to work work around our challenges and to lay lay the groundwork ground work for future future growth. growth. As artistic artistic leaders, leaders, we need to create create positiv positivee change where where we can, but we also also need to to be able to make make the best best of the artistic tools we have at the moment.

 

Chapter 5 Artistic Programming Subscription Concert Programming

Once the the institution institutional al vision has has been set, all of the artistic artistic program programming ming must must align with this this vision. If the goal is to become become the largest largest orchestr orchestraa in the area, you will want to work toward building your audience and performing more concerts. If the goal is to become become the best orchestra, you might might need to increase your your pay  pay  scale,, set highe scale higherr artistic artistic stand standards ards,, and find find ways ways of moti motivati vating ng play players ers to imimprovee performance. prov performance. If your goal goal is to be the most most “well-known” orchestra in your area, youinto might want to concentrate concentrat e on doing recordings and putting money your marketing eff orts. orts. The instmore institut itutional ional vision should vision shoul d definemore the course cou rse of actio action n for the organizat organization. ion. After you have have identified the larger goals, goals, it is the music director’s director’s job to establish tabli sh a set of small smaller er initiativ initiatives es that will will move move the organiza organization tion forward. forward. In essence, essen ce, you will need need to develop develop very specific specific artistic artistic goals. Man Manyy of these will be linked in some way to programming. Excellent programming is the result of tremendous eff ort, ort, tho though ught, t, and car careeful planning. Sometimes the programming programming is done by by the music director director alone; other times it is chosen in consultation with the executive director director or an artistic committee. committ ee. In larger larger orchestras, orchestras, programming may be selected selected by a team team conconsisting of the music director director,, an artistic administrator administrator,, and the executive executive director director.. Whether it is completed completed by an individual individual or a group, group, the important thing is to take into into account all all of the major variables variables and parameters. parameters.

Philosoph Phil osophyy of Progra Programming mming and and Growth Withi ithin n most organiza organizations tions,, ther theree is a general general philosoph philosophyy of pro programm gramming. ing. This is either evident in the the history of the organization organization or it is cultivated cultivated by the the current music director director.. Often, in doing a search search for a new music director director,, organizations look for conductors conductors who share a similar similar philosophy philosophy of programming.

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

Beyond the Baton 

Basic programming programming philosophies can be divided divided into large groupings. groupings. Some orchestras specialize in chamber orchestra orchestra repertoire, whereas others put the emphasis on full-orchestral full-orchestral works. works. Some specialize specialize in new music; music; others center center on a specific time time period of of music. There are even even orchestras orchestras known for their creative creative style of pre presenti senting ng concerts. concerts. Within an organizati organization, on, each conduct conductor or brings their

own approach approach to programming programming and their own set of likes and dislikes.When dislikes. When you begin a new job, it is important to spend time discussing your personal approach approach to music making and to clarify the things that you feel are important with the executive executi ve director and the board. Your beliefs should be in alignment with w ith the overall vision of the organization. organization. This way way they will become become a means to achieve the end—not the end itself. Programming with Passion 

When beginning the programming programming process, process, you must must look to your passions. Obviously,, you went into the field of music because viously because you you love love it. You probably probably have have an intimate intimate relationship relationship with certain types of music and a flair for certain types of conc concerts. erts. This perso personal nal stamp stamp is is what what makes makes each each music music direct director or unique. unique. When selecting music to perform, you must consider consider your personal strengths strengths as a conductor. conductor. What music do you have have experience conducting? What repertoire repertoire would you like to conduct? It is essential that you love the pieces you select to conduct and that you are committed committed to them artistically. artistically. You want to focus upon the types of music that you you relate to to emotionally and you you want to share share that emotional relationship with your audience. audience. Your musical passions should drive all of  the major repertoire repertoire decisions, yet you will need to carefully temper temper this accordaccording to the limitations limitations of your organization. Assessing Limitations 

When programming programming for an an entire organization, there are are a variety of parameters and issues to evaluate evaluate as you select the music music for each concert season. What are  your programming constraints? Hav Havee you analyzed the strengths and weaknesses of the individu individual al sections sections of you yourr orchestr orchestra? a? Through Through your your choice choice of of repe repertoir rtoire, e, can you emphasize the strengths streng ths and minimize the th e weaknesses? weakn esses? Your Your goal should be to improve improve the quality of your orchestra orchestra over time time by a careful selection selection of  pieces that gradually challenge the orchestra orchestra to perform at a higher level. This will help to establ establish ish a level level of trus trustt between yourse yourself lf and the orchestr orchestraa members. members. At At-tention should should be paid paid to intertwining various styles of musical playing playing so that the orchestra can grow both stylistically as well as technically.Analyze technically. Analyze what moves the organization forward artistically and incorporate these ideas into your pro-

 

Chapter 5  Artistic Programmin Programmingg   

gramming. Find out how how you can be diff erent, erent, better better,, and more more exciting exciting than than any  other orchestra in your area. The pieces you select to to perform must be directly related related to the amount amount of rehearsal time you have available. available. Do you have have enough time to properly rehearse the works you have chosen? Will the budget budget allow for extra rehearsals if necessary? Or can you help financially bycan selecting a quality program thatmusic can bethat done with rehearsals? Sometime you program a concert that uses is in thefewer public domain. domain. This can create create tremendou tremendouss savings in your your music music rental costs. costs. All of  these are factors to consider in your programming programming process. Most orchestras allow  for three to four four rehearsals rehearsals for a standard subscription subscription concert, and one to two rehearsals for pops or light classics. Youth concerts are almost always always performed with just one rehearsal. Make sure sure that you use your your rehearsals rehearsals wisely and efficiently during the season. The budget will also determine the approximate approximate size of   your orchestra. Look for clever ways to shift pieces pieces around to create more flexibility in this area. area. By programming programming an all-Mozart all-Mozart program for for one of your concerts, concerts,  you might be able to aff ord ord the extra personnel for a Mahler symphony later on. When  a concert occurs in the season must also be considered in planning the programming. programming. Is there there a specific occasion occasion linked with the concert concert date? If you have a concert that is taking place pl ace on or near Valentine’s Valentine’s Day, Day, you might want to include programming programming that addresses addresses that theme. Other popular dates dates are New  New  Year’ ear’ss Eve, Eve, Black Hist History ory Month, Month, Music in in Schools Schools Week, Week, St. Patrick atrick’’s Day Day, and so on. Thematic programming programming is cove covered red more more in depth later in this section. There are additional financial considerations that aff ect ect progr program ammin ming. g. Because concert sponsorship is critical to an orchestra’s orchestra’s survival, you will want to develop concerts that help to increase this funding stream. Your concerts should be easy to market to both your subscribers and to the single-ticket single -ticket audience members. If ov overall erall ticket ticket sales sales in an organizat organization ion are are going downwa downward, rd, you will will need to program much diff erently erently than than if they were were increa increasing sing steadi steadily ly.. If you need need more more audience members, members, program a “warhorse “warhorse”” piece, but try to tie tie it to something else that is new and fresh. The secret is to never allow your your programming to become become status quo or predictable.Always predictable. Always give your audience a little more than they expect. Through your programming programming you are trying try ing to build institutional ownership of the product—the product—the concerts. concerts. What builds ownership? ownership? Ownership is built by by participation. Have Hav e youthink asked theplay recentyou recently ly what repertoire they would like to play? What they they porchestra lay well? Have you surveyed your audience audien ce to find out which pieces they are excited about hearing performed? It is amazing how the suggestion sugge stionss from the audience audience will vary. vary. The concept concept of “som “somethi ething ng for everyone” has to be incorporated into your your overall philosophy philosophy for programming programming for the season. In selecting the music, you will need to consider what the audience audience is

 



Beyond the Baton 

used to hearing. How ingrained is this expectation? Have Have they been been exposed to a variety of new music or controversial controversial pieces in the past? You must carefully anticipate your your audience’ audience’ss tolerance for for change. Mu Much ch of this will be based based on their trust level level with you as the music director for the organization. organization. If you select music that they perceive perceive to be bad, that trust level will quickly become eroded eroded and you will have dissension within the organization. As you select your your repertoire, repertoire, it may be your your personal goal to “gr “grow” ow” the organization. This is always always a fun and challenging challenging proposition. proposition. Before you you start creatingg new programs atin programs and concerts, concerts, how howeve everr, mak makee sure that that you have have worked worked closely with the executive director director and the board chair to identify priorities. You need to understand the the hierarchy hierarchy of of the allocation allocation of resourc resources es in relationship relationship to to the overall institutional goals fully. fully. Too many conductors have have regarded an orchestra as their orchestra, and failed to take take into account that that the orchestra was there before they were hired and will probably be there long after they are gone. Being a music director director for an orchestra orchestra is like being entrusted entrusted with the care of of a child. You can guide and encourage encourage it; train it and move it forward on its growth growth path; pat h; but ulti ultima mate tely ly it will, will, and shou should, ld, ha have ve a life life of of its own. own. It is not not your yours. s. The decisions decis ions you you make make must be in in its best best interest interest,, not just just your your own. When the music you love love matches up with all the parameters set forth here, then you are are on the right track in your programming for an organization. The more experience you have have as a conductor, conductor, the more you will gravitate toward that which which resonates resonates with you personally personally.. Notice Notice,, howeve howeverr, that “what will look good on on your résumé, what will increase increase your your career career opportunities, or what  you just conducted last week with w ith another orchestra orchestra”” are not mentioned at all. Manyy young conductors Man conductors are too interested interested in increasing increasing their list of works conducted or in making their life easier than in selecting the most suitable pieces for the orchestra orchestra they are are working with. Remem Remember ber,, becoming a great conductor conductor is not about about you: you: It is about about the the music. music. If the music music sounds sounds bad becau because se it was was too hard for the the group, group, there was was not enough rehearsal rehearsal time, or you did not have have the right-size orchestra to play the piece because because of budget restrictions—then restrictions—then you you aree perso ar personal nally ly at at fault fault.. If an anyy of the these se occu occurr, the per perfor forma mance nce of the mu music sic will suff er. er. No one wants to hear great music played poorly. poorly. The Audience 

Music is made to to be shared shared,, to be hear heard, d, to be inte interacti ractive. ve. Ther Therefor efore, e, we cannot cannot

talk further about programming unless we first talk about the receiving side of  the equatio equation: n: the audience audience.. As you you plan for the futur future, e, tak takee time to ask ask yourself  yourself  some basic questions about your audience.

 

Chapter 5  Artistic Programming   

Where is your audience regarding their listening skills? Have you taken the time to get to know your audience? How has this been done? Conversation? Surveys? Focus groups? What music are they excited about currently? What type of listeners would would you like them them to be in in five years? years? How much trust do they have in you as a music director? Would they come to a concert concert of “unfamilia “unfamiliar” r” music because they trust  your ability ability to judge quality? quality? How much change can they tolerate? (You must be careful not to change too fast.) Meet your your audience where where they are with your programming, programming, and then work  to take take them them where where you you want want them to go. go. A high level level of of trus trustt is essentia essentiall if you are dramatically changing the artistic direction for an organization or varying substantially from from its programming history history.. I knew a conductor once who took  overr the reigns of a small regional ove regional orchestra orchestra and didn’t didn’t do his homework. homework. During his very first season, he chose to program works works that were far beyond beyond the listening capacity capacity of of his audienc audiencee and the the playing playing ability ability of his orchest orchestra. ra. Att Attendan endance ce immediately dropped off , as did contribute contributedd income. income. It was was only by re-adjusting re-adjusting the programming in future seasons that they were able to recover and rebalance the organization. To get to know your audience better, better, first you might want to analyze some of  the reasons why why they go to concerts. The reasons are many many and diverse. diverse. People go to concerts because: ■ ■ ■ ■ ■ ■

They want to be inspired It is the social thing to do They know k now and like the pieces being performed They use use the ti time me to rrest, est, unwi unwind, nd, or esc escape ape They want to expand their knowledge k nowledge and learn more They feel it is their civic duty 

■

■ ■ ■ ■ ■ ■

They want to connect with other people They are looking to be entertained They like the the sensua sensuall charac character ter of sound They want to hear a famous or talented guest artist They truly love music and connect to it personally  Music takes them into a diff erent erent world—it is a transformation Attending concerts makes them feel successful

ered by the American Symphony Orchestra  (This list was derived from a seminar o  ff ered League’s Orchestra Leadership Academy .) .)

 



Beyond the Baton 

you can see, the motivat As you motivating ing factors factors vary tremendou tremendously sly.. Man Manyy audience audience members are there for the music and how the music a ff ects ects them. them. Othe Others rs attend attend for the experien experience ce and for all all of the aspects aspects surrou surrounding nding the the experience. experience. Some people go to concerts because because of social pressure pressure from a spouse or their their job, job, when they really would prefer to be elsewhere. elsewhere. How can you create create a stimulating concert experience that reaches out out to all all of these people? From Fro m the people who regularly regularly attend concerts, concerts, the audience can can be further broken down into subcategories.

Long-time Subscribers.

Usually enjoy the music but they might be entrenched

in defined expectations of concert formats and formats and repertoire. repe They often they will renew  their subscription subscription regardless regardless of programming andrtoire. soloists because value their seats. These people usually believe believe in the organization as a whole. These people might not have as much experience with the art form, or they might be avid music lovers lovers who who are new to the area. area. They often are testing testing the quality of the organization organization overall. overall. Us Usually ually they are interested interested in programm pro gramming ing that they they feel is familiar familiar,, unusu unusual, al, or directly directly relevan relevantt to them. They tend to be curious about the organization as a whole but not necessarily  New Subscribers.

committed. Single Tickets.

Single-ticket buyers buyers are interested interested in a specific specific program. This

can be because because of familiarity with the music or theme, or they might might be attracted attracted by the the star quali quality ty of the guest guest artist. artist. Pric Pricee is usually usually not an obsta obstacle; cle; they value value their flexibility more. These people usually do not not develop a long-term long-term commitcommitment to the overall organization.

