Music conductors on stage: are they really necessary?

[Brinne]

Ha, no, they keep everyone in time and greatly influence the collective energy and dynamics. Even in a small group, there's always someone who speeds up, or forgets the crescendo, or plays over someone else's solo. A conductor provides visual cues for all that stuff.

I'd also like to add (and I forge the name of this particular denotation) that there are certain pieces which basically have symbols above the note that means 'hold out as long as the conductor wants you to hold it out' and for each performance it's different. So without a conductor stuff like that would be pretty hard.

My experience is a little different in that I was never part of an orchestral group but I was part of a jazz band which had a director who would gives us cues one stage. This was incredibly helpful especially with dynamics. I'm sure the same thing, roughly, applies to conductors for orchestral groups.

 

[Sha'irullah]

Ha, no, they keep everyone in time and greatly influence the collective energy and dynamics. Even in a small group, there's always someone who speeds up, or forgets the crescendo, or plays over someone else's solo. A conductor provides visual cues for all that stuff.

I still doubt this. I still believe that at least half the time they are just over paid arm gesturers who like to hold sticks and pretend they are wizards.

...Mew

 

[Revoltingest]

I still doubt this. I still believe that at least half the time they are just over paid arm gesturers who like to hold sticks and pretend they are wizards.

Wizards have magical powers, so no common muggle can do it.
It takes talent, years of study, a wand, & a big hat.

 

[Kilgore Trout]

I still doubt this. I still believe that at least half the time they are just over paid arm gesturers who like to hold sticks and pretend they are wizards.

...Mew

I think it can vary widely depending on the particular orchestra, the particular piece, and the particular conductor. For example, a highly trained and experienced orchestra playing a piece they know well and have played many times before, probably doesn't actually require the conductor to keep things in time. However, if you introduce variables such as a newer piece, a particularly complex or complicated piece (especially with varying time signatures or rhythms), or a number of musicians who are newer or less experienced, then the conductor is probably more necessary to keep things moving as they should.

 

[Sha'irullah]

Wizards have magical powers, so no common muggle can do it.
It takes talent, years of study, a wand, & a big hat.

Exactly! Now we are talking some deep stuff.
This is why coppers always where those weird hats and carry batons. They are in on this wizardry club as well I bet.

...Meow

 

[Secret Chief]

Single point of focus, last man standing. The conductor actually does give subtle cues to the orchestra members. The conductor has the complete score of a work, each performer has only his or her part of the score. The conductor does set the tempo and keep things together. A small musical ensemble of 3 or 4 performers can keep together, but a symphony orchestra of upwards of 90-100 members would quickly descend into chaos and cacophony without a conductor.

This.

The conductor is the CEO of the orchestra. The orchestra is the instrument of the conductor. The differences in the creation and control of the conductor are the important considerations involved in deciding which recording of a symphonic work to buy. It is an interactive combination of score, orchestra and conductor.

 

[Treks]

I love watching the conductor.

That's all I have to add on the subject.

 

[Revoltingest]

I've seen conductors during practice sessions, & it typically involves much work by the conductor
to convey his/her intent to the orchestra, & for them to get the feel of achieving it in unison.
During a performance it looks so easy because it isn't.

 

[Riverwolf]

Watch, and listen for the change in music with the change in conductors.

[youtube]195QtkOJCYg[/youtube]

The first conductor was the one hired to do the show. The guy walking up to take his place for part of this finale piece, is the composer himself.

 

[Riverwolf]

... or plays over someone else's solo.

LOL Flashbacks to my high school band days. :biglaugh:

Okay, not really playing someone else's solo, but... so, one of the pieces we were playing every day was an arrangement of Night on Bald Mountain. (If the name doesn't sound familiar, it's the music that plays during the Devil bit from Fantasia). Then the day we had been practicing for arrived: we were to record a demo CD for... something, I honestly don't remember what. But there was no do-overs, no cuts. We had to get it right.

So, for those of you who are familiar with the song(and if you're not, go listen to it. It's really a fine piece of music). The piece begins, right? Slowly building up to the loud horns "DUUU DUUUUUUUUUU DU DU DU DUUUUUUUUUU DUN DUUUUUN DUDUDU DUUUUUU", right? Then it kind of builds a bit more with a BAM BAM before quieting down a bit?

Well, I'm assuming you're following me. In our arrangement, that BAM BAM isn't so fast, but actually takes up a full 4/4 measure, with rests on the second and fourth beats.

On this recording day, of all freaking days, someone decided to play a note during one of those rests! We couldn't stop, so we kept playing, but the entire band was doing everything it could to just not laugh, and it kind of bled into the rest of the piece.

I still have the CD somewhere.

 

[Riverwolf]

I've seen conductors during practice sessions, & it typically involves much work by the conductor
to convey his/her intent to the orchestra, & for them to get the feel of achieving it in unison.
During a performance it looks so easy because it isn't.

One of the most important magic tricks that all performers need to know, whether actual stage magic, orchestra, acting, stand-up comedy, whatever, is to make it look completely effortless.

As if the performer normally just lives day to day, then one day just decided to go up on stage, and just like that give a spellbinding show.

 

[GoodbyeDave]

A man goes into a pet shop and says
Customer: I'd like to buy a parrot.
Shopkeeper: Well guv, you've come to the right place. How about this white one? Lovely bird.
C: How much is it?
S: £500
C: That's a bit steep!
S: He's a very talented bird: he can whistle the solo part from a Mozart flute concerto!
C: Incredible! But it's more than I wanted to pay. What about the blue one?
S: Sorry — she's £500 too.
C: What does she do, then?
S: She can sing the Queen of the Night's arias!
C: Don't you have any ordinary birds? How much is the little green one back there?
S: Oh dear, it's not your lucky day, squire. I'm asking a grand for him.
C: £1,000! What on earth does he do?
S: Well, to be quite honest, I haven't found out yet. But he must be good, because the other two call him "maestro".

© Ronnie Scott.