Assignment Number: SHR4C007R-001 Student ID: ELG23083397 Word Count: 1848
‘It’s an extraordinary thing, how an experienced and charismatic conductor can completely transform the sound of an orchestra,’ (Sir Roger Norrington, 2014). ‘There is a precise science behind conducting, a clear set of instructions in the work that you’re dealing with,’ adds Simone Young (BBC Interview, 2014). ‘But as it is about communication, the interpretation can then be as individual as the person themselves.’
Many people watch orchestral and choral performances regularly without questioning what conductors do, and how much of an impact their technique, marketing abilities and personality has on their career (BBC Teach, 2024). Both Norrington and Youngs opinions on conducting highlights the complex processes involved in interpreting the notes that composers write down and turning them into to what we hear as music. Standing solo on a podium in front of many talented orchestral players, the conductor is the medium through which that transformation takes place.
“The whole duty of a conductor is comprised in his ability always to indicate the right tempo,” states composer Richard Wagner (Burton-Hill, 2014). According to Brittanica (2024), the fundamental definition of a musical conductor is a “person who conducts an orchestra, chorus, ballet or opera and stresses the musical pulse so that performers follow the exact same metric rhythm”. To a certain extent this is true, although, a conductor has more significant responsibilities and important duties than this alone. The Conductor, initially, chooses the pieces which are going to be performed, then brings the score to life, creating their own musical interpretation and communicating it through hand gestures. This may shape the melody, cut out mistakes and bring attention to specific musical elements within the piece. Listening and leading are two of the main characteristics of a good conductor, but also being aware of the music, bringing the musicians to focus points and listening out for nuances. Above all, a conductor is being a figurehead who is responsible for the orchestra’s performance, and the players.
Surprisingly, to initially step into the field of conducting, there is no formal academic entry requirements, however, many orchestral conductors possess a degree or diploma in music. Those who study at a diploma level require A- levels and/or GCSEs as well as having Associated Board Graded Examination passes in their chosen instrument(s). Many would normally have to audition for their course. In some regions, apprenticeships at NVQ levels 2 and 3 are also available for budding young Conductors. Alternatively, there are other routes into the industry, for example, taking private conducting lessons and learning to use a baton properly. Ever think conducting was just waving your arm about? Marin Alsop believes that “it’s essential the baton feels like an extension of your arm, its hard for 200 musicians to concentrate on your whole hand, so the baton really serves as a focal point” (Alsop, 2018). The next step would then be putting those skills into practice in small chamber ensembles and working towards large choirs and orchestras (Workbred, 2023).
In addition, conducting is normally a freelance career, so it’s ideal for them to have an understanding of promoting and marketing themselves, this in turn will magnify their opportunities within this competitive industry. Conductors from the Musicians Union (2023) suggest that creating and sustaining an online profile is essential. In Addition, reaching out to as many people as possible via social media- whether that be in the form of a website or Instagram- is indispensable to expand potential opportunities. Their advice is to also take advantage of having contacts within the industry, and to be recommended by word of mouth. The London Symphony Orchestra has created a list of companies where classical musicians can search for employment opportunities and/or promote their own business which is a helpful resource. Of course, success as a conductor is not solely based upon talent, its how individuals publicise themselves in order to become successful. This could include press appearances at performances to promote shows, selling merchandise to create a sense of community or having reviews left in newspapers. For example, there was a review written by Jessica Dutchin about John Wilson, who conducted the Sinfonia of London prom in 2023 which stated that “it’s not just individual technique of each player that makes the difference; it’s Wilson’s driven energy, his pinpoint precision and clarity and the unerring sense of balance that he can create”. This highlights that marketing and promoting are just as important as being technically accurate and talented at your craft in the music industry.
Financial and legal issues are also areas which affect the career of a conductor. Performance
rights refer to giving the musician(s) power over the use or exploitation of their performance. One of the rights they are entitled to is “non-Property” which means recordings cannot be bought or aired live without permission from the musicians in the video. Performance rights generally last up to 70 years after their death, while 50 years is the norm when used on film or other media. If they (conductors) allow their work to be broadcasted, they (conductors)should receive financial compensation as its important artists have a fair payment for the music they create (Fiveable, 2024). It can be argued that conductors are extremely well paid. Classical artist Sheldon agrees by stating “The amount orchestras pay the conductor is increasing, don’t get me wrong I’m thrilled conductors are making what they are making, they deserve it” (Woolfe, 2018). A writer at the New York Times confirms that they are definitely well paid, but with good reason as “being an artistic leader is very difficult as not only do they warrant an ensembles musical direction, but they also fundraise, market and hire and fire musicians (New York Times, 2018). However, the employment agreement for conductors is not exactly clear, of course they have a job specification but there is no good clarification on what their pay is based upon. Without a degree of transparency in the music industry, there ends up being hidden agreements and backroom handshake deals which is a clear worry for up-and-coming conductors of the 21st century.