The audience audience divides further further along the lines lines of the types of concerts they attend. attend. Usually people who grew up playing an instrument, or who were exposed to classical classical music early early in their lives. The music is important to them. The sociall structure socia structure of a concert concert is important important to them. them. They like to to hear music music they  are famil familiar iar with, with, but they they are are also ther theree to learn, learn, to grow grow,, to be engag engaged, ed, and to to be inspire inspired. d. Man Manyy of these subscri subscribers bers like like to be seen seen at a concert. concert. They also also like to talk about the music with friends who are attending. Classical.

 

Chapter 5  Artistic Programming Programming   

Pops.

Pops audiences are looking for entertainment. They might like the “sound” Pops of the symphon symphonyy orchestra, orchestra, but they they want to hear hear music music that is easy easy to listen listen to and fun. They often want to sing along quietly, quietly, or tap their their feet. They prefer to be familiar with the music that the guest artist is performing. Parents or grandparents bring children and grandchildren to family  concerts in order to teach them about classical music and to help make them “better “bett er-educ -educated ated”” individuals. This audience can be very dedicated and will subscribe to a series year year after year year.. They are usually usually looking for a combination combination of education and entertainment. Family.

These concerts are usually presented for schoolchildren who are bused to the concert concert hall. The educational educational component component of these concerts concerts must be very high. They are usually accompanie accompaniedd by study tapes and educational educational lesson plans. Teachers often have the students participate in preconcert and postconcert tests. It is best best if you can can relate relate the concepts concepts being being explored in the the concert concert to the educationa educa tionall standards standards of the school district. district. Educational.

Even though these audience members may diff er er greatly greatly in the the number number of time timess they attend attend a conce concert rt or in the types of conc concerts erts they choose choose to to attend, attend, you will will find that their ideas about what makes a great concert concert are quite similar. similar. Remember,, a concert ber concert is an art form that occurs occurs during a specified specified moment moment of time time,, nev never er to be repeat repeated ed exactly exactly the same way way again. again. During this time time period, period, magic magical al things should happen. It is your job as as a music director to to make every every concert a great one. A great concert must involv involvee the following aspects: ■ ■ ■ ■ ■ ■ ■ ■ ■

Active inv Active involvement olvement of audience and pe performers rformers Continuity and variety; accessibility and the unexpected Discovery  Passion Sense Sen se ooff occ occasi asion on Overall atmosphere The personal personal co conviction nviction ooff the per performance formance Great music performed well The irreplaceable moment when something incredible happens

 

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Beyond the Baton  ■ ■

Energy and electricity  Risk-taking—by Risk-ta king—by the conduc conductor tor,, the perform performers, ers, or through the repe repertoire rtoire

ered by the American Symphony Orchestra  (This list was derived from a seminar o  ff ered League’s Orchestra Leadership Academy .) .)

Concert Nonattenders 

Often we will encounter people who say they they do not like classical music, or who have eenrea inch a concert hall. One of the challenges face as music tors isnever howbbeen how to reach this potential aaudience. udience. Eve Even n the we best-planned anddirecperformed concert concert will be a failure failure if no one at attends tends the performance. How do yo you u convince a nonattender that this music is relevant to their life? One of the first steps is to dev develop elop a personal relati relationship onship with new potential

audience members. members. This can be done by the music director thr through ough community  talks or through m musicians usicians rreaching eaching out into the community community.. If people feel they  know someone involved involved in the concert, they are much more likely to to attend. Some people are afraid to come to concerts because they have never been in the concert hall. You might want to encou encourage rage the organization ttoo set up tours of the facility or to have special daytime events that allow people to wander through the hall and become more comfortable with the surroundings without the added elementt of the con emen concert cert perf performa ormance. nce. Others might not be aaware ware of how ttoo get tickets to symphon symphonyy ev events. ents. Mak Makee sure that your orchestra has the capacity to sell tickets online and that your seating chart is easy easy to read read.. This will appe appeal al to man manyy new audie audience nce mem members, bers, because searching and purchasing items and services on the W Web eb is something they  know and understand. Mor Moree and mor more, e, orchestras ar aree reaching out to ne new w audiences through e-mail marketing and items posted on their Web Web sites. As you review your pricing structure, make sur suree that you hav havee tickets that are aff ordable ordable for all levels of income oorr inter interest. est. A curre current nt nonattende nonattenderr might be willing ttoo try  out the symphony symphony if they could gget et a tick ticket et for $ inst instea eadd of $, or if th they ey co coul uldd purchase a family pack that would allow their entire family to attend. As you you select yyour our pr program ogramming ming for eeach ach seas season, on, be cons consciou ciouss of inclu including ding familiar repertoire repertoire that might encourage a nonattender to come. come. True masterpieces piec es of music ccommu ommunicat nicatee to all, and audi audience ence me member mberss like to hear pi pieces eces that they are familiar with. You also might want to search for connections outside of the re realm alm of musi musicc that w would ould app appeal eal to so someone meone iinter ntereste estedd in that sp specific ecific field.. Fo field Forr ex exampl ample, e, you coul couldd pr program ogram a cconce oncert rt of musi musicc in inspir spired ed bbyy Sh Shake ake-speare’s play speare’ plays, s, which might bring a theatrical aaudience udience iinto nto the concert ha hall; ll; or  you could could incorporate elements of art, or dance. Additiona Additionall ideas might include

 

Chapter 5  Artistic Programming   

making a concert less formal in structure with some dialogue from the podium, or changing the time or day of the concert to to cater to a diff erent erent audienc audience. e. This has been very successfully done with “Rush Hour” Hour” concerts and Sunday Sunday afternoon “Family Concerts. Concerts.”” Finally Fina lly,, if you are still having having trou trouble ble attracti attracting ng new conc concert ert listeners listeners,, if you yourr budget budg et will allow, allow, try bringing in a big-name big-name soloist.The soloist. The name recogn recognition ition of the artist will help get people into the hall, and if your orchestral concert is exciting,

sincere, and relevant, relevant, these audience audience members will come come back. Increasing Listening Ability 

Once you have figured out how to get your audience into the hall and you have programm pro grammed ed exciting exciting concert concertss full of pers personal onal convictio conviction n and risk taking, then  you have have to work work continually with your your audience to increase increase their ability for activee listening. tiv listening. It is only thro through ugh this this type ty pe of liste listening ning that that a concert concert can be fully  fully  enjoyed. In order to move your your audience forward and to prepare them for even more complex complex repertoire, repertoire, you must must identify access points into the the music. Acce Access ss points are created created by taking the time to explain what to listen for. for. This can be done through: . . . . .

A prec precon once cert rt talk  talk  Postco ostconcert ncert con conver versati sations ons Innovati Inno vative ve approa approaches ches to program program notes notes Newslet Ne wsletter ter articles articles to to your your subscriber subscriberss Actual Ac tual dialo dialogue gue during during the conce concert rt

Talking to the audience at concerts has sometimes been a controversial sub ject. Some subscribers love it, others find it objectionable. My general rule of  thumb is to talk only when I have have something meaningful to say say. Man Manyy conductors talk simply to help create create a rapport with the audience. This is an acceptable approach appr oach if it works works for your your organiza organization. tion. Some Sometime timess we are even even seeing seeing this bond-building role taken by the orchestra members who speak from the stage and welcome welcome the audience. audience. For pops and family family concerts, concerts, it is very very common for the music director director to act as a “host” for the occasion and introduce introduce each piece. Classical audiences audiences tend to to shy away away from from this type of concert format format but they  still love to hear the conductor talk sincerely about what a piece means to them. When you speak, try to focus on a few specific points that the audience audience can listen for in a composition. composition. This can be a wonderful wonderful mechanism for connecting your your audience to the concert experience. It is especially eff ective ective ifif you are playin playingg a piece that might might be less well known, or that might be be difficult for your audience

 



Beyond the Baton 

to appreciate. throughout the performappreciate. By giving them access points to listen for throughout

ance, you will greatly increase their appreciation and involvement involvement with the music.

Beginning the Programming Process No Now w that you have identified have defined the areas of consideration your pr ogramming decisions and youand have analyzed the audience that youfor will be properforming for, for, you can begin begin to put your your programs programs together. together. Pro Programming gramming is indeed an art, art, not a scien science. ce. I like like to com compar paree the bala balance nce of pro programm gramming ing to to a good meal. All musical pieces have have weights and textures; textures; they have tastes and distinct flavors. flavors. Select your programs programs like you would choose courses courses for a fine dinner.. You want to ner to experience experience a progre progression ssion:: an appetizer appetizer,, a first cours course, e, a second second course, cou rse, a heavy heavy main main dish, dish, the possib possibility ility of sherb sherbet et in betwee between, n, and the the intrigue intrigue of des dessert sert.. Of co cours urse, e, not all of the these se lev levels els ar aree neces necessary sary for all co conce ncerts. rts. In fact fact,,  you would would probably never never have have all of these on the same concert, concert, and sometimes there may may be concerts that that comprise only one one of these categories—just categories—just a main dish, or perhaps even a complet completee concert of desserts! The only thing I would would really caution about is too many “main dishes” dishes” on the same concert. A Mahler symphony and a Bruckner symphony on the same program is not digestible by anyone I know. Categorize the Music 

As you you think of some of the pieces pieces you you might might want to program program,, try to group group them in overall overall categories that assess their texture (instrumentation, timbre), weight (length and concentration level level required), and flavor flavor (composer’s (composer’s musical language, guag e, natio national nal characte characteristic ristics, s, and style period). period). Beyo Beyond nd this, each piece piece also has has a basic form and individual characteristics that create an emotional level of  communication. communica tion. Some examples examples might be: Dense Works 

Varèse—Ionization  Rouse—The Infernal Machine  Intense Works  –  Sheng—H’un (Lacerations) In memoriam  –      Barber—Adagio  Threnody dy to the Victims Victims of Hiros Hiroshima  hima  Penderecki—Threno

 

Chapter 5  Artistic Programming   

Calm Works 

Mendelssohn— Hebrides Overture  Beethoven—Symphony No.  Fluid Works 

Debussy—Af Aftern ternoon oon of a Faun  Faun  D ead Princess  Ravel—Pavane for a Dead Heavy Works 

Shostakovich—Symphony No.  Mahler—Symphony No.  Trium riumphant phant Works 

Beethoven—Symphony No.  Liszt—Les Preludes  Tchaikovsky—Symphony No.  Angular Works  Pacific  Honegger—Pacific   Ruggles—Sun Treader  Soothing Works 

Delius—Two Pieces for Small Orchestra  Mascagni—Cavalleria Rusticana: Intermezzo  Pachelbel—Canon  Lush Romantic Works 

Strauss—Rosenkavalier Suite  Hanson—Symphony No.  Ravel—Daphnis et Chloé  Theatrical Works  Hary Janos Suite  Kodaly— Peter and the Wolf  Prokofiev— Popular Works 

Tchaikovsky— Overture 

Smetana—The Moldau 

 



Beyond the Baton 

Well-known Compositions 

Beethoven—Symphonies Beethove n—Symphonies and Concerti Masterpieces 

Mozart—Symphonies Brahms—Symphonies Pieces with National Flavor 

Khachaturian—Sabre Dance  Rimsky Korsakov—Capriccio Espagnol  Crown wn Imperial Coro Coronation nation March  March  Walton—Cro Copland—Four Dances from Rodeo  De Falla—The Three-Cornered Hat  Pieces Piec es of musi musicc are similar similar to to pieces pieces of a puzzle puzzle waiting waiting to be be placed placed in the right spot on the right program. Don Don’t ’t try to cram a piece where it doesn’t doesn’t fit (an angular piece next to another angular angular piece). It is better to start over with the programming of a concert than to to have have a musical disconnect disconnect between pieces. Research Program History 

To begin programming, first look at the pieces that the orchestra has done in the last sev en rm years: years: these are.inNe are the rloo ecent memory ceommunity, yars ou of not seven perform perfo them them again. again Next, xt,recent look k for “holes “hol es””ofinthethe thcommunity past seven past seven, so yeyou years oshould f pr proogramming; these would be popular pieces pieces that have not been been performed but the audience would probably probably like to hear. hear. After this step, identify masterpieces masterpieces that have not been played recently that would help improve and develop the sound of  the orchest orchestra. ra. Final Finally ly,, com compile pile a list of piec pieces es that would would showca showcase se your your orchesorchestra’ss strengths. You should also consider once-popular tra’ on ce-popular pieces that have fallen from favor fav or,, or lesser-known lesser-known pieces by by popular composers. Write all all of the possibilities possibilities down on a list. You may may not program program all of these into the current season, but you you can gradually work your way through the list during the next five seasons or so.

