So This is How Conductors ACTUALLY Work?!

[@julioelizaldepiano]

So honored to be part of this really important discussion about the role of conductors. Thanks, Nahre!!

[@NahreSol]

Thanks for coming on as a special guest!!! Your insights were incredible!!!

[@JamesHunterRoss]

Your words, sir, were really inspiring and enlightening. My mind has been opened a bit, and it even offers a framework for becoming a better listener.

[@James_Bowie]

Thank you very much fr contributing to it.

[@sturam30]

Love your work. Drop some more videos.

[@KitagumaIgen]

Once I read about the legendary ice-hockey coach Tarasov, that he'd learnt to only coach with positive encouragement from lion-tamers, only using carrot never stick. As a 14 year old that made sense to me, also as a 14 year old I suspected that the players of his national team new that "he new which direction Siberia were".

[@richardstannard3139]

When I was a young conductor, a wonderful mentor taught me that there were three entities in a performance: the conductor, the musicians, and most importantly, the audience. The finest musical experiences are brought to life when all three entities can own something of the performance together. Thank you, Nahre, for this video.

[@truecuckoo]

In my youth I was an active choir member, and we often collaborated with symphony orchestras and smaller ensembles. For a semi professional choir to come in to a 100% professional orchestra rehearsal, the conductor, and the communication with us on the back flank is essential. I’ve had mostly good experiences, and always felt like they fully understood that we’re half professional and took us under their wings and helped us bloom. I see the conductor as an artistic leader with off the chart musical, practical and social skills. I remember one episode with a conductor called Junichi Hirokami, we did Beethoven’s last symphony, and in some of our choir-only parts he worked so hard to keep us in tune, even during the concert showing no embarrassment in doing what he could to keep us from going flat. Good memories.

[@kpunkt.klaviermusik]

This is really interesting. In an orchestra there's this one guy who decides how the whole group of musicians is supposed to play. In chamber music that's quite different. Each musician has his own view on the piece and they have to find a way to combine these views, which sometimes isn't that easy.

[@BlueMeeple]

IMHO good conductors (and good orchestras) combine these two approaches, it really is a collaboration.

[@michaelfoxbrass]

@@BlueMeeple Exactly - and sometimes the collaboration is with an individual orchestra member, sometimes with the principal player in each section who then communicates bowing/articulation/other concepts to the section, and sometimes (but more rarely), both!

[@charlietian4023]

@@BlueMeeple this is something I've learned as I've been conducting more and more

[@larryaustin4195]

Your videos are so very informative. I especially enjoyed hearing Alan Gilbert, whose grandfather, Noel Gilbert, was my childhood piano teacher.

[@DrQuizzler]

I was waiting for the word "rehearsal", because I'm pretty sure that's where the magic happens. Just like you were saying, the game plan unfolds in rehearsal, so in performance, the conductor guides prompts and reminds, basically harkening back to things he/she and the orchestra members worked out in rehearsal. Pretty fun to be part of as I recall.

[@soozb15]

Totally agree. I remember as a choir member being quite scared during performances (no matter how well prepared), but the rehearsals were a creative, joyful and almost spiritual experience in many instances. And no audience required for that!

[@patlilburn5251]

For non-musicians like me, again here what’s the most fun is how so much of these conversations are relevant to non-musical activities. Your interview with the conductor was just great, and I loved his remarks about having a plan or vision, about adapting to the group and the venue and the audience, and about how any group can sense a fraud…or how sometimes they will just WANT to sense a fraud. And yes I believe I did spot you in the rehearsal shot.

[@michaelfoxbrass]

This video is every bit as relevant to a corporate department head or CEO as it is to individual musicians or conductors or other non-musical artists where a collaborative leadership style is required.

[@frankherrgott]

FANTASTIC as always Nahre Sol. Thank you for this video!

[@MusicalBasics]

Loved the contrast of the black outfits you guys wore against the white room!

[@mq9demo]

Stunning material, Nahre!! Thank you so much!! I've played in professional symphonies for the last 14 years, and yet, I learn so so so much from this

[@paulthiebaut]

I just love this orchestral videos series ! I'd be more than excited to see a whole documentary on these interviews and discussions honestly those videos are so interesting !

[@mickwoolley8267]

As a committed concert goer, I always try to attend concerts where I know I will love the conducting. When I can see the leadership producing a positive reaction then I know the sounds and flow of the music will follow. The Bernstein clip you showed was, I think, from his Saint Paul's cathedral performance of Verdi requiem. It was the very first time I sat up late as a kid to watch a classical performance and was truly electrifying. Most recently I saw a Vaughan Williams Tallis Fantasia and I was totally blubbing by the end - such marvellous music, brought together by wonderful conducting of an excellent orchestra.

[@garygreen7552]

What a great video. Mr. Gilbert's comments reminded me of some the conductors that I have played under, and others that I have watched rehearse. With one his reaction when something was not quite right was to apologize and do that part again while he tried to "be more clear in communicating" what was he wanted. Another reminded a high school orchestra that at one point they needed to listen to the flute solo. That one sentence told the young musicians several things. I could go on and on. I have been on both sides of conductor's stand and I loved what was taught in this video. Thank you.

[@JamesHunterRoss]

What an enjoyable and profound video this was! Hearing the conductor's thoughts blew my mind; he is aware of the "purpose" of each aspect of the piece with regards to the interpratation, (the "what are we trying to do"), AND THEN listening in the moment to ensurre all the right things are happening and offering solutions to help the players. Mind is blown. Better still is how this type of thinking applies to your own playing; I never thought of such a thing. Even better still is how these same ideas apply even when you are just listening!

