Return to blogWhat does a conductor do when the orchestra is simply not playing up to its capability?
The general public’s stereotype of a maestro’s behavior in this situation is based on Arturo Toscanini, whose temper tantrums on the podium during the 1950s were legendary. Listen, if you dare, to his rant, which climaxes in his storming out.
But as I prepare orchestras for The Music Paradigm presentations I don’t have the luxury of indulging my frustrations. In those rare occasions when I discover that the orchestra I’ve hired is unprepared, dispirited, or lackadaisical I nonetheless have to deliver a convincing performance in just one hour of rehearsal time. I can’t spare even five seconds to vent. So what does a leader do in these adverse circumstances?
During the first minute or two of the rehearsal I’ve discovered that many of the players are preoccupied with the most rudimentary aspect of music making: reading the notes and playing them with passable accuracy. There is no listening or collaborating. I look up and down the string sections and see that the bows are poorly coordinated. The players in the last stands are barely moving them, in an apparent effort to hide.
Of course my first impulse is to declare that this is unacceptable. But the group seems so demoralized that I sense that a reprimand would only pull them further down. Anyway, the clock is ticking and I’ve got to make some progress, and fast.
In his classic, Leadership Without Easy Answers, Ronald Heifetz rightly points out that in this type of situation there is no way that the leader can take the problem off the orchestra’s collective shoulders. (Click here to purchase the book.) Giving instructions, pointing out errors or offering solutions is the long way around. The musicians’ dependency on the conductor is a big part of the problem. The apathetic look in their eyes seems to be saying, “Solve this, maestro. That’s your job.” As Heifetz says, the workforce must take ownership and responsibility for finding solutions. So however I exercise my leadership, it must not reinforce their parent-child mind set. Instead, I must hand the problem back to them.
I put down my baton and turn to the concertmaster. “Lead the orchestra,” I say, “you don’t need me to conduct. Just start them. They’ll all follow you. You’ll see.” I step off the podium.
This is not what they’re used to. She’s on the spot now, but clearly the rehearsal won’t go on until she takes action. Soon she raises her violin and, with an inviting gesture, begins to play. The orchestra sputters. “No, no,” I immediately interrupt. “Follow the concertmaster. Play with her.”
On the second try it’s a bit better. I urge them, “Work with her. Watch her bow.” On the third try I notice that people aren’t slouching as much as before. They have to sit up to see the concertmaster. This time they start together. “Bravo!” I say. “Now use your bow as she does. The same part of the bow, the same stroke.”
The concertmaster, feeling the responsibility for the whole group, is now playing really well. The orchestra plays better together too, but still lacking energy and confidence.
I turn to the second stand outside-player. “You lead the orchestra now.” Her eyes widen, as if to say, “Me??” “Yes,” I reply to her unspoken question. “Lead the orchestra. They will follow you.” So all eyes focus on her. She gives a timid gesture and the orchestra hiccups its entrance. I interrupt again. “Help them play together,” I say, encouraging but insistent. Now she gives a more decisive gesture and the orchestra is beginning to wake up.
I repeat this with four or five other musicians, especially the ones who had been trying to hide. Within ten minutes the playing is beginning to show some personality. Whenever I see any player whose posture is lazy I ask that musician to take his turn leading the group. Eventually the orchestra’s body language shows signs of life. Since they are working together and listening the sound is more blended and better in tune. Of course the musicians hear this and begin to feel inspired and energized by their own collective power. And this transformation has been accomplished without my giving a single instruction about how to play the music.
Ron Heifetz calls this giving the work back to people. With my own eyes and ears I have witnessed a sluggish, demoralized orchestra transform rather quickly into a motivated one. By the time of the session they gave their audience a very exciting performance.
Roger Nierenberg