Survey the Orchestra and the Audience 

Now look at the list that you have developed from surveying your orchestra members. Is there any any duplication of pieces? Move Move these pieces pieces to a higher-priority higher-priority list. Look at the musician’s musician’s list again and see if there are other pieces that you haven haven’t ’t thought of that would work work well for the orchestra—add these these to your higher list. Now No w do the same with your your audience survey survey.. If there are pieces that the audience audience

 

Chapter 5  Artistic Programming   

have not been done in the past seven years, move them to would like to hear that have  your high-priority high-priority list. Investigate Soloists 

Next, you need to to make a detailed detailed list of soloists who are within your orchestra orchestra’’s budget range that you would like to work with during the next three years or so. You also should consider using principal members members of your orchestra orchestra as soloists, or performing artists who happen to live live in your community community.. Once this list is completed, you should gather information information regarding each guest artist’s artist’s “short” “short” list for performance. Remem Remember ber that the repertoire repertoire list most managers send out is not the performer’s performer’s short list. The short list is usually the three to four specific pieces that they are playing playing the following season. (Sometimes they are are only playing one piece!) Now Now go back and look at the list of concertos that your your orchestra has performed recently recently.. Cross off all of these pieces pieces.. Then look look at the concertos concertos that that have have not been performed, performed, but are audience favorites, favorites, or works you would would like to perform.. Is there form there an intersecti intersection? on? Place Place these pieces pieces on a short list. list. After that, that, asses assesss what other solo instruments you might want to feature to round out the season. Identify Important Events 

Event programming can be very successful. An event does not have to Event to be something as obvious as Christmas or Halloween, Halloween, although these are are often used as themes for programming. programming. Often it can be as simple simple as an important anniversary  anniversary  of a composer composer or the celebra celebration tion of a nation’ nation’s anniversa anniversary ry.. Ev Events ents create create opporopportunities for doing special programming programming that otherwise might not be accepted. accepted. As

 you look at your concert dates, see if any of them fall on well-known holidays. These are excellent concerts to consider for thematic programming. New Music 

Each season should include new music compositions that people will be excited about hearing or pieces that will create a dialogue throughout the community. You can create extra interest interest by having the composer composer attend the concert (if they  are still living). Composer availability might be a consideration in your programming or date selection. You also have have the options of commissioning a composition, posit ion, or providing providing second second or third third perform performance ancess of newe newerr works. works. In making  your decision regarding what to put on your list, keep in mind your constraints of reh ehea ears rsal al time time,, si size ze of or orch ches estr tra, a, difficul culty ty of pie piece ce,, and the the list listeni ening ng leve levell of   your audience. audience.

 



Beyond the Baton 

Personal Preferences 

You also need to make a list of music that you feel connected connected to that you really  want to conduct with this orchestra. Each conductor has their own own strengths and weaknesses. You want to emphasize your strengths and center center upon the repertoire that you you are comfortable communicating. communicating. As you select pieces for performance,, don ance don’t ’t program program piec pieces es that that you do not like. like. Somet Sometimes imes,, this is is impossible impossible when it comes to to a world premiere, premiere, or when you are are an assistant at a major orchestra and your job job is to conduct whatever whatever you you are assigned. But remember remember,, it is very difficult to inspire people when you you are not inspired yourself. yourself. Try to focus on music with w ith which you have a personal relationship relationship..

Cornerstone Approach to Programming  Once you have have developed your your lists, it is time to move on to the actual programming. For my own class classical ical pro programm gramming, ing, I use use the the “corn cornerst erstone one”” appr approach. oach. Sometimes, my cornerst cornerstone one is a big work—a “main-c “main-course” ourse” symphony symphony,, or large composition. Other times, times, my cornerstone cornerstone is a soloist and a concerto concerto that might be the only only choice choice of repe repertoir rtoiree availab available le if we are are to engage engage a specific specific solois soloistt whom I think would be tremendously tremendously successful with the organization. organization. Finally Finally,,

the cornerstone cornerstone might be a theme or concept. concept. Pe Perhaps rhaps the concert concert is on Halloween and we want to emphasize spooky pieces. Your goal should be to present a variety of cornerst cornerstone one pieces or concepts concepts during your your season. As you you begin your programming, draw out out a chart chart for each of your concerts. For exercise exercise purposes, we will say that you you are programming programming a season of six classical concerts. Pe Perhaps rhaps three of these concerts concerts have a major work work as their cornercornerstone; ston e; two are defined defined by by the repertoi repertoire re of the soloist soloist you you want to work work with, with, and one is centered centered around a theme because because of a collaborative collaborative project you you are doing with a local theater group. Your chart might look something like this:

After you have have established your cornerstones, cornerstones, you need to decide what other solo instruments you want to feature during the year. year. Let’ Let’ss say that you chose to

 

Chapter 5  Artistic Programming   

feature violin and flute, flute, in addition to the piano and cello cello on which you have have already decided. In addition, addition, an important board member has suggested suggested that that you you should collaborate collaborate with the the local chorus chorus for one of the concerts. concerts. Now No w, your chart might might look like the one below below.. Adding the chorus might rerequire you you to rethink rethink one of your cornerstone cornerstone pieces. pieces. Pe Perhaps rhaps you can find a large piece for chorus that would be a better selection for the program.

Now you must identify the best position on each concert for your large works Now and your your con concerto certos—fir s—first st half, seco second nd half, and so on. This dec decision ision is bbased ased on the timing timing of the piece piece,, the oovera verallll fla flavo vorr of the com compositi position, on, and tthe he be beginning ginning and ending ending of the ppiece iece,, partic particular ularly ly th thee endi ending. ng. The cconce oncert rt ord order er is often ddeependent on which which piece iiss more popular and has the better better ending and if the soloist is well-known or not. Timing also might be a fact factor or.. Pe People ople often like concerts in in which tthe he sec second ond ha half lf is short shorter er tha than n the fir first st half half,, but if you are do doing ing a very weighty symphony symphony, even though iitt is longer longer,, it must be on the sec second ond half. Hopefully it will hav havee a great ending. Whenever possible, it is best ttoo let yyour our audience go out on an “up “up”” note. Timin Ti ming, g, Shape Shape,, and Tra Trajec jectory tory of a Concert  Concert 

All concerts have a basic shape and trajectory that enhances or diminishes the energy.. Each pi ergy piece ece of musi musicc has a rea reall time an andd a perc perceiv eived ed time time,, depen depending ding on th thee texture and weight of the piec piece. e. Some piece piecess seem much longer than they really  are, whereas ot others hers are ov over er before yyou ou know it. Keep this in mind as you you create  your combinations of pieces. After you have established the placement of your cornerstone cornersto ne piece on the pro program, gram, you will want to begin to eestablish stablish the timing and the trajectory for the overall overall concert. Most classica classicall concerts range in length from seventy minutes minutes to ninety minutes. I like to keep my co concerts ncerts around seventy-five minutes, unless I am doing a really massive work work such as a Mahler Symphony.

 



Beyond the Baton 

Some sample sample shapes shapes of conc concerts erts are: are: Opening Openi ng piece piece starts big, ends soft Second Seco nd piece piece starts starts big, gets soft soft in middle, middle, ends big big Intermission Final piece piece starts starts soft, has changes changes within, within, but ultimat ultimately  ely 

ends en ds bi bigg

Other examples examples of shapes might look like these below. below. Any shape shape can be crecreated during a concert, concert, and each shape has it advantages advantages and disadvantages. disadvantages. In creating concert concert trajectori trajectories, es, we are combinin combiningg the basic “shape “shapes” s” of the pieces pieces with the numbe numberr and types of piec pieces. es.

Programming Combinations Three-Piece and Two-Piece Concerts  Length

Mood  

Standard Three Pieces 

Overture or new work  Concerto ———

   

Cornerstone: Cornersto ne: Major Major work  Encore  

 

– mins

Angular

– mins

Showcase piece

– mins

Serious and contemplative Light and fun

– mins

 

Chapter 5  Artistic Programmin Programmingg    Length Alternative Three Pieces 

Mood  

Overture or new work  Short Symphony or Suite

   

– mins – mins

Flashy   Calm

– mins

Dramatic and powerful

– mins

Well-k nown masterpiece

– mins

Soloist showcase

– mins

Lyrical concerto

– mins

Triumphant symphony  

——— Cornerstone: Large concerto

 

Big name soloist Two-Piece Concerts 

Symphonyy or other large work    Symphon ——— Cornersto Corn erstone: ne: Con Concerto certo

 

OR  Concerto

 

——— Cornersto Corn erstone: ne: Symp Symphon hony  y 

 

Four-Piece Concerts 

This type of conc concert ert still needs needs a corner cornerstone stone piece piece,, or it might might come come across across as being disconnected. disconnected. One piece piece of the four must be more weighted than the others. The four-piece four-piece program is very very successful when you are are dealing with short symphonies or short concertos. This is especially true when you you are featuring instrume str uments nts such such as flute, flute, cla clarin rinet, et, gui guitar tar,, hor horn, n, tru trumpe mpet, t, and so on. on. Fo Forr all of the these se instruments, the concertos available available tend to to be on the short side. Length

Mood  

Four-Piece Four -Piece Concerts 

Overture, Sui Overture, Suite, te, or Tone Tone poem Concerto  

 

– mins – mins

Popular piece New composition

– mins – mins

Soothing piece Heavy or Dense piece

——— Lighter work    Symphony or Tone poem

 

Five-Pieces or More Concerts 

These are not seen as often in classical concerts because they sometimes can be difficult to hold together. together. You will tend to have more more pieces on opera concerts where you might might have have a section of short opera arias. The multiple pieces concert concert

 



Beyond the Baton 

is most eff ective, ective,pacing pacing wise,when wise, when pieces pieces are grouped grouped together together.. For example, example, you might want want to perfo perform rm a collecti collection on of lov lovee songs inste instead ad of a concerto concerto,, but they  they  fill the “conc concerto erto”” slot of twenty-fi twenty-five ve to thirty thirty minutes minutes on the concert concert.. This type of programming is also popular if you have a concert concert centered centered on a guest artist. The guest artist might want to perform shorter works in both the first and the second sec ond hal halff of the co conce ncert. rt. Als Also, o, if yo you u perfo perform rm a lot of bar baroqu oquee music music,, the pie pieces ces in general are are much shorter shorter. Therefor Therefore, e, you might might have have three or or four pieces pieces on the first first half and the same same on the second. second. In programm programming ing concerts concerts with many  many  compositions, you must must pay special attention attention to the the overall overall shape of the concert concert to make make sure there there is a good good build-up of tension and release. release.

New and Old Trends If you look look back at the programming programming of the major orchestras in the United United States States in the nine nineteenth teenth or early you might might quit quite e surprised. staid stai d format fo rmat of “o “overtu verture, re,twentieth concerto conc erto,,centuries, symphony sympho ny, ,” was notbethe prevalen pre valentt style styleOur of  of  programm pro gramming ing at that that time. time. Inst Instead, ead, pro programs grams were were compo composed sed of quit quitee a variety  variety  of popul popular ar tunes tunes and arias, arias, newly com composed posed sympho symphonies, nies, single mov moveme ements nts of  symphonies, sympho nies, light overture overtures, s, and concertos. concertos. Somet Sometimes imes there there were two inte intermis rmis-sions, and people were not required required to stay stay for all three sections. sections. The overall prespresentation enta tion of the concert concert was was much more more informal informal.. He Here re are are some exampl examples es of the New York Philharmonic programming in the s to s:

New York York Philhar Philharmonic monic

November  Part I

Symphony No. , Op.  (fi (first rst tim timee in Ame Americ rica) a) . . . . . . . . . . . . . F. MENDELSSOHN Part Pa rt II

Overture to to Anacreon Anacreon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . L. CHERUBINI Aria “Se M’Ab M’Abbando bandoni” ni” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . S. MERCADANTE Mrs. Mr s. Mot ottt Solo Harp Madame Jenny Lazare OSSINI Aria “Fa “Facc ut Portem Portem”” (Sta (Stabat bat Mate Mater) r) . . . . . . . . . . . . . . . . . . . . . . . . . . . . G. R OSSINI Mrs. Mr s. Mot ottt

 

Chapter 5  Artistic Programming   

Fantasia on Fantasia on Themes Themes from from the the Opera of Char Charles les . . . . . . . . . . . . . . . . . . S. He Hell ller er VI. Halevy (Piano Fort rtee) Mr.. Hermann Wollenhauft Mr Wollenhauft Overture Ove rture “De La chass chassee du Jeune Jeune Hen Henri” ri” . . . . . . . . . . . . . . . . . . . . . . E. N. MÉHUL

New York York Philhar Philharmonic monic

December  Part I

Grand Symphony (st time time in this this co count untry) ry) . . . . . . . . . . . . . . . . . . . . N. W. GADE (dedicated to Mende Mendelssohn) lssohn) Adagio Ada gio and and Rondo Rondo.—fr .—from om the the last last concert concertoo . . . . . . . . . . . . . . . . . H. VIEUXTEMPS Violin, Master Luigi Elena Part Pa rt II

Concert Con cert Overtur Overture—Th e—Thee Wood Wood Nymph Nymph (First (First time) time) . . . . . . . . . . . . . . S. BENNETT Concert Con cert Stuck Stuckee (Piano (Piano Forte Forte with Orc Orchestra hestrall Acco Accomp) mp) . . . . . . C. M. VON WEBER  Piano Pia no,, Mr Mr.. Ric Richar hardd Hoff man man IES Overture Ove rture Triomp riomphale hale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F. R IES

New York York Philhar Philharmonic monic

January  Part I

Second Seco nd Symphon Symphonyy, in C, C, Op Op..  (fi (firs rstt tim time) e) . . . . . . . . . . . . . . . . . . . R. SCHUMANN Song “Ave Maria Maria”” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F. SCHUBERT Miss Mi ss M. S. Br Brai aine nerd rd Adagi Ad agioo et Ro Rondo ndo,, in F (Bas (Bassoo soon) n) . . . . . . . . . . . . . . . . . . . . . . . . C. M. VON WEBER  Bass Ba ssoo oon, n, Mr Mr.. El Eltz tz

 



Beyond the Baton 

Par artt II

Second Symphony Symphony in D, D, Op   . . . . . . . . . . . . . . . . . . . . . . . . . . L. VAN BEETHOVEN Aria from the Messiah “Rej “Rejoice oice grea greatly” tly” . . . . . . . . . . . . . . . . . . . . . . . G. F. HANDEL Miss Mi ss M. S. Bra Brain iner erdd Overture Ove rture in D, D, Op Op..   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F. MENDELSSOHN (Calm Sea S ea and Happy Voyage) Voyage)

New York York Philhar Philharmonic monic

November  Part I

Symphony No. , Op.  in E Flat Flat . . . . . . . . . . . . . . . . . . . . . . . . L. VAN BEETHOVEN Par artt II

Polonaise Brillante, Op.  (st time) time) . . . . . . . . . . . . . . . . . . . . . . C. M. VON WEBER  Arr.. Li Arr Lisz szt t

Mr. S. B. Mil Mr. ills ls Concerto for Violin, Op.    , in E . . . . . . . . . . . . . . . . . . . . . . . . . . F. MENDELSSOHN Mr.. Theod Mr Theodore ore Thomas Thomas Overture Ove rture to to “Obe “Oberon ron”” in D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C. M. VON WEBER 

Part II IIII

Les Preludes Preludes “P “Poeme oeme Symphonique” Symphonique” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F. LISZT

Notice that many Notice many of these programs programs had multiple guest artists, overtures were performe perf ormedd as the conclusi conclusion on of con concerts, certs, and almost almost every every program program seemed seemed to include a newer work work or a first performance. performance. With these these diverse diverse examples in mind, you are challenged challenged to not be afraid to break the mold and to create interinteresting new formats for balancing programs and for presenting these programs to  your audience. The standard standard three-piece format is accepted, accepted, but certainly certainly not the only way to program. Be creative and don’t don’t be afraid to try something new.