[@peteroh9319]

I appreciate the eloquence with which Elizalde, Gilbert and Nahre Sol explain conducting and it’s intricacies. They are all precise with their wording and seem very intelligent. It’s very insightful to hear masters of different trades explain conducting from different perspectives. Great vid!!!!

[@zita-lein]

Altho I play piano, I’m old (65) and just learning (3 yrs), so I listened to this video more as audience member. Super helpful. Loved it! ❤

[@AndyJanssenMusic]

As both a Hamburger and Nahre fan, these Elbphilharmonie episodes are pure bliss 😊 Also such nice insights into the work of a conductor and I especially liked the part about adapting a conductor's mindset as a performer

[@somniavitasunt]

Nahre Sol really is a musicians musician. Thanks for the insights.

[@RolandHuettmann]

I went to school in Hamburg. It is a city focussing a lot on music. Brahms was born there. The Beatles started their carrier there. Lots of Jazz is going on all the time in various clubs. And "Elfi" really is an attraction now for musicians coming from all over the world. Your presentations are brillant, dear Nahre. Thank you.

[@HD-su9sq]

Before covid, I travelled to Germany and had a day in Hamburg. I saw Elfi from the boat and didn't appreciate it or what it contains. I want to come back soon, especially after Nahre's videos. Thank you Nahre, and Hamburg too!

[@maggoteater2290]

The music school or just to school ?

[@RolandHuettmann]

@@maggoteater2290 Both. In the school music was taught up to 13 years (our scholl schedule), and in private, I had piano teachers.

[@phutureproof]

Excuse me the Beatles formed in Liverpool, England

[@roadrollerdio565]

​@@phutureproofNot denying this but their stint in Hamburg playing 6 hours every night at clubs gave them the practice, skill, stamina, live experience and tightness as a band that let them blow up soon after when they returned to the UK.

[@wdashwor]

It's wonderful to hear Maestro Gilbert's down-to-earth and enlightening comments. Thanks for bringing this to us! 🙂

[@michaelfoxbrass]

Ms. Sol, this is the most informative, insightful, and accurate KZbin video on this topic! Your personal revelations on the role/art of conductors as musical collaborators/leaders are, at some point, realized by EVERY seasoned musician; and the earlier, the better! I believe there’s a TED talk waiting to be developed from the material you’ve already captured. Thank you for the approach and preparation. You have clearly thought through your communications goals, in (ahem!) much the same way a conductor does for a performance of Mahler 2!

[@vicsardou9654]

I was brought up in a household that cherished all sorts of music (not every type but many). Western classical music was our foundation. Music appreciation was also taught in my elementary school. Everything from how to behave (including when to clap) to abstract ideas was discussed, broken down and freely exchanged without judgement. Though I don't get as much time to deep dive into music as I used to (especially with others), watching your videos reminds me of the wonderful times exploring music.

[@allwinds3786]

As an amateur player for over 50 years in the pit or concert hall I have had more than enough experience to tell a good director/conductor and have walked out on only one. The rehearsal is my favorite place in the world.

[@roddyg3692]

Back in early 1980's my roommate was a music conductor at UF School of Music and Raiford Maximum Security State Prison. He was an excellent pianist and we played all genres of music.

[@MaxiGoethling]

this your best video yet, it was so well produced and edited

[@leslieackerman4189]

Even if you are not a musician, just a melomaniac, music lover, these videos enhance our appreciation! Your explanations are illuminating . And to top it, you voice is as beautiful as you are.

[@truecuckoo]

Amazing video! I love being brought into serious art and performance related conversations like these. Love it! 🙌🏽

[@lemonberries]

Agreed! As someone who consumes mostly electronic music, I find content like this to be a fascinating and refreshing change of pace.

[@mrnnhnz]

