Why the conductor matters

[audiopro92]

Conductors matter primarily because they interact with other conductors. That interaction (due mostly to metallurgy) can influence sound quality. Sometimes to a large degree; other times not at all.

The wiring in your audio equipment plays in tangent with the cables you connect.

The conductivity of the metal, resistance, inductance, And capacitance along with the tonal quality of the wire itself blend together and give you a result.

Superconductors are ideal. Quality matters.

 

[InfigoAudio]

Gotta love a superconductor in front of our orchestra....

Cheers, Hans.

 

[Chops]

Well you guys will hate what I have to say about conductors.

Playing in an orchestra for 7 years, 6 of which I was 1st chair bass, the only thing a conductor is good for during a performance is starting a piece and ending the piece. That's pretty much it. The rest of the time they are just up there looking important.

Where conductors are useful is during rehearsals, breaking down the piece, working with individual musicians, individual sections, getting tempos dialed in and expressions where he/she wants them (should be tailored to the venue).

Once you have weeks, sometime months of rehearsals, the conductor is no longer needed except for "show" during the actual performance. Jumping up and down, flinging their heads all around, twitching about aimlessly like they're having crack withdrawals, none of it is needed. If the musicians are looking at the conductor, it's because they're watching him/her act a fool on stage in front of hundreds/thousands of people.

Any competent musician/orchestra will already know the tempos of the piece being played, they already know the amount of expression needed when and where, and when it's all said and done, typically the cello and/or bass section is what maintains the tempo for the orchestra.

So yeah, have fun with this post. I've felt this way about conductors for well over 30 years now and will for the next 30, if I last that long.

 

[tonytsui]

Well you guys will hate what I have to say about conductors.

Playing in an orchestra for 7 years, 6 of which I was 1st chair bass, the only thing a conductor is good for during a performance is starting a piece and ending the piece. That's pretty much it. The rest of the time they are just up there looking important.

Where conductors are useful is during rehearsals, breaking down the piece, working with individual musicians, individual sections, getting tempos dialed in and expressions where he/she wants them (should be tailored to the venue).

Once you have weeks, sometime months of rehearsals, the conductor is no longer needed except for "show" during the actual performance. Jumping up and down, flinging their heads all around, twitching about aimlessly like they're having crack withdrawals, none of it is needed. If the musicians are looking at the conductor, it's because they're watching him/her act a fool on stage in front of hundreds/thousands of people.

Any competent musician/orchestra will already know the tempos of the piece being played, they already know the amount of expression needed when and where, and when it's all said and done, typically the cello and/or bass section is what maintains the tempo for the orchestra.

So yeah, have fun with this post. I've felt this way about conductors for well over 30 years now and will for the next 30, if I last that long.

Agree but a good conductor will create a tension for the players during performance to achieve a climax not rehearsed

 

[Chops]

Agree but a good conductor will create a tension for the players during performance to achieve a climax not rehearsed

If it's supposed to be in the original music, the orchestra is more than capable enough of doing that on their own.

 

[zerostargeneral]

Dear Chops,

May I suggest that opposition to or siding with is rarely required in a "Marty" thread. I find this to be the one of very few sanctuaries in the forum, sharing opinions without dogma.

Do I believe that Klemperer could have saved the early bassoons on his Mahler two? No, I do believe that Szell would have
Threatened (players) to the point of paranoia and control the urge to be impulsive.

To me great orchestras function on a zen like level of cooperation that eludes most facets of life.

That tenet invariably must be held by a strong, versatile and respected individual.

I wholeheartedly agree with the arm waving extravagance being superfluous to the orchestra.

Marty introduced the forum to the Lim, Alsop Rach' three. To me her influence on this is obvious and required.

Kindest regards,G.

 

[tima]

Dearest Tima,

Szell's foray into the second has become my canon.

Kindest regards,G.

Smile. I ordered a 1962 copy on Epic. Szell's foray into Sibelius 2 is that for me.
Best.