 

Chapter 5  Artistic Programming   

Steps in the Process Last Steps Process of Program Programming  ming  Review Your Constraints 

Every concert is hampered Every hampered by programming programming restrictions. restrictions. Pe Perhaps rhaps the perfect perfect piece for the slot you have have open was already performed last year, year, so you have to to identify another piece. Once the cornerstone cornerstone piece piece is defined, you have have a basic ininstrumentation to work work within. This is not to say that you can’ can’tt perform pieces that call for larger or smaller forces, forces, but you must try to use the resources resources availavailable to you wisely. wisely. Staying within a basic instrumentation framework framework for the entire concert concert seems to make make sense for both the musicians musicians and for the use of the rehearsal hear sal time. time. The rental rental fees fees of the music music you you program program might might also be be an issue within the organization. Take time to research research the rental fees to help keep a handle on the artistic costs. Sometimes a less expensive expensive piece might be just as eff ective. ective. As you are are finalizing your choices choices for a specific program, remembe rememberr that every  piece must fit regarding regarding timing, instrumentation, flav flavor or or texture, texture, difficulty level (both playing playing and listening), listening), and tonality tonality.. Every aspect aspect and angle must be conconsidered thoroughly thoroughly and incorporated ahead ahead of time to ensure ensure the most balanced balanced programming for your organization. Balance across the Season 

As you are finalizing finalizing the repertoire, repertoire, you must keep keep in mind that not only must each individual concert be balanced but also that all the concerts over the course of the season season must balanc balancee as a whole. As you you select your your other other pieces pieces for each each program, pro gram, use you yourr instin instinct ct rega regardin rdingg style, timin timing, g, acce accessibi ssibility lity,, and cont contrast, rast, to take pieces from your priority lists and to gradually g radually slot them into spaces within w ithin  your concert programming programming grid. Sometimes it is useful to to draft two or more more seaseasons at once, because you you can begin to develop larger trends and cycles. cycles. By workworking further in advance, more pieces that you you really want to do can eventually eventually be worked in. Do not try to make a piece fit just because you want to conduct worked conduct it during the present season. Remem Remember ber,, you must must program what what is best for the organorganization, not just what what is best best for you. you. Sometimes you you will run into a problem where you you know what flavor flavor of piece  you want, want, and yet you you can’t can’t find the right piece to put into the the slot. When trying to solve solve this this type of pro problem, blem, Davi Davidd Daniels’ Daniels’ss book Orchestral Music—A Handbook  can be an invaluable invaluable tool. Through using the referenc referencee pages in the back, back,  you can sort by instrumentation, instrumentation, solo instruments instruments or voices, timings, nationality  of composer composer,, or major anniversa anniversaries. ries. Just taking the time to browse browse through through these pages often sparks an idea about a piece that you might not have have thought of other-

 



Beyond the Baton 

wise. This is especially especially helpful if you have have instrumentation or timing restrictions to work within. You will need to have a good sense of each composer’s composer’s style in order to program well. well. Placi Placing ng a piece of of musi musicc on a concert concert is like hanging hanging a great piece piece of  art. It needs the proper proper surroundings surroundings to bring out its its full beauty. beauty. Don Don’t ’t crowd crowd a piece that needs time to to breathe. Don Don’t ’t put violently contrasting pieces pieces next to each other ifif either will detract from from the other other. Mak Makee sure that that your concert presentations are smooth, and never bump—don’t bump—don’t serve jalapenos on your ice cream. cream. Analyze Your Your Programming  Pro gramming 

After you have finished your programming chart and you are satisfied with the basicc balance basi balance of the program programs, s, put it aside aside for for a few days. days. Let it simme simmerr in your your head.. Then, when you look at head at it again, again, try to see see it with with fresh fresh eyes. eyes. With the the eyes of an audience audience membe memberr, rea react ct instinctua instinctually lly to your your own own programm programming. ing. Would

 you want to attend this concert? Is it new and interesting, or boring? Take the time to ask yourself yourself the following questions to help fine tune your your programming. programming. Programming Questions 

Do the pieces within the season compare and contrast well with each other? othe r? If not, what can you you do to to change change this? this? Is there something on this concert season for everyone? Do you feature represent repr esentatio ation n of a variety variety of com composer posers, s, and not not too man manyy pieces pieces by  the same composer? Is there a balance balance of musical styles? Do you showcase showcase pieces from from diff erent erent style periods? Does the pacing of of each concert make make sense? What is the overall overall length of the concert concert?? What is the timing timing relatio relationship nship of the individual individual pieces? Do you have have too many “long” pieces in a row? Is there a balance of harmonic tension tension and release release on each concert? concert? Make sure that you avoid programming pieces that are all in the same key,, or that represent key represent the same emotion. emotion. If the concert concert is celebrating celebrating a special event, event, have you captured the spirit of that event? Are the selected selected pieces quality music? There There is so much great music out there, why consider doing anything else? Your Your concert programming should always center around quality music. Is there balance between the programmi programming ng of this concert season season and the seasons before it? Try to establish cycles and trends to which your audience can follow and look forward. for ward.

 

Chapter 5  Artistic Programming   

Do you you present a good balance balance between new, new, familiar familiar,, and tried and true? It is helpful to actually count the season’s season’s well-known well-k nown pieces and the probable unknown pieces. Make sure sure there is a balance. balance. Do you display display a balance of featured solo instruments? instruments? Even Even though piano sells, look beyond beyond bringing in too many piano soloists. Your audience is attracted to variety variety.. Do the compositions you have selected enhance each other? The right combina com bination tion of piece piecess is critical critical for the success success of the concert. concert. Willll the pacing of the concert Wi concert keep keep the attention of your audience? Real and perceived perceived time must be evaluated evaluated for each piece. Does the shape

of the overall program program work? Is Is it a snooze or a roller-coaster roller-coaster ride? Are there there any pieces that that really do not fit? If something doesn’t doesn’t fit—find another piece. There are incredible incredible resources resources to draw draw on. Once you have have satisfied satisfied all of these questions in your your own mind, you are are ready  to present the the program to to the executive executive director director and the board board of directors. directors.In In situations in which you are working on programming with the executive director or the artistic director as a team, they would have already already been involved involved in all of  these previous previous steps. steps. Even if you are doing the programming alone, it is advisable to inform the executive director and board chair about trends and cornerstone pieces piec es in advance, advance, espec especially ially if these might might require require additiona additionall resources resources in time or money mone y.

Thematic Programming

Programming Theme Concerts Thematic programming tends to be easy to market and easy for the audience to connect to. to. For this reason, reason, there is a trend trend across the United United States toward toward more more and more more thematic thematic programming. programming. You will find find that even if your concert proprogram is not not based upon upon a theme, theme, the marke marketing ting departme department, nt, com committ mittee, ee, or staff  person will try to assign it one. Ideas for themes are everywhere, and you are are only  limited by your your own creativity. creativity. Make sure sure you select themes that will resonate with your community and that provide a wide enough platform for selecting quality repertoire. repertoire. You always always will want to be able to program program exciting, exciting, highquality music. Mak Makee sure you never never include a bad piece just because the the title fits  your theme; this is the error that many inexperienced conductors make. Programmatic gramm atic music lends itse itself lf easi easily ly to to themati thematicc program programming. ming. As a res result, ult, you

 



Beyond the Baton 

may yourself gravi gravitatin tatingg toward toward selecting selecting only “p “prog rogram ram”” musi musicc for your may find yourself thematic them atic conc concert. ert. With this, this, you run the the risk risk of the conce concert rt having having no no “ma “main in course,”” or appearing course, appearin g “too light.” light.” Work hard to find clever and creative c reative ways to incorporate non-programmatic non-programmatic pieces into your thematic programming.

Sources for Ideas 

When you are faced faced with selecting pieces for a thematic program, program, you must first brainstorm and research research all of the repertoire repertoire that might fit this theme. theme. The Book  of Clas Classic sical al Music Music Lists  Lists by Herbert Herbert Kupfer upferberg berg can help. help. If you are looking for pieces about fish or operas that have have the character “Don “Don”” in them, this book is invaluable valu able.. It includes includes lists lists of piec pieces es inspired inspired by by Shakespea Shakespeare, re, lists of bach bachelor elor comcomposers pos ers,, lis lists ts of of mu music sical al geo geogra graph phyy and and of mu music sical al astr astrono onomy my,, Fa Faust ust in musi music, c, music and art, sports in music,World music,World War War II in music, and more! There There is even a section secti on that includes includes a list list of all the nationa nationall anthems anthems sorted by country country.. It is a treasuree chest of unusual ideas treasur ideas and information. Other sources for thematic programming ideas can be obtained from rental music publishers. music publishers. They all have have web sites, sites, and many many publish publish booklets booklets that list list pieces according according to the occasion occasion on which they might be performed. performed. A note of  caution—sometimes the connections made by the music publisher are quite broad and might not be relevant to the normal audience member. Orchestral  Music—A Handbook , menti mentioned oned earlier earlier,, is a good source source for for research research on on composers from specific countries. Mak Makee sure that you also look for repertoire repertoire about a country written by someone from another country. Listss and Examples List Examples of of Theme Themes  s 

The following table (.) shows shows some some of the most most comm common on topic topicss of the themat matic ic programm pro gramming. ing. A more in-dept in-depth h list, with samples samples of repe repertoir rtoire, e, is included included in the Resource Resour ce section. I encourage you to to develop your your own lists of repertoire and to update them throughout your your career career. Again and and again, you will be asked to to create thematic programs. Most thematic programs programs will follow a classical concert concert structure, structure, although special-event Holiday Holiday themed concerts concerts fit more within the pops structure. (These will be discussed later under Pops Programming.) Programming.) Either way, way, thematic concerts can bethe more open to featuring multiple and to still altering balance tween pieces. Within Withi n this structure, bepieces sure that tha t you havethe have some “meat””be“meat in  your program program and that the theme does not make everything feel like li ke “fluff .” Re Re-member,, people still want to member to hear good, exciting music.

 

Chapter 5  Artistic Programming   

Table . Common Topics Topics of Thematic Programming Programming International themes

Programming themes  

Russia France Germany/Austria

Animals Art (music inspired by) Birds

Night Patriotism Planets

Italy England Ireland Scotland Spanish/Latin America African-American American

Circus Fairy Tales/Stories Fire Flowers Halloween Holidays/Carnivals Machines Magic Nature

Romance/Love Royalty   Seasons Shakespeare Storms Water War Wedding

Pops Programming Prog ramming The purpo The purpose se of of po pops ps con conce certs rts is mai mainl nlyy to to ente enterta rtain in,, an and, d, of co cour urse se,, to ma make ke money for the organization. organization. Most conductors conductors will be required required to conduct pops concerts at some point in their careers. careers. Assistant conductors conductors with mid-size mid-size to major orchestras may have to conduct lots of pop popss concer concerts. ts.One One of of the chal challen lenges ges with pops concerts is to keep them artistically viable. Pops programming should not just be an “extra “extra”” in your overall programming or merely something you are required to do. Rather Rather,, you need to to find ways ways to incorporate an artistic philosophy of pops programming that that is equally as strong as as your approach approach to classical concert programming. programming. It has been proven proven over time that very few pops audience members will gravitate gravitate over over to your your traditional classical classical concerts. Despite this this fact, pops audience audiencess still make make up a large percent percentage age of you yourr overall overall audience audience.. They deserve artistically well-planned and exciting exciting concerts. concerts. The musical stanstandards dar ds of you yourr orchestra orchestra need need to be upheld upheld in in all of the diff erent erent types of con concerts certs  you present present and perform. perform. As you program your your pops concerts, concerts, you will have have some of the same concerns concerns that were were discussed with the classical programs. programs. Below are are questions you you will have to evaluate as you make your decisions about programming: Artistic 

Is your emphasis on the guest artist or the orchestra and conductor? Do you want to try to move your audience audience over to classical concerts, concerts, or do you view them as an entirely diff erent erent audience group?

 



Beyond the Baton 

Financial 

How much money is available for guest artists? What size orchestra can be hired for these concerts? How many rehearsals are budgeted? How much will the music cost? Programming 

Is it a pre-planned show complete with music? or Is it it half half of a conce concert rt and and you you plan plan the re rest st of the pr progr ogram am,, or are you building a show from scratch? Are there copyright issues involved? involved? (This is especially important with film projects and special pops arrangements.) arr angements.) Extras 

Will this show requir Will requiree extra sound, sound, lighti lighting, ng, or visuals? visuals? Do you need to hire experts to run this equipment? Audience 

What is the age of the anticipat anticipated ed audience? audience? Are they your regular pops audience, audience, or mostly single-ticket buyers? buyers? Clarifying these parameters will help you to focus your pops programming and to develop pops concerts that are artistically sound and eff ective. ective.