Thanks for this Nahre. Very interesting. I have some comments: If someone tried to suggest that one of the conductor's jobs is to be a visual spectacle, I would have to totally disagree. Their job is to coax the best possible performance out of the performers. If that means they have to become a performer themselves, okay. But it's silly and wrong for them to consider how they look to the audience at any time (other than dressing appropriately I suppose.) If they happen to look dramatic or silly or boring or energetic or exciting or dull or old fashioned or whatever - that's utterly irrelevant. It's the music itself that is important. Having said that, if, for example, it was only possible to get the best performance out of a player by silently mouthing the beat with "loud" mouth movements - ONE, TWO, THREE [silently] that might look silly. Still better than not getting the right result. BUT, if it was possible still to get the right result withOUT doing that, then so much the better. So I guess there is some wiggle room. But my original point holds. You don't (or shouldn't - we can discuss that as well if you like...) come to the concert to watch Mahler being apoplectic to his orchestra. You come to hear the actual piece. Regarding letting rhythm or the melody lead: this is a huge source of frustration for me. Picasso or LeRoy Neiman can paint abstract works if they want to, because they're already masters of their craft. But a 4 year-old throwing paint at some canvas has not created a masterpiece. Far too many conductors let rhythm go to the wind because they're unable to create a steady pleasing beat, and they excuse it by imagining the rubato is their "interpretation." Total annoying BS. Get your ensemble to play together first, in strict time, THEN you can consider allowing rubato into the melody. I'm not a professional conductor, but I've been in choirs all my life and have a BMus. It seems to me that the conductor has a lot of jobs to fulfil. When it really really comes down to it, the one job is to get an amazing performance out of the performers. But that requires a lot, and probably three main things. 1. Building rapport amongst the orchestra so performers can enjoy their jobs, and feel the music between the performers and sections in a more intimate way. 2. Interpreting what the composer was trying to achieve, and then successfully sharing that vision with the performers so they all endorse it and are aiming for that vision each and every one as well. 3. Being a visual aid as to the beat, cues/entries/cut-offs, performance details such as tempo, dynamics, phrasing. The smelling a fraud thing? Yeah, that's what I was referring to with the rubato conductors. I think the conductor does need to have a lot of music skill. They also need to know how each instrument produces sound. Like the actual techniques for playing the instrument, (e.g. "Second violins, could I hear you playing that sul pont. section with downbows on the following beats...?" "Tamtam, you need to find a bigger, heavier softer beater." "Woodwinds, that section should not be detached, but not as staccato as that, please try a more downturned embouchure." and so on.) They need to know the work through and through. They must have practiced conducting it at home so they are ready to do their job flawlessly. But they also need to be humble. If they make a mistake, then they have to be able to own up to it. They have to be open to the lowliest member of the orchestra asking them, "I think you accidentally beat four beats in that three four bar," and be humble enough to say, "You're right, I'm sorry, that's something I'll have to work on." Or if during the early stages of rehearsal they get challenged on the speed or feel of a certain section: "You seem to be taking that section titled 'Grave' at quite a clip. I feel we should be slower there," they have to be able to humbly reflect and say, "Actually you're right. I'll reconsider the speed there and probably bring it back quite a lot. Thanks for pointing that out." Obviously that sort of thing can really only be done in the first few weeks of rehearsals. But the conductor should have created an atmosphere where any musical feedback can be aired without fear of recrimination. (Performers should not fear the conductor replying, "You dare to question MY tempo you insolent cellist! You're fired!) I feel like the stereotypical conductor would not at all be happy with having their mistakes in either waving the baton or in interpretation of the music pointed out to them. But they bloody well should be open to that. Why? It comes back to what I said the conductor's main job is: getting the best possible performance out of the orchestra. Even if the conductor did not make a mistake - their baton waving or interpretation was perfectly valid - they should still be open to questions. Because they should be utterly dedicated to getting the best possible performance to happen, and this requires being open to possible mistakes so they can fix them, and it requires helping your performers to understand your interpretation and get on board with it. I think there are some, not many, pieces where rapport with the audience makes the piece better. For example, I was in a choir when the flautist playing the rising scale in the Papageno/Papagena song in The Magic Flute got a bit excited and fudged the final note of that scale. The public laughed a bit and we carried on. A little later, the harpsichord plays the same phrase, and the harpsichordist deliberately fudged the last note of the run in exactly the same way, getting a huge laugh from the audience. That was fun and appropriate. But, and perhaps I'm a bit too serious about music, generally I don't see a role for the audience and the orchestra to play off each other. It might be fun to do that, but is it really leading to the best possible performance? I'm not a total Grinch. It may be possible - and even preferable - to do this in a careful and appropriate way, but it seems to be a risk to me. (I'm primarily a composer, musically speaking, so having performers play my music exactly the way I wrote it in exactly the style I was intending is really important to me. I've certainly been in choirs where the conductor was incredibly cavalier about the composer's instructions, which always grates.) "Maestro," is not pronounced my-ESS-tro, it's pronounced MY-stro. Nice to see the brief clip of Stravinsky conducting 🙂

[@ReedRobins]

Outstanding Nahre! Absolutely wonderful.

[@plo3168]

What a clear and concise way to explain what a conductor does. There's really no feeling quite like it

[@dantespeakdigital]

Firstly, your channel is amazing. Just found it today! Thank you so much! As a principal trumpet in orchestras for nearly a quarter century, I’m sad to say that at least 50% of conductors who have taken the podium in front of the 6 professional orchestras I have served in are completely unqualified to do so. As you basically said, the conductors primary role is to help the orchestra play together and to galvanize 100 people to support a single cause in a short amount of time. I believe that this could be most easily accomplished by the following: 1. Solid technique/clear ictus - too many conductors don’t have this or even strive to develop it. They conduct for themselves and the audience, not for us. When we don’t play together, it’s always our fault, never theirs. 2. Mutual respect - They condescend and often speak to the orchestra like we didn’t go to music school or study the same things that they did. They tell stories during valuable rehearsal time that nobody wants to hear. Guest conductors want to make a career out of Beethoven 5, using every last minute of rehearsal time to ‘craft’ a piece we’ve all played thousands of times. 3. Conduct the score- I call it the ‘Maestro Syndrome’ which is basically when conductors rewrite the score in order to put their (often times perverted) ‘stamp’ on a work- dramatically changing dynamics and articulations, etc. Of course, there is a significant margin of ‘interpretation’ without doing these things, but they do it anyway. Often times, they are guest conductors who think that they know a concert hall better on their first day than the musicians who play there weekly. Symphony orchestras are aural museums of fine art. What many conductors do is the visual art equivalent of an art curator presenting the the Mona Lisa with a cigarette hanging from her mouth, or worse. The oversteps are breathtaking. Then you have the fear vs encouragement models. The NY Phil could not possibly be covering a broader spectrum, going from vanZweden (arguably the most musician-unfriendly, overrated and overpaid conductor in modern times) and Gustavo Dudamel (celebrated by audiences and musicians alike, clear, encouraging, and a basically super nice and modest person). In order to become a full time symphony orchestra player, you need to become a great musician first. Sadly, the evidence just does not support the same being true for full time conductors. Thanks again for the channel. It’s on my binge watch list!