There are persistent gender problems which conductors of the 21st century continue to face, due to lack of exposure and awareness throughout the music industry. Vasily Petrenko says, “Orchestras react better when they have a man standing in front of them, a cute girl on the podium means that the musicians think about other things” (LaGrave, 2019). This statement by the director of the Royal Liverpool Philharmonic clearly highlights that in classical music, females struggle to be accepted. Women’s fresh approaches to creativity has been oppressed for centuries due to their marginalised place in the music profession. Despite many attempts to push through the barriers of gender stereotypes, women are still disrespected and objectified. In fact, it’s only in recent years that females have experienced increased opportunities to conduct large scale orchestras, as they were mainly limited to choruses. The gender pay gap also remains a primary concern. “There is a stark difference between what women and men are experiencing with regard to income and the types of choruses and orchestras they conduct.” Choral Conductors Today states that “female conductors’ average income remains at about 74 percent of male conductors, where it was in the 2005 report” (2017). This shows that the way women are treated and valued as conductors has changed little over recent years and that the drive towards equality still has some way to go.
Growth and development are essential in becoming a well-known conductor. There are many opportunities to further yourself in the music industry. After graduating from university/college some may opt for a masters in conducting where one-to one lessons are divided between staff and visiting teachers so that a bank of contacts can be built, and a variety of support and guidance can be given. Chauhan, the Principal Conductor of the Filamornica Arturo Toscanini (RNCM, 2021) states that “The master’s course gave me the opportunity to broaden myself as a musician in all genres. I had many practical conducting opportunities to develop my skills in a huge variety of repertoire and ensembles”. Others, may opt for the podium opportunities route, searching for assistant conducting jobs in well-known orchestras, for example, the BBC Philharmonic, Northern Ballet and Halle Choir. It is recommended to hire an agent, an artist planning professional or an outreach specialist to help with growth. Observing concerts, gigs and music events to network with professionals and entering conducting competitions to gain recognition and show off skills also recommended. (American Professions Guide, 2024).
A 2023 survey by Help Musicians, found that almost a third of those in the industry have experienced negative mental wellbeing (Sheppard, 2024). Music is seen as an unconventional and an unpredictable career, especially when graduate conductors are still relying on their family for funding, there is a feeling of guilt and responsibility for continuing to pursue music instead of ‘getting a proper job’. In addition, practicing conducting for hours on end can be very isolating and the sheer volume of practice might result in a musician’s burnout. Most concerts are also typically in the evening after a full day’s rehearsal and the irregular working hours may cause a shifted sleep schedule or perhaps poor healthy eating habits, not to mention the extreme pressure placed onto a conductor. This constant push for greatness might be many conductors’ downfall and could potentially lead to anxiety or depression disorders. Comparisons between conductors in the industry create a very toxic environment. Imposter syndrome, as defined by the Musicians Union (2023) is the “persistent inability to believe that one’s success is deserved or has been legitimately achieved as a result of one’s own efforts or skills”. It can take the form of overwhelming self-doubt or dread. There is no simple way to overcome these personal problems, however, recognising there is an issue and seeking counselling or specialised support is a good place to start.
Overall, in the broader sense of music making, the orchestral conductor’s art is not singular. It is in the motion of their baton, leading a large group of performers, inspiring others, taking suggestions and giving requests. The best conductors don’t show musicians when to play, like a metronome, but how to play. Upon diving into the other elements of the career, it is clear that conductors have to think about the financial and promotional aspects as well as simply the technique of performing. Securing employment through advertising is essential as well as creating an online profile on social media. It is important to know the processes behind copyright performance rights to ensure fair amounts of revenue can be earned from the work that conductors do and videos they create. Additionally, problems caused by mental health and imposter syndrome should be more commonly acknowledged; this may help musicians feel less alone and more integrated into the industry. After evaluating the main aspects of the career of a conductor, it is important to recognise that every individual will experience different demands, needs and challenges within the role of conducting and the journey to success is often a diverse and multifarious road.
Reference list
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Dutchin, Jessica, 2023. “John Wilson and the Sinfonia of London prom, Royal Albert Hall, review” John Wilson and the Sinfonia of London prom, Royal Albert Hall, review: So good it left me in tears (accessed 19/10/24)
Fiveable, 2024 “Performance Rights” https://library.fiveable.me/key-terms/music-of-the-modern-era/performance-rights (accessed 20/10/24)
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