Pops Programs and Formats Guest-Artist Guest-A rtist Driven 

Most pops programs programs are either theme theme driven or guest-artist driven. driven. Guest-artist driven concerts are pops programs where you bring in a big name guest artist who has orchestral charts. The guest artist will often only play on the second half  of the concert. Your job is to find some standard standard orchestral orchestral music to to put on the first half that won’t won’t turn people off . Mo Most st of the audienc audiencee members members attendin attendingg this type of conc concert ert are pops pops subscribe subscribers rs and single single ticket ticket buyer buyers. s. They are are usually  usually  there to hear hear the guest artist, and so the orchestra comes comes as icing on the cake.

Big-name pops artists usually sell really really well. They come with a set set of arrangements that are marked marked and ready ready for the librarian to hand hand out. Usu Usually  ally  the music is pretty pretty easy. easy. Often, they send their own conductor conductor who already already knows the show, show, so that the organization does not have to worry about having the music director or a staff conductor learn the music. Advantages.

 

Chapter 5  Artistic Programming   

These show showss are are very very expensive expensive and and they they have have little little,, if any any-thing, to do with your your overall overall mission. mission. The music usually usually arrives arrives very very late, so there is little time for orchestra orchestra members to to prepare. prepare. Guest artists sometimes sometimes do not even show up for the rehearsal, rehearsal, which the orchestra members members may find insulting. It is very very hard to select select a first half half of musi musicc that works. works. This often often results results in an uncomfortab com fortable le juxtaposit juxtaposition ion of musi musical cal styles, styles, and no one is happy in the end. Disadvantages.

Prepackaged Shows 

These programs programs also tend tend to be expensive, expensive, but there there also are are aff ordable ordable ones. Moree and more artists Mor ar tists are creating entire shows for which the conductor does not do any programming, programming, or for which you you might just select an orchestral orchestral piece to open the first second halvesthey halves of the concert. These shows usually usually dohave involve involv household poporstars. Instead, feature well-respected well-respected artists who hanot ve worked work ede on Broadway Broadway or in in clubs across the the United United States. States. Often, these programs programs will also involve invo lve film or dance. These extras might might increase your technical expenses. Ke Keep ep this in mind as you are creating your budgets. Shows like this are much more aff ordable. ordable. Guest artists are are willing to work work with the the conductor conductor on programming. programming. They will usually provide provide most mo st,, if no nott all, all, of th thee musi music. c. Th Thes esee artis artists ts enjo enjoyy doing doing the these se types types of pr prog ogra rams ms and are fun to to work with. The quality can be very very good. Advantages.

Sometimes these shows shows are a “hard sell” because your audiaudience is unfamiliar with the group or the soloist. Mark Marketing eting might need to be increased and should be based based more upon the style of of music they play play, or who they  they  sound like. The quali quality ty of the charts ten tends ds to to vary vary.. Somet Sometimes imes,, these grou groups ps are are not as organized with the music because they lack appropriate staff  to follow  through thr ough quickly quickly.. Often the show show features features a group of music musicians. ians. This will increase increase  your expenses in airfare and hotel charges, even though the general fee might still Disadvantages.

be very reasonable. Conductor-Based Conductor -Based Programs 

The Boston Pops Pops Orchestra has has made a fine art out of creating a pops series cencentered ter ed on their their conduct conductors. ors. Each of their cond conducto uctors rs has achiev achieved ed almost almost legendary status, both locally and nationally nationally.. The concert concert experience is based on the relationship between the audience and the conductor conductor.. No matter matter what is on the stage,, the audience stage audience will will return return again and again again because because a level level of trus trustt has been developed with the conductor conductor.. This is one of the best models for pops pops programming, and it will help move move your your organization organization forward artistically artistically.. It avoids avoids the the

 



Beyond the Baton 

fickleness of fickleness of pro programs grams based on an eve everr-changi changing ng list list of gues guestt artists, artists, and it it allows the conductor conductor to keep the focus on the orchestra. Man Manyy orchestras are now  hiring resident resident pops conductors conductors who who provide this continuity continuity of artistic quality  and relationship throughout the entire pops series.

Theme-Based Pops Programs All orchestras orchestras will perform some theme-based theme-based pops programs. Some of these will be prepack prepackaged aged shows shows;; some of of these you you will be aske askedd to build build from from scratch. scratch. If   you look at brochur brochures es from across the country, everyone seems to focus on the same themes for popsand programming. You will find the following themes evident basic in both prepackaged organizationally created programs: General Pops Themes 

Broadwayy (Ger Broadwa (Gersh shwin, win, Porter orter,, Kern, Ham Hammers merstein tein,, etc.) Jazz, Jaz z, Swin Swingg or Big Band Band Tribute to a Country (Italian (Italian night, Spanish night, Celtic night) Patrioticc America Patrioti Salute to the Movies (TV or film composers) Country Western Night A Night Night of Ad Adven ventur turee Romance Opera Night

Unusual Combinations 

Magic Ice Skating Juggling/Acrobatics Dance Film Light Classics Pops 

All Tchaikovsky Night All Marches All Waltzes Opera or Operetta Special Event Pops 

Christmas or Holiday Concerts

 

Chapter 5  Artistic Programmin Programmingg   

New Year’s Eve Concerts Independence Day, Day, Veterans Day, Day, Mem Memorial orial Day Concerts Martin Luther King Concerts Halloween Concerts Local Celebrations or Eve Events nts

Creating Your Own Shows In programming programming pops, you will mostly mostly be concerned concerned with creating creating your your own shows from scratch. shows scratch. Mo Most st of the other other shows will already already come come complete complete,, or partially complete. complete. Sometimes the theme theme will be decided for you by by the guest artist  you have have chosen to to work with; other times, you will select the theme. Guest Artists 

When selecting guest artists for a show that that you are building building from scratch, you need to evaluate whether you you want a “name “name artist” or whether the theme will sell

the show show.. If you decid decidee to go with with a name, name, you must find out out if they hav havee charts charts (arrangements) for the orchestra, or if you will have have to pay someone to to arrange the music. An orchestra I worked worked with in Texas Texas decided they wanted to put together a country-western pops show with a local singer who was making it big. He was willing to come back and perform in his hometown for a reasonable fee, but he did not have have any any music arranged arranged for symphony symphony orchestra. In order to to make the concert happen, the orchestra association association had to be willing to to spend time and money to have some of his repertoire repertoire arranged for orchestra. The same might be true true of a rising jazz or rock star star.. These individuals or groups often only  have small small combo arrangements.Although arrangements. Although it is nice to intersperse a section in the program that involv involves es a small combo, this will not work for the whole concert. You will need need arrange arrangements ments that use use the full orchest orchestra. ra. Beca Because use of this this,, it is esessential for an orchestra to have connections to good and reasonably priced pops arrangers. Guest artists can be locally based, regional talent,or talent, or well-known on a national level.l. The type of guest artists leve artists you you use will be dictated dictated by the budget budget for the conconcert. The budget will be defined according according to how the organization feels pops programming fits in within the overall artistic goals. Musical America  is a good place to gather general information on nationally known guest artists and prepackaged shows. shows. There is also a pretty good grapevine within the orchestral orchestral world regarding which packaged shows have been successful.

 



Beyond the Baton 

Selecting the Music Identifying Repertoire 

Perhaps you have have decided that you are going to do a Broadway-themed Broadway-them ed pops concert. You can either fly in singers from New York, or select local singers to work  with you in creating creating the program. program. As you begin to shape the show show,, the first thing  you must do is to hav havee your guest artist(s) identify identif y all of the repertoire they are comfortable performing for which the music is already available. available. You want them to send you you a list of at least least twenty pieces. pieces. If you are are not familia familiarr with these these pieces, pieces,  you need to go to a library and listen to them or purchase CDs. It is vitally important that you become personally familiar with this repertoire. Most Broadway  Broadway 

songs and jazz standards are are easily available. available. Even though though the arrangements will vary,, you will begin to develop a feel for the style. vary Once you you feel that you underst understand and the “fla “flavo vor” r” of the pieces pieces they have have suggested, you need to scour your your mind and musical sources to identify five to seven orchestral pieces pieces that fit within this style and flavor flavor.. This is the hardest part of   your task. The Overture Overture to Candide can not be done on every pops program. You will need to develop develop a solid solid list of pieces that are eff ective. ective. In the indus industry try,, ther theree are publishers that specialize in pops repertoire (see Resource Resource section:“Po section: “Pops ps Publishers”). It is good to carefully carefully go through their websites websites and catalogues catalogues as you are select selecting ing pieces. pieces. Often these these publish publishers ers will not not send perusa perusall scores. scores. This means you will not be able to judge the quality of a piece until you you have have already  ordered it. Try to get feedback from colleagues who have have done the piece before  you order it. This is now very easy to do with OrchestraList and ConductorList (see the resource section “Internet Resources Resources and Forums”). Forums”).After After a while, you will become familiar with the arranger’s arranger’s name and you will know who writes w rites quality orchestral charts. Avoid trying to squeeze classical pieces onto pops concerts simply  because the orchestra orchestra has already rehearsed rehearsed them for another concert. concert. This is setting the concert up for failure. failure. The audience has bought a ticket ticket to a pops concert. Don Don’t ’t bait and and switch. Defining Your Program 

So now you you have a working list of about twenty-five to thirty thirty pieces. You are not going to perform perform all of these these,, but you you want want a variety variety to to select select from. from. Mo Most st pops pops concerts last about  to  minu minutes. tes. If possi possible, ble, you want want to integra integrate te your your guest guest artist(s) into both both halves halves of the concert concert so you hav havee the feel of a complete complete show. show. Most of the pieces you you perform for a pops concert concert will be about three three to seven minutes long. Occasionally Occasionally,, you might have have a medley that would would be ten to to fifteen

 

Chapter 5  Artistic Programmin Programmingg   

minutes long. Be careful careful not to put too many medleys on the concert, concert, and certainly avoid avoid performing two medleys right after each other other.. The following is a sample of the basic pacing for a pops concert involving involving singers or a combo combo group: .

Orchestr Orc hestraa only—fast only—fast openi opening ng number number – mins Dialogue —conductor —conductor introduces introduces theme and guest artist ar tist

.

Guest Gu est artist artist perform performss an upbeat upbeat number number

– mins

Dialogue —guest —guest artist talks and develops a rapport

. . . . .

with the audience Guest Gu est artist— artist—medi medium um tempo tempo piec piecee Guest Gu est artist— artist—slow slower er tempo tempo piece Dialogue —guest —guest artist or conductor Orchestr Orc hestraa only medl medley ey is possible possible her heree Dialogue —conductor —conductor Guest Gu est artis artistt up-temp up-tempoo piece piece Guest Gu est artis artistt up-temp up-tempoo piece piece

– mins

 

– mins

 

– mins

   

– mins

 

– mins

Dialogue —guest —guest artist or conductor .

Orchestr Orc hestraa only or guest guest artist—u artist—upbeat pbeat ender ender Intermission

 

– mins

First half should be ‒ minutes

.

Orchestr Orc hestraa only— only—upbe upbeat at opene openerr Dialogue —conductor —conductor or guest artist . Gu Guest est artist artist medley medley or group group of of songs on similar similar themes, them es, or combo combo section section   Dialogue —conductor —conductor or guest artist . Or Orche chestr straa piec piecee only  only    Dialogue —conductor —conductor or guest artist . Gu Guest est artist—me artist—medium dium paced paced piece piece   . Gu Guest est artist— artist—upbe upbeat at piece   (might involve audience interaction) . Gu Guest est artist—anoth artist—another er upbeat upbeat piece   Dialogue —guest —guest artist, artist, annou announce nce ending of show  . Gu Guest est artist—gr artist—great eat ending ending piece piece  

– mins

– mins – mins – mins – mins – mins – mins

Second half half of show should be ‒ minutes . En Enccor oree

 

 min

As you may may have have noticed, it is important in developing developing the flow of the concert to have have some dialogue, but you you do not want talking between every every piece. Let the pieces fall into natural groupings and introduce a few at once so the program is

 



Beyond the Baton 

not too too choppy choppy.. When you you have have a lot lot of thre threee minute minute tunes, tunes, it is hard hard to to build build continuity. Try to keep a basic shape for your pops programs. programs. I usually  keep ke ep the first first half half pre pretty tty fast-p fast-pac aced. ed. Afte Afterr interm intermiss ission ion,, I open the second second half big, but then immediate immediately ly take take it down down to a more intimate section, with maybe some csecond ombo or a group of  ballads. About halfway through the combo seco ndplaying half, I begin to work  work  the energy back up to provide a good ending for the the show. show. Mak Makee sure you have have at least two or three three upbeat pieces at the end of the second seco nd half to really really send send the audien audience ce out on a high note. note. Encores are are a must for pops concerts. concerts. The guest artist should be involved volv ed with the encore. Keep all encores short and upbeat. Music Sources 

Your pops arrangements arr angements often of ten will come from a di ff erent erent network of publishe publishers rs than the standard standard classical classical music. It is very very difficult to track down good charts because of copyright issues. issues. Often you can get permission permission to to arrange a piece for a pops concert, concert, but you you are are not allowed allowed to to rent that music music to any anyone. one. If you do do arrange arra nge a piece, piece, the number number of time timess you are are allowed allowed to perfor perform m it might be limited. Pops arrangements are usually done by arrangers who have their own publishing company company.. Once you you are working working in the field, leaflets will cross your desk  about diff erent erent arrangements. arrangements. It is best to file these away away for the time time when you might be looking for a specific piece. A few major major sources for pops music are are listed below and a more complete list including contact information is included in the Resou Resource rcess part of the book. book. Carmen Dragon Library  Disney Library  Jazz Artists Internatio International nal Music Theater International Musician’s Publications

Paramount Theater Music Library  Rogers and Hammerstein Library  G. Schir Schirmer mer Re Rental ntal Libr Library  ary  Themes and Variations (Movie music) Warner Brothers Music

Luck’ ’s Musi Music Library hasosed a good selection ofhestras. basic in theiLuck their r catalo catalogue. gue.cMa Many ny ar areealso comp composed for sch school ool orc orchestr as.pops Somearrangements of these ca can n be adapted and spiced up for professional orchestras by adding drum-set and by reorchestrating specific sections. I have used the these se when a guest artist didn’ didn’tt have an orchestral orchestral arrange arrangement ment of a piec piece, e, but wh where ere w wee want wanted ed orch orchestral estral in involve volve-ment.. The oorche ment rchestra stra m might ight sstart tart bbyy pla playing ying ha half lf of the aarrange rrangement ment,, and th then en we

 

Chapter 5  Artistic Programming   

would open the middle of the piece and insert insert a section using the guest guest artist with a small small combo combo.. Mo Most st of this sectio section n would would be impro improvised. vised. After a few few minute minutes, s, we could could then segue segue back back to the the orchestra orchestra for for the ending ending of the piece. piece. Lu Luck’ ck’ss Music Mu sic Library is one of the few pops publishers publishers that will send you a perusal perusal score. This is a wonderful wonderful thing to to take advantage advantage of so you can familiarize yourself yourself with what is available.