[@christopherwagner2395]

This was almost exactly my experience as a professional musician as well. I remain amazed by the misconceptions the general public holds regarding the value conductors bring to an ensemble, which is often close to nothing.

[@emathews1]

I really enjoyed this, but there is so much more you could say. I hope you continue to share these insights with us!

[@philipbenjamin4720]

That was a brilliant video! You connected with some wonderful people Nahre - those who embody both humility and excellence. That idea about being aware of what is happening. beyond oneself really struck me as gold. I have seen conductors who are pumping away and they don't convince me but I couldn't explain why - but I realise now they aren't staking a claim on the whole room - audience and orchestra. Conducting - like other leadership - is convincing everyone "this is going to work".

[@viniciuscomacento]

LOVED IT, Nahre! I'm just so in love with your channel. Thanks a lot for the top-notch quality of your music content. Keep it up!

[@ftumschk]

Thank you all so much for this video. Fascinating!

[@jonathandore7521]

Great video with thoughtful and interesting contributions from all your interviewees. I think the greatest misconception the general public have about conductors is that the performance is everything they do -- a misconception fed by TV shows such as "Maestro" (2008), which basically gave the impression it was all about learning to beat time in front of an orchestra, like sitting at a disklavier and miming playing the piano. What they don't realize is that 95% of a conductor's work takes place in the rehearsal, and before that in learning the piece, and before that in developing a lifetime's hinterland of knowledge of repertoire, and how music works, so that when the performance takes place, the conductor actually has something worthwhile to communicate to the audience.

[@DojoOfCool]

I never thought to much about conductors most my experience had been with big band leaders. I used to work in the music school known for it arranging and composing program and every week students had to write an arrangement and conduct it wth the big band sometimes augmented with strings. At the time I was the person who recorded the students performance for them and I actually had a little setup next to the conductor's podium. It was the end of the program and student were composing and arranging for full band and strings, and full woodwinds and brass about fifty instruments. One of the better student wrote an original pieces with lots of time signature changes and dynamics, very complex. They did the first runthrough and piece was amazing the head of school was impressed but one big problem conducting the piece was beyond what the student could handle. The school conducting teacher happen to be hanging out so the head of the school asked him to conduct the piece for the student. So the conducting teacher a working pro from the studio gets the score and a minute or two to look it over. Then they run the piece again and I was blown away by the difference with a real conductor and watching the him conduct all the time signature changes. Especially when with one hand keeping the current time going for main band then with other hand prepped the new time signature for the section of the the strings to come in at. All this from looking a students hand written score for a minute or two. When done everyone was blown about by the student piece and how it came together with a real conductor on the podium. Since then I've had a whole new world of respect for conductors especially those from the film and TV world always working on new music and pulling large ensembles together quickly to record. Or the one conducting to the running film so all the musically hit are insync with the film. Yes, this was all before computers real musicians and conductor recording to tape.

[@gregh99]

I am a fan of Alan Gilbert, not just for his passion and wisdom on conducting, but for his proper use of language (e.g. he said "there are times", instead of "there's times").

[@jpdj2715]

What a well composed symphonic ending of the video with what seemed a fitting improvisation!

[@RichTCS]

What a fascinating dive into the role of the conductor -- I've always known that they're more than just a human metronome. It's good to learn about the leadership and vision that they bring to the podium.

[@ElbphilharmonieHamburg]

Thank you for these beautiful insights!

[@hola.juanma]

Bravo! Very important points touched in this video.

[@ThatAdamGuy]

Nahre, you*, um, conducted (and edited!) that interview masterfully! Really a joy to watch and listen 🙂 * Ah, I'm seeing props also are in order for Julius and Martino!

[@srothbardt]

Alan Gilbert makes some excellent points.

[@herrietako]

