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Conductors and the Hand – an “old school” technique, continued from Part I.
A big factor in the stop-gesture () described yesterday, is the facial expression of the conductor. A smile or blank expression in tandem with the Hand may be interpreted as one thing. Accompanied by a frown or a pained grimace, the Hand will be viewed as something else entirely. (Incidentally, this is mentioned in detail my top-ten list for conductors.)
In either case, for a conductor, using the Hand can be risky business. From a musician’s perspective it is a rather crude gesture that can generate a variety of reactions. I cannot even begin to count how many times that I heard or participated in a conversation like this during a rehearsal break:
Brass Jock 1: Wow, did you see that?
Brass Jock 2: [with a knowing look] Yes I sure did…
Brass Jock 3: The nerve of that guy. What the hell does he know? I ‘ve performed Ein Hand-enleben over two dozen times!
Brass Jock 1: I have underwear that is older than that guy. What business does he have telling me that I am playing too loud?
Brass Jocks in unison: [Snickers, with grunts of approval.]
Of course, this conversation is a snarky hypothetical, but the energy and intent behind it is not. It is the kind of conversation that leads to long-term sentiments towards a conductor.
While disgruntled employees in any profession are prone to complain about anything and everything, one cannot help but wonder if there is another way for musicians on both sides of the fence to communicate and understand dynamic and balance levels yet keep their personal integrity more-or-less intact.
The bottom line
So what is a conductor – the leader of the orchestra – to do? To be blunt, the bottom line is this: whatever he/she wants. (!)
The conductor is the boss after all and it is their responsibility to shape the concert as they see fit. Musicians are employees and while they may be worthy of respect and esteem, the conductor is the chief executive who hires (and fires) the employees.
Like it or not, if a musician takes offense to the Hand, it is their problem, not the conductor’s.
In my professional circle, the Hand is something that I encounter more often than not. My personal coping strategy is to take it with a grain of salt and assume the best intentions from the conductor – unless they are scowling or “shoosing” (i.e. Shhh! Quiet!) at the same time.
This happens to be a pet peeve of mine; to “shoosh” or scowl is jarring and just plain rude.
Suggestions
This all being said, I would offer a few suggestions to both parties in the interest of better ensemble relations and hence, better music-making:
- Instead of the arm’s-length, palm-up hand gesture, a conductor might use a descending palm-down gesture. Start with the hand held horizontally with the palm down, moving the hand from a high position to a low position, as if the hand were gently pushing down the dynamic level. This is much less likely to be interpreted as rude and “in your face.”
- Musicians need to remind themselves that orchestral balance is about perspective. A musician sitting in the back of the orchestra especially (where most brass players are located) has a skewed perception of what the true dynamic balance is.
- Like the law, intent is 99% of the how commands are interpreted. A smile from a conductor accompanying the Hand telegraphs the idea of “yes, I hear you and we are having fun, but it needs to be quieter” whereas a look of disapproval sends an entirely different message.
- Brass players should think of loud, brassy colors like Tabasco hot sauce. The right amount can give a dish the right “zing” – too much can ruin the entire meal. Outside of sitting in the hall as an audience member, the conductor is in a far superior location to gauge what is the appropriate amount of spice.
- Guest conductors in particular should be strategically astute in adjusting aggressive brass sections. A cantankerous brass section might feign obedience in rehearsal and then take revenge in concert. Unfortunate, but true.For example, from a very famous (now deceased) horn player at a symposium I heard this quip – “in rehearsal I do it the way the conductor wants and in concert I do it the right way.” A sarcastic joke, but like many jokes there is hidden meaning below its surface.
In “Ein Hand-enleben, Part III” — more specific techniques for playing extreme soft dynamics.