Other Considerations Orchestra Involvement 

As you are selecting selecting pieces for your pops concert, concert, always take take into consideration the orchestra. Playing a pops concert concert can either be a fun or terrible experience experience for the orchest orchestra. ra. This is depende dependent nt on the quality quality of the music. music. Ther Theree are many many ininferior pops arrangem ferior arrangements ents out out there. there. When possible possible,, try to select select music music that is challenging and exciting for the orchestra to play play. If they enjoy playing the concert,this cert, this energy energy will transmit transmit to to the audienc audience. e. If they feel feel the music music is bad, bad, or borboring (or both), their lack of invo involvement lvement will be interpreted interpreted by the audience that they don’t don’t care. This reflects poorly poorly on the entire organization. organization. Encourage the orchestra to be be professional professional at all times, times, even if pops concerts are are not their their favorite favorite concerts to play. play. Try to work in orchestral pieces that are fun and that feature orchestra members in the the same style as the guest guest artists. This helps create balance for the show and allows the orchestra to remain equally in the spotlight. Special Requirements 

Pops concerts require special musical skills from the orchestra members that are outside their normal normal expertise. Man Manyy shows will call for a lead trumpet trumpet player player who has a great high registe registerr and truly understand understandss jazz improvisa improvisation. tion. If this is not the strength strength of your principal trumpet player player,, you will want to to talk with them in advance to to see if they are open to to your bringing in another another lead player player for the concert. conc ert. The same same is sometimes sometimes true true in the the trombone trombone sectio section, n, but usually usually the the trombone part is not quite as as exposed. You also will need an an experienced set drummer. Finding a player who has orchestral experience, but also understands drummer. pops, jazz jazz,, and rock styles is very very difficult. You will often have to pay this person extra because they will be turning down more lucrative lucrative club dates. A good drummer is worth every every penny. penny. They can save your your show. show. The other instrument instrument that is

usually required required is jazz bass. Sometimes there there is a qualified player player in your orchestra, chest ra, but if not, you will will have have to hire hire from outsid outside. e. A good jazz jazz bass play player er can improvise and will be able to ad lib from a regular bass part or a piano chord

 

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Beyond the Baton 

sheet. Final sheet. Finally ly,, it is best best to hire hire a jazz pianist for your pops shows. You need someone who is well trained and can read music fluently fluently,, but who can also play chord chord charts and improvise. This will allow you to create create combo sections on the spot or to have have musical musical ad lib sections underneath a spoken introduction introduction of a piece. This helps bring fluidness and continuity to the show. show. Speak with your regular players players in advance if they don don’t ’t posses possesss the skills to to do this this type of pla playing. ying. Concert Attire 

Sometimes it is appropriate appropriate to change the dress dress of the orchestra to fit the the theme of the concert concert or to help promote promote a much much more relaxed relaxed atmosphere. atmosphere. I encourage thesee types thes ty pes of idea ideas: s: band bandanas anas for wester western n concerts; concerts; splas splashes hes of red for Valent alentine ine’’s Dayy concerts; Da concerts; colo colorful rful shirts shirts for outdoor outdoor concerts concerts;; all add a wonderf wonderful ul atmoatmosphere. Pops concerts tend to to focus on the visual. Let the orchestra orchestra be involved involved in helping to enhance the overall mood. Considerations for Singers 

Pops concerts often feature singers. Make sure sure when you are working with vocalists that you do not have have them sing too many many pieces in a row. row. This is important, both in the concert concert programming programming and during rehearsals. rehearsals. It is easier if they are a pop singer singer with with a micropho microphone, ne, but if they are are an opera opera singer singer,, you want want to to help them save save their voice. voice. Before ordering your your music for pieces pieces involving involving singers, be sure you check sure check the keys keys of the arrangem arrangements ents with your your soloists soloists in advanc advance. e. If you can’t can ’t find the arrangement in the key the singer is comfortable singing, you might have ha ve to change change the piece. piece. The right key key is critical to to success. success. Also Also,, once you you have have copies of the arrangement, send your soloist a copy copy to confirm confirm that that all the introintroductions, ducti ons, ver verses, ses, and bridge bridge sections sections,, are as as they would would like. like. You do not want want to discoverr discrepancies at the first and only rehearsal. If you are discove are doing a pops conconcert of of opera arias arias,, you shou should ld know that that many many of of the “a “arrange rrangement ments” s” ava availab ilable, le, are not arrangements at all, but instead are are excerpted excerpted directly from the opera. opera.

Therefore, Therefor e, they might not have the proper proper introduction or ending that would would be expected at a pops concert expected concert.. Chec Checkk these details details well well in advance. advance. Once again, again, you may either need to locate a more complete arrangement or hire someone to write an introduction and ending. Finishing Touches—Scripting Touches—Scripting and Lighting 

All of you yourr pops concerts concerts must must be scripted. scripted. Ev Even en if you yourr guest artist artist would would rather ad lib, lib, you must must get them to to agree agree to the the basic outlin outlinee of what intro introducti ductions ons should be cove covered, red, who is doing them, and when spoken dialogue should should occur

 

Chapter 5  Artistic Programmin Programmingg   

show. If you are in the show are working working with a group, group, hav havee them assign assign one person person as the spokesper spok esperson. son. This perso person n will handle handle most of the dialo dialogue. gue. If the other otherss wish to speak, make sure sure that you inform the the stage crew so they will know whose microphone to turn turn on. After you hav havee finished the script, take the the time to to meet with  your stage crew crew to add components components of lighting. You may have have to decide whether whether  you want to to use stand lights or not. Using stand lights creates many many more possibilities for changing the overall overall lighting on the stage. stage. In general, I would recom recom-mend stand lights to enable you to achieve the maximum lighting eff ect of th thee stage.. If the show stage show invol involves ves visual visual eff ects ects and film, then stand lights are a necessity. necessity. You may want to consult a lighting lig hting expert ex pert as you look loo k for ways to make your pops show more exciting to the eye. As you are finishing your your pops programs, you should keep the following concepts and goals in mind: Strive for overall overall unity of artistic concept concept Select good arrangements Concent Con centrate rate on the importa importance nce of pacin pacing, g, timin timing, g, and emotion emotional al flow  flow  of th thee sho show  w  Script everything—include timings throughout If possible, review your your script with a professional theater and/or lighting lighting person

Educational and Family Programs

Identifying the Parameters Programming good educational and family concerts Programming concerts is an art form unto itself. It is a necessary skill for conductors, conductors, and well worth worth acquiring. When planning concerts of this type, you will will be faced with some some limiting limiting parameter parameterss and questions questions to assess. What is the budget and what size orchestra will be allowed?  Ofte Often, n, yo you u will will be requested to squeeze your programming programming ideas into very small instrumentations requirements. require ments. It is common to rewrite or drop out lesser important important parts in order to stay within the instrumentation required by the organization for educational concerts. Do you have extra money for guest artist or props?  Unfortunat Unfortunately ely,, educational concerts are are usually planned and programmed programmed last, so there is rarely any any extra money for guest guest artists. artists. Another issue is that that these conce concerts rts also involv involvee multiple performances and so guest artist availability is sometimes a problem.

 

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Beyond the Baton 

Take advanta advantage ge of the fact fact that these types of conc concerts erts can be be a wonderf wonderful ul opportunity to showcase members of the orchestra, orchestra, concerto competition winners, or local talent of all ages and work closely with the executive executive director director or the education committee as you are planning your concerts so that you can request the funds you need to do the job right. How much rehearsal time will you have? Educational concerts are usually done on just just one reh rehearsa earsal.l. Somet Sometimes, imes, if you are very lucky you might ha have ve two, two, but this is unusual. Mak Makee sure that the music you select to perform can be adequately  preparedd in one rehearsal. You will have to use your time wisely to ensure that prepare everyone understands understands all the components components of the show. show. Can you use rental music? Music directors and staff conductors are always encouraged to use nonrental nonrental music for their educational educational concerts. This is because multiple mult iple perform performance ancess of ren rental tal music music significantly significantly increa increase se the budget. budget. Mo Most st publisher publ isherss charge by by the number number of perfo performan rmances ces you you are doing. doing. Keep this in mind as you you program program but also also emphasize emphasize the importance importance of introducing the the  young people to a variety of composers and musical styles. Man Manyy of the publishers will work with you in adjusting adjusting the rental price for a piece if the performances are for educational purposes. Try to always use the best composition to commu-

nicate your educational ideas and concepts. Can you incorporate technical e  ff ects?  ects?  Some educational concerts are more

theatrical theatri cal in in nature nature.. If you ha have ve an an inclinat inclination ion tow toward ard this type of pro programgramming, make sure sure you assess assess whether all all the performances performances are in one venue, venue, or if  the conc concerts erts will will take take place place in a variety variety of of loca location tions. s. If yo you u are tra travel veling, ing, ke keep ep it simple. If the performances performances are in a place in in which you you perform perform regularly regularly,, don don’t ’t be afraid to add special lighting and eff ects. ects. Students are are very very visual in the way  way  they learn. The Audience 

Most educational educational audiences will break down into specific categories, c ategories, accor according ding to the type of conc concerts erts they they attend. attend. Kinder-concerts Family concerts School concerts School co concerts Side-by-Side concerts

Students up to about 6 years old Children with their parents— years old to to about  Students in the third to sixth grades On si site fo for Ju Junior Hi High or or Hi High Sc School st students Families, or Junior High and High School students

 

Chapter 5  Artistic Programming   

If you are involve involvedd in school concerts, do not  simply perform the same program that you prepared for the younger students for students at high school or  junior high level; level; take the time to work with the school to to prepare prepare a program program that is eff ective ective for their their school environm environment. ent. If possible, try to invol involve ve music students students from the school directly in the performance.

Writing Children’s Concerts Selecting an Educational Concept or Theme 

All educational concerts need to communicate communicate and center on a single educational concept. conc ept.When When you are are designing designing program programming ming of this type, you need need to first first decide on your your theme. Some sample themes themes include:

Theme and an d Variation Variationss Musical Form and Patterns Introduction Introductio n of the Instruments (individually) Introduct Intr oduction ion of the Fam Families ilies of Inst Instrume ruments nts Musical History  Music as it Relates to Dance Music and the Emotions it Conveys Stories and Music (Note: these are not titles for the concerts, just a working educational theme.)

Once you have have your theme, you will need to brainstorm to identify pieces that are appropriate. appropriate. They must meet meet your your instrumentation instrumentation limitations; limitations; they must be be able to be practically practically sight-read by by the orchestra; orchestra; and they must be short! short! Pieces for this ty type pe of concert should should never exceed seven minutes, minutes, and should probably  average about four minutes average minutes each. each. Clever cuts to reduce the length of pieces for educational programs are accepted throughout the industry. Good program programming ming requir requires es a thorough thorough knowl k nowledge edge of the repertoi repertoire. re. Often the inner movements movements of suites and larger larger works works provide the core material material for good children’ children’s concerts. Mak Makee sure that the piece really fits the theme and that theree is nothing confusing ther confusing about about it. Look for very clear examples examples.. Othe Otherwise, rwise, you run the risk of alienating your listeners. Each piece should involve something special that can be pointed out to the audience. This is the only way we can help help teach active active listening. listening. Students should be given access points to listen for, for, and they should be asked about these details afterwards to make sure they listened carefully carefully.. For example, example, if I were to do a pro-

 



Beyond the Baton 

gram on musical musical form, I could perform The Little Fugue in G minor by J.S. J.S. Bac Bach h (arr.. by Caillet). Before we played this (arr this piece, I might have have the clarinet player player demonstrate the the melody or fugue theme. Then, during the performance, I would have the students count count the number number of times they heard heard that melody melody.. The piece is only  three minutes minutes long. During the concert, concert, you will have your audience audience actively actively listening to every note because they want to have have the right answer answer.. Afterward, I ask  them how many many times they heard the melody, melody, and they have the opportunity to

be congratulated for their great listening skill. I also encourage you to to bring some of the students on to the stage area.Y area. You can teach the entire audience audience how to conduct conduct a basic two-beat pattern, and then invite a student to conduct conduct the orchestra during during the concert. Another idea is to invite invite students to participate playing playing percussion instruments, instruments, or home-made home-made instruments, ment s, as you you talk about about the the specific specific qualitie qualitiess of the diff erent erent famili families es of of instr instruuments. You can do this during the concert, concert, or you can add a component component before before the concert like a “Musical “Musical Petting Zoo” Zoo” where the student are allowed to try out all of the instrume instruments nts of the orchest orchestra ra in a separate separate room before before the concert concert begins. Any pe rsonal instudents volvement ement willthat increase increase thmaking e enjoyment co rience. Wepersonal want theinvolv stu dents to feel tha t musicthe can beofa the partconcert ofncert theirexpelives. lives. Use of Dem Demos  os 

During the program, program, it is fun to to have have members of the orchestra orchestra demonstrate certain melodies or or motifs that you want want the students to listen for. for. Sometimes, you  just want them to be able to to identify the sound of the individual instruments. instruments. In order to to have have your demos run smoothly smoothly,, you will need need a detailed cue cue sheet of instructions for the members of the orchestra. orchestra. Be clear with your your orchestra orchestra musimusicians regarding which demos are fixed—mu fixed—must st always be what you specified—and which they can have have some fun with, and vary from concert concert to concert. Most playplayers will enjoy bringing in new “demos, “demos,”” and the orchestra will enjoy listening to see how the demos change from performance to performance. Timing and Pacing 

The timing of an education concert is very very important. Often you are dealing dealing with school schedules and orchestra union policies. You need to make sure that your concerts fit fit within the the time frame permitted. permitted. Usually sually,, this is forty-five minutes minutes per show (two concerts in a two-and-a-half-hour period). Sometimes you are are allowed the extra five minutes grace time (fifty minutes total concert concert time) but not always alw ays.. After years years of of doing these these types of pro programs grams,, I have have develope developedd a timing timing of  pieces and a pacing relationship that seems to work.