Hi Nahre. I am one of your followers, I think you have extraordinary conditions for music understanding. Conducting is just an oscillatory movement that dances the music synchronising everybody with the same dance. Like the beats on a disco music synchronize the dance of everyone there jumping together. There are no waves like Alan Gilbert says "starting a wave as a conductor and then that wave transmits through the players across the stage"... there is not such a wave transmision. We use to say "wave" in football when people up and down shaping a movement like a sea wave. The most closest story related to wave you can make is saying something like "the cronductor creates water wave forms like, so the musicians can surf on it, on real time", or "the conductor moves making grooves on the vinyl so the musician can be the nail that moves on the wave forms of the vinyl, exactly in the same way as the conductor is making grooves on real time... but always as metaphor. It is very simple: Just a correct dancing that the music ask for it, a dance that reflect the tension, intensities and timing of the music you are performing, and if you add to it the correct pitch of all instruments which is very complicated, the "magic" metaphoric talking, happens, thats all. Then if you add the sensibility of each musician, who care the sound layers, different dynamics, articulation... then you would be dealing with the Celestial Symphony Orchestra 🥰 Conductors can know pretty well the music they are performing but they do not know well the movement they are using to express it as a LANGUAGE and they use wrong terminology to explain or DESCRIBE their movements. You can dance the music without knowing the language. and you can dance it very well. Tell to a cuban who born in a family that dances SALSA if he knows or not how to dance SALSA. But that limit your full understanding and can also lead you to make mistakes not being aware of them. I probably trust more in a cuban dancer conducting cuban musica than a clasical conductor conducting salsa. You need PHYSICS or use physic environment to refer to everything that happen with that movement because happens in space and time, and that movement as the ballet, goes attached to another effect that is physical which is the sound, and also you have to be aware that the receptor including the same emisor, uses perception senses and the consicousness to create a mirror and give asnwer to those signals. It is a PERCEPTIVE LANGUAGE that happens in REAL TIME that does not use meaning of signals, it is more natural language, based in imitation. With the way how you evolve on time the oscillatory MOVEMENT is how you build that language. I do know other human language of comunication that uses this MOVEMENT LANGUAGE, because the language of blind people use a language that build meaning with different fix signals. We do not give the attention that requires. And I think that is a humanity heritage and historic treasure. We just leave it in the hands of conductors, but even most of them do not know how works in a fully understanding. And we do not ask responsabilities to anybody for what they do with that language... we just leave them to play with it, to drive it and they do not care also too much for what they are doing buecause nobody question them. They use it in their own way and they understand the language in their own way... ... WE ARE MISSING A LANGUAGE which is the LIVE language of the MUSIC PERFORMANCE, which all the musician should know, not just conductor, and the conductors confess that whey they learn that language there is something that changes their understanding about music to better, because this language is not just to conduct an orchestra or a chamger or a choir, is to CONDUCT YOURSELF. We use instruments to detect earthquake, in REAL TIME any vibration is registered and written on paper or in a digital support, as wave forms drawings of that vibration, that show you the grooves as the vynil has the grooves of the sound waves. Those YES are waves that transmit the wave and the seismograph register them as wave form but you do not create waves with your hands... the worse thing you can do with the movement of you hands is to move the air and kill a fly in the way, or guide wrongly the musicians... which nobody will care too much about. There is not an INSTITUTE OF PERFORMANCE MOVEMENT who could study and custody that language. An oscillatory continous movement is directly connected to the rhythm. Attach balloons in a wheel separated by same distance and install a stick fixed somewhere so the balloons can beat the stick, when passing through. when the speed increases, the rhythm increases in the same way. It is like converting continous oscillatory movement into Rhythm... or opposite. The timming of music is very flexible, like a rubber, you can make it accelerate or desaccelerate it, between the different pulses. And you can see it very clearly with the wheel, accelerating or desaccelerating, predicting how the next nearby ryhymical beats will evolve in time. ie, with a continous movement you show an analogic information, all framed on time like a film. You express all the instants of the evolution of the performance though time, in a dynamic way. In contrast to the static information based on symbols, of the score. And it is no more than that. well it is a lot, but simple, beautiful beause the simplicity. Same beautiful like a wave can create fingerprints in a vinyl and opposite, the shape of the wave form is converted in wave, just passing a nail on it...The music movement are very logical, same as when you push a wheel and make it roll. Depending the inercy you have implemented to it you will predict how will accelerate or how will decay in the time, and you visualize it. Of course the consciousness take more licences than reality but, we expecing to evolve in similar way evolves the movement of an object in the reality. We drive it, we implement acceleration we reduce it, progresively, continously. like driving a car. This is performance, a drive from the beginning till the end, and we can express that drive with the movement of a wheel. Have a look, the cartoon animations which are in 2D and are drawings, give you the ilusion of real, they transmit you emotions but they are just drawings and frames of your TV The curious story here is that, we have in our hands a language which fulfills the information that is missing in the score, relative to the performance information. we have the tool to write that performace through time using a movement editor. basically I am saying We can write the performance... but seems that nobody care about it... I thought it was importand but I missunderstood human kind... because all musicians are very busy with their agenda, or because, why to learn something new when you can manage it in the same way that in hundreds of years has been done... but the commitment to give to next generations the same present that previous generations gave us? In the year 1023-1025, Guido d´Pomposa arguied with Guido d´Arezzo about this topic... why they needed a sistem to write the music?... they were arguing about the need of having a score like Guido d´Arezzo was presenting... it can be a paradox... I am happy with all the progress in the pass others did but please nowoby force me to progress because I am in the zone of confort. But do you know that for you to enjoy that awesome music another person was previously forced to move from their zone fo confort?. Guido d´Pomposa and all the Monks in that monastery of Pomposa were against Guido d´Arezzos new invention that was the score... and the worst of all is that Guido d´Pomposa could be right in his opposition. Church does not like changes, does not like progress...why they needed that thechnology of the score?... Yes it was something they make attempts to solve in previous centuries but they were also confortable with what they were doing in the way they were doing, for the services they were giving to it. They were learning the melodies in their matines... and the oldest monsk they known already all the melodies... nothing is perfect but it was working. Now... does the score tell you how to perform??? no. You do it by rehearsals, learning how others do and teach you how to do, with experience... you cannot write the performance, you write just some information about relative values of notes and the pitch, nothing else, then other static information about dynamics... the performance cannot be written in a paper... so what was about making that writing new method?, about the glory of Guido d´Arezzo? Guido de Arezzo did not imagine even that the score would bring in the future the polifony... so even the score have been the key for the future development of the music, the intention of Guido were others. It was not to be the key of the future music we know now!. So Why all the monastery was going to change all the tradition, rewrite all the books, and make old people learn the technology of the solfège when they already known those melodies, for what?, for what all of that effort and revolution... Now when you have years practicing and with all the history of music in your back you may think "that discussion was absurde, mad"... but the frustration of Guido dÁrezzo was so much because the rejection of the Pomposa monks, he was pushed to leave Pomposa monastery and go back to Arezzo monastery where had supporters and they encomended him first novices or new monks who just joined the monastery. The worse thing is that I have to understand also the opposition of Pomposa... but the Good thing is that someone in this case Arrezo give him a chance to be a seed for the future. we cannot change some people but we can persuade some others to believe in it and give you a chance... I did not find it yet, I hope some day someone will follow this path that I have started...

