In the music industry, there are certain things that are known among musicians that the general public is mostly unaware of. For instance, numerous inside jokes, comments, and debates about which instruments or vocalists are “superior” to others and which ones are often the brunt of a playful joke. But what about those types of comments regarding conductors? There are also very strong opinions in the industry about which type of conductor is more superior. Is it the person who conducts orchestra, choir, or band? Generally, the orchestra directors will claim that they are the best conductors for a multitude of reasons. The choral directors will say that they are the most prestigious because they deal with voices and not instruments, and can sing all the parts better than any instrumental conductor. The band directors are often just cool cats who mind their own business because they’re extremely busy competing for trophies with their athletic bands. Yes, there are also band directors who prefer the concert bands and wind ensembles over marching season. (This often depends on the program or it is just personal preference.) If we take a moment to set aside those individuals whose conducting includes orchestras, choirs, and bands on a regular basis, and only focus on those who identify primarily or exclusively as an orchestra, choir, or band conductor, this opinionated dynamic then begins to surface.
Most conductors will state that conducting is conducting and that one should be able to handle any type of ensemble one is given the opportunity to lead. This is a valid point, of course, especially when considering the conducting fundamentals of beat patterns, clarity of gesture, and the ability to make improvements. More specifically, however, there is a need for specialized knowledge to effectively manage string instruments, wind instruments, percussion instruments, vocal technique, diction, and the overall sound. All conductors will be unique and have their own specialized areas.
With all of this specialized knowledge, one would assume a mutual respect exists among conductors as they all possess different strengths. This, however, isn’t always the case. Why is it that conductors as well as ensemble musicians will gibe about different conductors? After all, many conductors will be in situations where they gain experience working with different types of ensembles and also work with a combination of forces (winds, strings, percussion, voices, even electronic music)—depending on how the composition is scored. Is the lack of respect something that is merely cultural from decades past, or is it something more?
If you have been in the music industry for a decent amount of time, you will be familiar with this conductor debate. Orchestra musicians do not usually enjoy being conducted by band directors or choral directors, especially if the conductor doesn’t know how to technically address the strings; band musicians prefer conductors who are versed in winds and percussion (although, there is also a brass vs. woodwind debate, but we’ll leave that aside); and vocalists do not prefer to be led by instrumental conductors. These preferences and needs are obvious. But there are also instances where ensembles suddenly do not have available to them their “preferred” conductor and therefore get appointed a different conductor for a long period of time. This situation calls for everyone to just do their best, exercise patience, and work together. It’s a different matter, however, when a performer is being completely obstinate and loathes the experience of performing with a different conductor for a special event. That attitude isn’t helpful for the morale of the entire ensemble. Need we be reminded of why we perform music in the first place? Such ego issues are best left at home.
The same holds true for conductors who may avoid learning from their conductor colleagues because they harbor feelings of superiority. Being petty doesn’t help anyone in the industry. If a fellow conductor has equivalent abilities, or is more highly trained and skilled, it certainly wouldn’t hurt to embrace opportunities to learn more about any specialized skills the other conductor possesses, particularly if the other conductor works with a different type of ensemble. If, for example, you are a choir director who sometimes conducts masterworks and is intimidated by the orchestra, then speak with your orchestra conductor colleagues more often. The same goes for orchestra directors who may feel nervous when working with a large chorus. Whatever the situation, the goal is to bring the music to life and share that moment with an audience. Be open to these ideas. Just ask questions. Don’t let musicians’ pride prevent you from furthering your professional development. Learn everything that you can. After all, we genuinely enjoy discussing our professions, and lifelong learning is one of the most enjoyable parts of the journey.
What has your personal experience been regarding the conductor debate?
Please share your thoughts in the comments.
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