 

Chapter 5  Artistic Programming   

Normally I will have seven or eight pieces on a forty-five minute children’s

concert. conce rt. Of thi thiss total total time, time, onl onlyy twenty-ei twenty-eight ght to thirty thirty minut minutes es will be music music.. Therefore, Therefor e, my pieces average average about four minutes minutes each. Opening Piece 

Three Minutes—Upbeat in Character

I always start with a good upbeat opener opener. This is usually preceded by by a backstage announcement to to grab the attention attention of the audience (who (who often has been sitting sitting there for half half an hour already) already) and to let them them know that the show is about to start. There have have been been times when when I have have talked talked first, but I still think playing playing the musicc itself is the best way musi way to begin a concert. concert. I usually usually keep this this opening piece piece under three minutes in length. Dialogue 

After the opening piece, I welcome the audience audience and I begin to tell them what we are going to discover discover together. together. I always try to include unusual things that they are not expecting to happen and I alway alwayss incorporate audience participation. Main Repertoire 

Five or Six Pieces—Two to Seven Minutes Each (Longer Pieces First)

We now perform five or six pieces that fit the theme. Each piece should move us further towards towards understanding understanding and being curious about music. music. Between each piece there is dialogue (and applause) that ranges from thirty seconds to two minutes. Never  talk more than two minutes between pieces on an educational concert. I always concert. always try to keep keep the longer longer pieces pieces near near the top top of the show show when a student’ss attention student’ attention span is fresher, fresher, and no “length expectations” have been set. If   you organize it the the other other way and have have two or three short pieces pieces early early on, the students will be preprogrammed to stop listening to a longer piece about halfway  through. Mak Makee sure that each piece has has a special activity or something fun for the students to hear or see. Finale Piece 

Three Minutes

Before the final piece on an educational educational concert, I always tell tell the audience that this is going going to be the last piece. piece. I use phrases phrases such as: “T “Too close the program program today tod ay . . . ” Thi Thiss is impo importan rtantt becau because se the the studen students ts usua usually lly do do not ha have ve prin printed ted programs, and they are unawar unawaree of where they are are in the performance. performance. This helps to keep their their expectations clear and gives a finite finite ending to the concert. concert. I also like to keep keep this piece piece short, less than than three three minutes minutes if possi possible. ble.

 

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Beyond the Baton 

Afterward, make sure sure you thank the students for being a great audience audience and encourage them them to come to to other concerts; concerts; give special thanks to all of the members of of the orchest orchestra, ra, and recogn recognize ize any any guest guest artists who who might might have have participarticipated. Young audience audience members are very appreciative appreciative of the orchestra, orchestra, and they  will show this through through their applause. It is important to remind remind them who really  really  performs the music—the musicians. Scripting 

Each concert will need a good script that brings out the points of emphasis in the concert. con cert. My scripts scripts are are usually usually four four pages pages or less, less, single single-spac -spaced, ed, with paragraph paragraph breaks for each piece. piece. Write the script as if you are are having a conversation conversation with someone you respect and imagine that you are telling them about something you are really really excite excitedd about. Keep it conver conversatio sational nal in tone. Nev Never er lecture lecture or talk  down. The students students can can meet you you on your your level. level. After you you write your your script, script, double check that () your dialogue sections are not too long (less than two minutes) and () that the pacing of the total show works. works. The figure below below shows a diagram diagram for the basic timing of a youth concert’ concert’ss repertoire and dialogue.

The Overall Concert Experience

Use of Extras to E Enhanc nhancee the Conc Concert ert Creativeers programming takesthe creative thinking. thinkin g. Accept theWi challenge pushconthe paramet parameters and to cha change nge standard concert format. With th all oofftoyour certs, you will face produ production ction issues—ho issues—how w do you get the piano on stage without stopping the concert cold as all the violinists get up to create more space? How does the orchestra tune when you want to start the children’ c hildren’ss concert with

everyone off sstage? tage? How do you convince your orchestra members to play on tuned bottles to make a musical point? Make sure you think carefully through

 

Chapter 5  Artistic Programming   

these issues in advance and give the orchestra members and the stage crew detailed instruction. I also encourage you you to use “e “extras” xtras” for all your concerts concerts such as unusual lighting, inte lighting, interest resting ing pro props, ps, inco incorporat rporating ing acto actors rs or or dancer dancers, s, featu featuring ring unusu unusual al soloists, soloi sts, making use of unexpec unexpected ted entra entrances nces of pla player yer or guest guest artist artistss through through the ha hall, ll, usi using ng vide video, o, sli slides des,, or oth other er mu multi ltime media dia co compo mponen nents. ts. Eac Each h co conce ncert rt should shou ld hav havee a feeli feeling ng of of disc discove overy ry and enga engageme gement. nt. These types of extra extrass help help move us in that direction. direction. Remem Remember ber,, though, everything you you do should be done to enhance  the music. music. The focus focus must must remain remain on on the music, music, and the the enhanceenhancements must make the musical experience even more meaningful and inspiring. inspiring .

Total Quality Experience Programming Program ming is the key key to the success success of a musical musical arts organizatio organization, n, but even even good pro programm gramming ing can can be under undermine minedd if the prese presentati ntation on has has flaws. flaws. When peoplee attend peopl attend a concert, concert, they are are there there for the total total experienc experience. e. If they just just want to listen listen to a specific piece of music, they can do that in their living living room. Instead, they want to to see the musicians, they want to to feel the energy in the hall, hall, and they  want to mingle with people during intermission. They do not want to wait in lines, sit in uncomfortable uncomfortable seats, look at people people dressed sloppily sloppily on stage, or listen to a lackluste lackl usterr performance performance.. Ev Everything erything matter matters. s. As the music directo directorr, you are are held responsible for everything everything that happens on stage, regardless of whether it is your your  job or not. Therefore Therefore,, take regular regular assessment assessment of the overall overall concert experience. How does the orchestra look?  Person ersonal al groomi grooming, ng, dres dress, s, shoes shoes?? It is amazing amazing how much much time the the audience spends discussing this this during intermission. intermission. Are there extra bags or purses on stage? Are shoes polished? Is someone’ someone’ss attire inappropriate? Do the musicians turn out and smile when they accept the applause? Work with your personnel manager manager to convey convey the importance of the total look  on stage. How does the orchestra sound? Sound is everything. everything. Do you need to make an adjustment in the risers to improve the balance? Do you need a new shell? Does

the hall help the sound resonate? Are there things you can do to improve the sound? It is your job as a music director to bring attention to anything that might improvee the overall improv overall sound of the orchestra. orchestra. What is the quality quality of the performance performance?  ?  Did you have enough rehearsal time for the concert? How did you utilize this time? Was it well spent? Do people need to prepare better before the first rehearsal? Was each composition performed a quality piece? If the concert was was not a musical success success in your your mind, what can you you do to change that for the future?

 



Beyond the Baton 

How was the lighting for the concert? Were the soloist’s eyes in shadows? Did

the violins have have enough light to see their their music? Did the wind players’ players’ instruments go out of tune because ments because of of the excess excessive ive heat heat of the lights? lights? Can you you decrease decrease the heat onstage and still have good lighting for the concert? Work with the stage crew and the orchestra committee committee to find solutions. How smooth were the changes between pieces?  Was there a big gap in the concert to create a new setup setup for a new music piece? Did the moving moving of the piano create a disturbance to to the flow of the performance? performance? How can you you keep continuity  continuity  of the concert and yet provide provide the staging changes necessary for the musicians? musicians? Careful planning planning in advance will help help to alleviate some some of these issues. How was was the musical musical pacing pacing of the concert concert and the the combination combination of piece pieces? s? Was the audience excited excited about the repertoire? Were people totally engaged, or was there widespread coughing and movement during the concert? Did the orchestra enjoy playing the repertoire? You want to program musical combinations that work and engage both the audience and the musicians. How was the the quality quality of of the soloist?  soloist?  Did you share a mutual interpretation with this artist, or was it like a tug-of-war? tug-of-war? Did the audience respond respond to this this artist? Why or why not? Should you invite them again? The chemistry between the guest artist and the conductor is critical to a successful musical interpretation of th thee piece piece.. How was your relationship with the orchestra and the audience? Were you able to create create a sense sense of magical communication, communication, or did you you feel like a traffic cop? Did  you get a warm, embracing feeling from the audience, or were they like li ke a brick  wall? What can you change to better the overall relationship? How was the energy  in the hall? Was it an electrifying, once-in-a-lifetime concert? concert? Or was it status status quo? How can you bring fresh energy to every concert?

Take responsibility and accountability for the entire concert experience. ex perience. You are the music director, director, and you have the ability to inspire change and improveimprovement on all all levels levels of the organiz organizatio ation. n. Ev Even en though though some areas areas of the concert concert exexperience perie nce fall outside outside your your direct direct chain chain of com command, mand, they still still reflect reflect upon the total experience. Work closely with the executive director to make make sure that the total experience is a quality experience.

The Big Picture We have have spent a lot of time talking talking about about the specifics specifics of pro programm gramming ing and the overall concert experience. Successful programming reflects the values values of the organization and helps to move the organization organization toward its goals. Don Don’t ’t fall into the trapp of jus tra justt “p “pla laying ying it it safe. safe.”” Re Reme membe mberr, if yo you u are are not goin goingg up, up, yo you u are are going going

 

Chapter 5  Artistic Programming   

down. Pr Programmi ogramming ng should keep keep the organization organization on the cutting cutting edge of the field and in the the spotlight spotlight of its commu community nity.. As a music music direc director tor,, it is your your job job to be leading the organization toward the goals that everyone involved helped to set. Remind them how those goals are reflected in the programming progr amming so the proper resources are allocated to enable you to do your job. Always remember—it remember—it is about the music !

 

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Chapter 6  The People Factor

Working with w ith People

Communication Skills As a conductor, conductor, the only way you you can really accomplish accomplish your goals is through through other people.Y people. You can understand and communicate communicate the music, but communicacommunication is a two-way street. street. Ultimately Ultimately,, someone in the orchestra will actually actually be producing the sound. The way to to inspire your orchestra orchestra to its best eff ort ort is through good lines good lines of co comm mmuni unicat cation ion,, bot both h on on and and off  the podiu podium. m. Com Communic municatio ation n takes time. It involves involves delving beneath the surface surface causes and words to find out the root of any problem. problem. It involves involves being being willing to empathize empathize and make make people people feel heard. Good communication communication is the key to your your success. Accessibility 

As a leader, leader, you need to make make it easy for people to come come to you. Spend time backstage with the players players or come early to rehearsals, rehearsals, and be available in your your dressing room. It is best not to be onstage onstage before rehearsals rehearsals when the the orchestra is warming up. up. Respect their right to some privacy privacy during this time. (Y (Your our presence might make them nervous.) You also can stay after rehearsals and concerts and be available to speak with orchestra members as they come off the stage. stage. Try to give the orchestra priority, priority, even over the audience members who may come come back  stage after a concert. concert. Before and after rehearsals rehearsals are the only only times you have have off  the podium podium outside outside of form formal al meetings; meetings; use this this time to to strengthe strengthen n your relarelationship with the members members of the orchestra. orchestra. Another technique that can help with building this relationship is to learn everyone’’s name and to make everyone make each of them feel important. important. Really listen to what the orchestra hav e toopenness. say, and once say, they telling you they think, do not punishmembers them forhave their Never Neve r dorisk anything thatwhat would disc discourourage them from talking with you about their concerns.