[@yoniteclas]

Great video, Nahre! Keep ‘‘em coming!

[@karelbredenhorst]

Wonderful mini-docu! Well done, Nahre!

[@richardwilliams473]

Alan Gilbert is amazing to have gone from playing rank and file violin to be an accomplished conductor BRAVO

[@CPF9898]

This video is very well done. Editing is superb.Thank you.

[@chloejoannet9228]

If I might venture that say: the traject from day one to premiere is also the art of building a network of peoples working towards the same goal…. A conductor might not be able to realise a difficult work without the network build up of time and the turpitude of daily practice, as a catalyst for the right interaction between musician…making a good conductor definitely an enabler for the group…

[@shadwellsong]

Nahre, thank you I really enjoyed this one! You bring such a good energy to these videos! 🥳🥳🥳🤓🤓🤓

[@ericleiter6179]

Thank you for sharing this! It was fascinating on many levels...on the history section, I am not sure that the picture of Weber was actually Carl Maria von Weber if that's who you meant, but it's a minor detail, I really learned a lot from this project and the exclusive interview with Alan Gilbert was amazing!

[@ProfDrislane]

Max Weber? He was not a composer me thinks..

[@jgwmain]

I am so honored as a lifelong musician to be able to gain such wisdom from such honorable human beings. Thank you.

[@gabrielwolfcolor]

Thank you, Nahre! Awesome insights! 🎴

[@PassengerInMortality]

I love your videos! You explore such interesting topics. As a professional conductor, I found this to have covered almost all the bases without doing an hour video. Good job!

[@cyozdemir113]

Great content, thanks Nahre, lovely stuff!

[@christianlesniak]

PerSimfAns (First (Conductorless) Symphonic Ensemble) was a Soviet orchestra made up of the top teachers in Moscow in the 1920s, without a conductor; it was meant to embody the Soviet Marxist egalitarian ideal of art made by and for the people. I think that most high level orchestral players bring some element of their chamber music skills in listening and reacting to everything that is going on around them, so that things can be worked out without a conductor, but PerSimfAns did have to rehearse much more than is usual for orchestras in order to work out the things that a conductor can easily obviate. For the curious, the PerSimfAns concept was revived in 2008, and you can find some of the results here on KZbin. It's probably not logistically tenable for most ensembles, but it's a cool idea. So if you're wondering, that's why Jacobin Magazine writes so many articles slandering conductors as the tyrants they are.

[@kimlindseyOH]

Wonderful video! I remember when Mr. Gilbert was here with The Cleveland Orchestra, near the beginning of his career - I had a pretty good view as an usher & also as a member of the Chorus, and for sure I never saw his hand shaking! Such a polished conductor, even then! I kept expecting you to talk about the study that all good conductors put in - maybe that was part of the "having a plan" topic? It amazed me to learn how much time they put in, studying the scores & different versions of the scores, how a work has been performed in the past (whether that's good or not so good), searching out anything they can find about the composer's original intention and what their markings meant, what being "true to the period" for a piece means and making an informed decision of whether to align with that or not, whether to be influenced by current trends or not ... just so much learning and analysis before a single rehearsal takes place. Thanks for posting this! 🙂

[@jamesneilsongrahamloveinth1301]

Well said . . .

[@matthewdowney5471]

When I took my conducting classes our teacher emphasized that we should be superfluous in a performance. Our job was to get the orchestra rehearsed so well that we could give a downbeat and walk off and the performance would be the same as when we are waving our arms about in front of the audience.

[@cpu088]

Thank you so much for creating and sharing this! Awesome!

[@tuncelgulsoy3845]

Thank you very much, I believe that every leader should watch this program once after brushing their teeth and eating breakfast. Very inspirational ❤

[@johno7564]

As a kid, I wanted to be a conductor. I studied various musical instruments, saxophone, trombone, trumpet, percussion all of which led down another musical path. My work away from music actually helped me to better understand and coordinate musicians. I think of conductors as great story tellers and managers.

[@MrJdsenior]

1:43, on the steps at right? One of the things I think a conductor brings, from a non professional standpoint is to bring tons of energy and scope which he transfers to the orchestra, seemingly almost magically. Standing there waving that baton they VERY MUCH have large variance in personality that transfers from their baton, hands, FACES, entire body motions like leaning in or back, communicating subtle things to the musicians. This might be less important with top pro musicians than amateurs though, I don't know. I can see why people like this conductor's interpretations. I love hearing pieces in new ways, and he very much checks that box. And I have so noticed his point about peaking. His comment on being a fraud was funny. If you see a musician raise their head, lean it back, and obviously go into a smelling mode you would wonder if they were after you, the guy beside them that chinced on the pit rub, or some gal that perfumed heavily, which is a BIG no no since some people have allergies, for those that don't know, you are actually required to forgo that practice at all by many conductors). :-) Conductors provide even down to those details, for amateur musicians anyway, pros obviously know all that sort of thing. Interesting interviews.

[@tonytsao1986]

❤❤what a great articulate approach ！

[@TheSLUSO]

Great video with so many various and broad insights - all of them meaningful! Thank you!