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Beyond the Baton 

Body Language 

As you listen to people, you will be judged immediately on whether you you are really 

listening by your body posture. posture. Learn to look directly into a person’ person’s eyes when they are talking to you and try to avoid looking around the room at other distractions. Sit or stand with your arms arms open and try to have important important conversaconversations in nondistra nondistracting, cting, quie quiett environme environments. nts. As you you are listening listening to someone, someone,  your attention should also take note of their body language. Mak Makee note of their facial expressions and observe vocal cues cues such as the rate of conv conversation, ersation, pitch, and tonal tonal inflection. You also should notice their general appearance, posture, and gestures. Clothing and grooming grooming can be a clue to what what else is going on in theirr life at that thei that moment. moment. Re Rememb member er,, a member member of you yourr orchestra orchestra can can be totally  totally  blind to their own own emotions. It is your job to to identify these these emotions, emotions, however they appear, appear, and to bring them to the surface. surface. Things Not to Do 

As you are listening, listening, don don’t ’t pretend that you you understand something you you don’t. don’t. Stop the speaker speaker and ask for further clarification. When a player, player, board member member, or staff  member comes comes to you you with a new idea, av avoid oid responding quickly with reasons why why something will not work. Instead, help them come to to their own conclusions by asking asking questions that clarify clarify the issues, both for you you and for them. Also,, eve Also even n if you know a person person is is complete completely ly wrong, wrong, refr refrain ain from from arguing. arguing. Ther Theree is no glory in making someone look bad or feel inferior. inferior. Allow them to save save face gracefully.. And above gracefully above all, as you are are speaking with someone about a serious situation that they are experiencing, don don’t ’t tell them that you “know how they feel.” feel.” This just diminishes the power power of their feelings and makes makes them feel like you you really don’t understand at all. Remember Reme mber,, your job as their leader is to find out what people want and need in order to do their jobs, and to help them get it. You should be supportive supportive and work to get rid of as much red tape as possible for this process. Make sure that that  you avoid avoid excessive excessive questioning, advising, and moralizing in conversations conversations with members mem bers of the orchest orchestra ra and sta staff . These reactions reactions do not help help to make make a person feel heard and understood.

Master Reflective Listening  The actual actual proc process ess of liste listening ning goes goes throu through gh many many levels: levels: what you actu actually  ally  said—what the other other person thinks they heard. heard. Then it is bounced back—what back—what the other person said, and—what you you think the other person said. It is important

 

Chapter 6  The People Factor   

during your conversation conversation to get to the center of what is being communicated.Y communicated. You must find a way to clarify clarif y the entire message and to confirm that you are hearing correctly.. This is often done through reflective correctly reflective listening. listening. Reflective listening not only enables you to communicate better but also increases the the level of trust between the two people people involved. involved. As you you are are listening, do not immediately immediately question what they have have said or answer their their questions. Instead, paraphrase what they have just told you to make make sure you are hearing them correctly.. The person with the problem needs a reflectiv correctly reflectivee listening response until they can move beyond the presented problem to identify whatever is the more basic problem. problem. As they realize realize that there there is a deeper deeper issue at hand, you must must help them once again through paraphrasing to come to terms with their feelings around this issue. As they are talking, talking, continually reflect their their feelings regarding what you think think they are saying back to them. them. Continually summarize summarize what you you think they have have told you. Once you are are clear about the basic basic problem and the emotional feelings involved, involved, you might want to ask some open-ended questions questions to establish the boundaries of the problem and to to begin to work toward solutions. Open-Ended Questions 

Open-ended questions are questions questions that encourage an in-depth response. response. These types of quest questions ions cannot be answered answered “yes “yes”” or “no. “no.” Her Heree are some examples examples of  useful open-ended questions that can help stimulate a conversation. conversation. How do you feel about this situation? What is most important to you about this issue? What don’t you like about ______? What can I do to help you? Can you explain further or give me more examples? Does anything else bother you or is there anything anything else I should know? k now? Through listening Through listening reflecti reflectively vely to the answers answers to these types of quest questions, ions, you can help to to create create a stronger stronger share sharedd sense of purpos purpose. e. Mak Makee sure that that you you put  yourself in their shoes and, if possible, show them how they can get what they  want or need.

Problem Solving and Decision Making  When faced with a problem, you must first remember remember that problems problems give meaning to life. life. It is throu through gh tension tension and and release release,, the yin and and yang of of life, that pro progress gress is made. Pr Proble oblems ms that are your problems are things that you can do something

 

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Beyond the Baton 

about. All other problems are simple simple facts of life and you you should not spend your your time and energy worrying about them.

Attitude 

To deal with solving problems e ff ectively, ectively, you must must be careful careful not to take take the problem personally or to become too emotionally involv involved. ed. Excessiv Excessivee emotional involvement will always decrease your eff ectiven ectiveness ess in looking looking at all sides sides of the issue. Individually Individually,, we are totally totally responsible for our feelings and how how we handle our feelings feelings towa toward rd a problem problem that that must must be solved. solved. The attitud attitudee of the leader leader helps to determine the attitudes attitudes of the followers. followers. It is important important that you you set the the right attitude for the organization. Identify Identi fy,, Define, and Prioritize Prioritize the the Problem  Problem 

You will need to spend some time figuring out who is directly involved with each problem. Is someone upset upset about how how the auditions auditions were handled handled or disappointed regarding what part they were assigned? Or perhaps they are frustrated by the new new rehear rehearsal sal schedule schedule or the the lack of corr correct ect bowings bowings in the the parts. Ask   yourself who is directly aff ected ected by the problem problem at hand. Is it only the person who has brought it to your attention, attention, or are others involved? involved? Once the individuals are identified, you will need to to ask them questions. questions. Mak Makee sure that you you talk to the right people and that you do not make assumptions assumptions about who is involved. involved. It is very important to to get all the the facts. As you you are clarifying the problem, be sure that  you ask those invol involved ved the hard hard question of “How have I as a leader, leader, music direcdirector,, or conductor tor conductor contributed contributed to to the problem problem or situation?” Don Don’t ’t be afraid to open the door for criticism. This will keep keep the lines of communica communication tion open and and hopefully lead to a stronger stronger overall overall level of trust. Collecting Solutions and Making Decisions 

In dealing dealing with with the proces processs of making decisio decisions, ns, ther theree are a few few things things to remember.. Not making member making a decision is actually actually deciding to to do nothing. This can be a course cou rse of actio action, n, but it often often create createss larger larger problem problemss in the long run. run. It also also cre-

ates a lack of trust in those you work with unless you can explain why you you are hesitant to move forward and take take responsibility responsibility.. Ultimately Ultimately,, it is usually usually better to make a wrong wrong decision once in a while, than to appear indecisive. indecisive. Remem Remember ber that there the re are are no fool foolpr proof oof dec decisi isions ons.. An amoun amountt of unc uncert ertain ainty ty for eve everyo ryone ne ininvolved volv ed is always always present, and all decisions decisions and solutions solutions have have an element of risk.

 

Chapter 6  The People Factor   

Luckily, few decisions are engraved Luckily, engraved in stone, and therefore, therefore, most can be modified modified later when when new information information is available. available. Regar Regardless, dless, it is important to to learn from from  your mistakes, mistakes, admit them, and move move forward quickly. quickly. Never allow others to think that you always have the best answers to a problem. This will will serve to to make make them depend dependent ent and and wary of you as as a leader leader. When  you solve a problem, problem,try try to to solve it at the lowest possible level with the people who are immediately immediately involve involved. d. Hav Havee these people help help to develop develop a list of possible solutions. Make sure sure that you you integrate your your own ideas into this list. Try to encourage win–win solutions. Encourage creativ creativee and unusual thinking. Mu Musicians sicians are are better at this this than most people. By involving involving musicians and staff in the solution process, you are are giving them ownership and responsibility responsibility for the solution.

Implement the Best Solution 

Work with the people involved with the situation to identify a solution to each problem. pro blem. If some someone one is upset abou aboutt how how the seati seating ng has has been been done, done, you might want to survey the section for other suggestions regarding the seating procedure. If they are unhappy about about the repertoire, ask for their input and try to incorporate some some of their suggest suggestions ions in the followi following ng season. season. Analy Analyze ze the situatio situation n at hand and try to accommodate all parties so that there will be “buy-in “buy-in”” and ownership ersh ip of of the solut solution. ion. Some Sometime times, s, you will not be able able to meet thei theirr needs, needs, but by having the discussion about the the issue, you might at least clear the air and and gain some good good will. If you come come to a solutio solution, n, be sure sure to check back back after after some time time has passed to make make sure sure that it is still working. working. It is also good to to clarify policies within the organization so that similar problems will not recur. recur.

Motivating the Orchestra The more you you work with people, the more you you should realize that that most people want to do a good good job. job. Eve Everyone ryone wants to succeed, succeed, and receive receive reco recognition gnition for their accomplishments. accomplishments. Motiva Motivation tion is the energy that moves someone toward toward accomplishing a goal. goal. Sometimes motivation motivation involves involves an outside outside motivator motivator who sets expectations, creates a positive positive environment environment for achieving the goal, goal, and provides rewards rewards for success. Great conductors understand human human behavior behavior.. They  compliment often and reward their players with great repertoire to perform. Conductorss often fail if they have Conductor have not mastere masteredd the art art of inspiring and motivating others.

 

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Beyond the Baton 

Setting Up the Expectation 

When working with people, you need to first examine examine their individual individual artistic needs, and then set goals for both the individual needs and for the entire entire group. Motivation Moti vation cannot be forced; forced; people have have to want to change and and improve. improve. Sometimes musicians are simply simply not performing the way they should. When this happens, pen s, it is is usual usually ly beca because use:: () they are not clear about the musical standard expect pe cted ed;; () they do not know how to do it correctly or currently lack the ability  to do it correc correctly; tly; or () there are obstacles beyond their control that are making it hard for them to do their job. Setting Musical Standards 

Attention to high musical standards must be established by the music director early in his his or her tenure. Toleration of substandard playing or sloppy sloppy preparation of the music music sends sends a signal to to the rest rest of the player playerss that quality quality is not not important. All musical organizations organizations are are in transition and hopefully hopefully always always improving pro ving in quality quality.. Ove Overr the years, years, the quality quality level level in the industry industry has has risen dramatically.. Graduating music dramatically music students are being being better trained trained in technique and intonat intonation ion than ever ever before. before. In order order to keep up, up, all members members of the orchesorchestra need to be continually upgrading their knowledge and exposure ex posure to new per-

formance standards. standards. Your goal as a music director is to establish a standard standard for prepa pr eparat ration ion,, int intona onatio tion, n, or orche chestr straa to tone ne color, color, and stylisti stylisticc int interp erpre retat tation ion.. Thi Thiss standard stand ard must must be emphasize emphasizedd throughout throughout all all of you yourr rehearsa rehearsals. ls. You need to know where you are going artistically and what you are trying to accomplish musically with the orchestra. When the standard is clear in your mind and clearly presented to the orchestra, you need to to assess where the the individual musicians are are artistically and who might need to be motivated to improve. improve. Once you have have identified specific problems, spea lems, speakk private privately ly with with the indi individual vidualss to see ifif they are awa aware re of them them.. Often when a player player has been performing performing the same way way for a long time, they can no longer see the strengths strengths and weaknesses weaknesses in their own own playing, or they are are up against a current current standard of technique that surpasses surpasses what was required required in the past. Give each musician time to talk through through their perception perception of their playing playing as  you tell them yours. End the conv conversation ersation by setting defined expectations in a positive way way. Let them know that you believe in their ability to meet these new  challenge chall enges. s. Capi Capitaliz talizee on gifts and strengths, strengths, not weaknesses. weaknesses.

 

Chapter 6  The People Factor   

Additional Training or Tools 

Sometimes a player player will need extra help to get to to the next artistic level. I always provide sample tapes or CDs to orchestra members for concerts that might have unusual or difficult to locate repertoire. I also prepare a tempo tempo sheet for each piece so all the difficult sections can be prepared up to tempo before the first rehearsal. Sometimes I encourage a player to take coaching sessions from a respected colleague in a larger orchestra. orchestra. This is a great way for them them to keep their their musicmaking fresh. If the musici musician an is a sectio section n player player,, I will often often work work with the principa principall of the section to find ways ways to help them improve. improve. Sometimes I meet privately privately with the principals to set goals on how they can help their entire section play at its highest level. I encourage them to hold sectionals or to take extra time before before and after rehearsals to talk talk about section blend, tone quality quality,, and tuning. I recognize recognize that I cannot require them them to spend this extra time, but often they are happy to be held held

responsible for helping helping to improve improve the overall quality quality of the orchestra. It also is useful useful to organize organize all of your musicians musicians into ensembles. ensembles. Having them them play together together where where they are completely completely responsible responsible for the quality of the music making brings a personal attention to to detail back into the routine. routine. It also helps to stabilize the blend of sound and the intonation intonation throughout throughout the the orchestra. orchestra. Sometimes, time s, if the orch orchestra estra only perfo performs rms a small small numb number er of conc concerts, erts, the musi musicians cians simply do not play together together enough. Solve this problem problem by creating creating a chamber music series featuring your musicians. Removing Barriers 

Musicians often have Musicians have unusual unusual barriers that that get in the way way of doing their job. job. An example could be a conflict conflict with their stand partner or a member of their section, or it could be the fact that they don’t have an adequate place to practice at home. Perhaps Pe rhaps they didn’t didn’t get the music in a timely fashion, or they were hired late for the job so they had to sight-read sight-read the part at the first rehearsal. rehearsal. Whatever the excuse, make sure that that everything everything possible on the administrative administrative side of the organorganization is being done to make it easy for the musicians musicians to perform. This goes from making sure the music goes out with w ith the correct bowings at least three weeks in advance, to making sure the temperature temperature in the hall hall is stable and that the lighting is good. Do not be afraid to change the the seating in order to to resolve resolve a personality  conflict, confl ict, or to adjust adjust sound baffles or risers r isers so people can hear each other better better..

 

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Beyond the Baton 

If you are are willing willing to make make these these small small types of adju adjustme stments, nts, the enviro environment nment will will be more conducive conducive for for great music-making. music-making. As a leader, leader, you must work to create create an environment where people can feel good about themselves and each other. You want to allow them to meet their own needs while at the same time contributing to the group as a whole. Expect the Best 

Once you have have removed removed all barriers, you really can expect the best from your ororchestra. You should be enthusiastic, lead the way, way, and trust them to do a great great job.