[@jarrodf_]

Of the half a dozen videos I watched on this topic, this was by far the most illuminating and insightful. As a bonus, in Nahre I've discovered a wonderful musical composer, performer, presenter and teacher (however well beyond my sophomoric abilities). (That said teacher happens to be quite photogenic is perhaps another harmonic bonus, so to speak.)

[@richoneplanet7561]

Your content is just fascinating - I just love your videos

[@Mr_A_Mia]

Dope video. Thank you so much!👏🏾

[@marcopellegatti]

Fantastic video! Congrats and thanks for posting it.

[@vanvidra]

The Weber you included in the list of composers is Max Weber the sociologist:))

[@2nd3rd1st]

3:45 true en.wikipedia.org/wiki/Max_Weber did she mean Carl Maria von Weber?

[@vanvidra]

@@2nd3rd1st I guess. I searched myself and there isn't really anyone else that fit the bill

[@richardr.6030]

Gilbert fan here....I just heard N.Y.Phil last night(and Friday morning concert) Bartok,Sibelius,Stravinsky in the great new hall @ LincolnCenter...it was may one of the Great $ounding rooms with an optimal Maestro view..I'm still charged up!

[@ESKARGAMES]

I swear we must be on similar wavelengths lately Nahre. Right before your video on confidence I was also seeking info and learning much about confidence, and then I just finished a book by a student of Leonard Bernstein named John Mauceri on conducting for insights to help me be a better cellist and I came across many of the same realizations you have in this video and a few more as well. It makes me feel like I am doing the right kind of work to become the musician aspire to be to see you seeking the same knowledge and coming to similar conclusions. I appreciate all your efforts and work. Did this experience spark any interest in conducting for you? For me it created a strong interest in learning more and maybe even trying my hand at it someday.

[@VoicesofMusic]

The wave transmission can also flow from the concertmaster.

[@honeysoi]

Thanks a lot Nahre, your videos are always exciting and didactic.

[@BobMetivier]

Such great stuff, and very humbling to take in!

[@talladale]

This is a really great video. Well done! It covered just about all the important aspects of music and conducting and was well put together. Keep up the good work!

[@fatar9075]

Very well done!

[@CAVIC1]

as a solo musician, being presented to a vision of music so different a so much bigger than mine, in so many ways, will for shure change the way I play. thank you nahre!

[@2nd3rd1st]

You were in Hamburg??? 😲 I'm here on business for a few weeks, very close to the Elphi actually! Wow, it would have been such a joy and honour to run into you. How small the world is sometimes.

[@NahreSol]

It is!! Yes I was in Hamburg for a while!!

[@2nd3rd1st]

@@NahreSol It's a great city, I'm looking forward to travelling there every time, I love the harbour and all the culture the city offers.

[@PhilippPJG]

I love people from around the world coming to my hometown and enjoying it… ❤

[@DorothyOzmaLover]

Great content as always which is why Nahre owns this musical entertainment corner.

[@lonewaer]

I've had the great opportunity to sing in a choir with an orchestra, and I've noticed all of those things, and particularly the leadership requirements, when men's voices had to be heard over simply the bass drum of the orchestra. It was a a low baritone note that was already starting to be low for basses to be sung at the loudest nuance we could, and ¾'s of tenors were out too. The conductor addressed us, basses and tenors, to ask us to sing louder, to which we told him two things : 1) we were trying and giving everything we had, and 2) we couldn't hear ourselves (yes, an orchestra bass drum is _that_ loud, _very_ loud). Being aware of the loudness of this, he changed demeanor and became immediately empathetic and encouraging towards us, and then said ", can you give us a little bit less ? I know it's frustrating, but let's try that, okay ?" I reviewed the piece with my voice teacher (former opera tenor) and explained to him the situation, he immediately said "Oh… okay so this is a basso profundo part, then, even basses are not supposed to sing that low and that loud". So we practiced that a little bit, and after getting back home, I listened to the official audio of what we were singing, and I specifically paid attention to this part, which turned out to be sung mostly at the octave above, and that what was actually written was indeed only sung by 2-3 basses only (the lowest). It impresses me how the conductor navigated that interaction, it was some active leadership, in the sense of "what's the solution, and how to convey that solution", instead of "this is what it's supposed to be, so this is what it will be, sing louder, I can't have less than what's written", as well as basically how to defuse pre-emptively a potential blaming match. He demonstrated problem solving skills to identify what was the issue, but then social skills to make everyone _not_ feel like they're at fault. Defused it away from the choir, suggested something for the percussionist while empathizing with everyone, taking on that responsibility on himself, and making the new attempt a "potential" solution. That solution was what we eventually went for and it was great. Sometimes he would be more firm, but that was only when needed. Superb experience to be part of, every choir singer should eventually go for it if they have the opportunity to.

[@51bpm]

Awesome insights... Thanks so much

[@randallmaryschwalbe2455]

In 1995, I took a graduate course in choral conducting from Professor Donald Neuen at UCLA. Looking like an aerobics class, we were all sporting batons and conducting the opening strains of Schubert's Unfinished Symphony. We rigorously led the violins through endlessly busy sixteenth notes, then just at the right moment cued the oboist to start that wistful melody. Alex Treger, concertmaster of the LA Phil was visiting our class. He asked to see our work. We began, then cued the oboist, then we returned to the strings. Alex yelled, yes yelled for us to stop. He immediately huddled with Dr. Neuen. We stood there dumbfounded, wondering which of these two titans of music would emerge on top. It turned out they were both right but for different reasons. In a junior high or high school setting, if you have a competent oboist, then yes, you go back to the strings and keep them together. But it would be your last conducting gig in the professional ranks. Alex said the conductor must stay with the oboist, not for the sake of the oboist, but for the sake of the audience. A vast majority of orchestras really do not need a conductor. No matter how many musicians are on that stage, there is a point of repetition when the ensemble no longer needs the conductor, and that includes an entire opera. The finest orchestra on the planet does not employ a conductor. The music emanating from the Orpheus Chamber Orchestra is impeccable. And many professional orchestra players have a rather dim regard for conductors to boot.

[@FrancescoDAndrea]

Nice episode. Nahre please consider doing an episode on film composing interviewing John Williams !

[@ezraschwartz5201]

What a fantastic presentation!!! thank you!

[@andypianoman]

I've always wondered this I've googled and never found specifically what the purpose for a conductor was if all the musicians have the sheet music in front of them and I'm assuming whenever a section of the orchestra is silent there will be rest to signify silence. Thank you for this video. This helped explain things very well

[@stephenbeck7222]

In a professional setting, probably anybody could be the conductor with competence in terms of waving their arms around. But one person gets paid to be the artist and lead the musical direction, and actually as referenced in the video, there isn’t typically enough time to get everyone on the same page in rehearsal, so the conductor has to gain the trust of the entire ensemble enough that they will follow the lead live during the performance. In a non-professional setting, the conductor/director is a teacher, coach, and mentor who trains up all the individual players and makes the whole greater than the sum of the parts.

[@andypianoman]

@@stephenbeck7222 wow thanks. This sums it up beautifully

[@chenhsu3581]

As an engineering student who just became an amateur conductor of our student’s orchestra, I can say that becoming a conductor improved my musicality a lot even without any proper conductor training. Below are the aspects I consider improved a lot after being a conductor: 1. Tempo. You will be able to sense a tempt to rush or drag even before it happens, and your control of speed also becomes more precise. 2. Listening. As far as I know, listening to different parts simultaneously is not an easy task even for many music school students. But you will soon get used to it after becoming a conductor. 3. Cooperation. I used to find it difficult to listen to other instruments while playing my own part, but now I just have to imagine the whole music then the fingers will automatically do their job.

[@sambochen2010]

Awesome video Nahre. I learned a lot. I thought I saw Stravinsky footage in there conducting. Keep this kind of video coming cuz they're very entertaining and educational. Thank you so much Nahre.

[@SteveHarmony3]

Great video! Thanks for giving a behind the scenes perspective!

[@nuttysquirrel8574]

A very informative, and enjoyable, video; thank you. The comment, from Mr Gilbert, that resounded with me the most was 'Chemistry'. A long time ago, as a professional Military Bandsman, (Principle clarinettist; HM Royal Marines Band) I was always astounded with how you could have the same group of musicians, whether configured as a military band, an orchestra, a dance (swing) band, or small ensemble (we had to perform as any of these) yet the resulting music could vary so much depending on who was conducting at that time. For me, as stated, it was the 'chemistry' between the musicians and the conductor and, yes, we could smell a fraud from 100m!!!!!

[@AMTunLimited]

I've always likened a conductor to a movie director. They're tasked with knowing the material, coordinating all of the "actors", and and deciding, for lack of a better word, the unified "vibe" that everyone has.

[@MrArdytube]

It is rare and enlightening to concentrate on particular compositions across many different conductors. And repeated listening. This allows one to become intimately familiar with the music and the remarkable Shadings of interpretation that different conductors bring to the performance of the same written music.

[@gregbrozeit5085]

I think I was sitting near you, 13-E-4-1, that night. As one who is not a musician, I really enjoy your videos. Have sent the one on the Elbphilharmonie to many, it's better than anything else out there to convey as much as possible. It's impossible to convey if you're not there. Thanks!

[@bernardtanpianist]

Wonderful insights! As a pianist and conductor I’ve always wondered how does the conductor in me influence my playing on the piano.

[@sledgehammer-productions]

I was kicked out of choir directing school (8 years ago), today I lead (not for the first time) a small vocal ensemble (that I usually just sing in) and someone from the audience complimented me on my good leadership. I'm feeling proud, and lucky, and blessed. And I started violin lessons (at 53 yo), but I should mention this at twosetviolin :D I loved this video!

[@JamesUnityFuchs]

fantastic.......Nahre Sol, you have created a wonderful youtube channel. Its both artistic and informative, educational, and most of all, creative. Bravo!!!

[@sjpbrooklyn7699]

Thank you for this presentation. Alan Gilbert is incredible. I'm sorry he left the NY Philharmonic. In 2002 my choir (The Dessoff Choirs) sang Ives's 4th Symphony in Lincoln Center with the American Symphony conducted by Leon Botstein. Of course it was thrilling to be on the same stage on which the NY Philharmonic performs, and I got to love the Ives symphony. But then two years later we were hired by the NY Philharmonic and performed the same Ives 4th on the same stage, with Alan Gilbert conducting the NY Philharmonic (and with a second conductor as is often done with the Ives 4th). The contrast with Botstein was astonishing. Gilbert's interpretation and "game plan" were on an entirely higher aesthetic level. There simply was no comparison.

[@tuttifrutti2229]

Solti rehearsal are gold. He knows exactly what he wants and can explain it with simple words, not witchcraft. Karajan tempi are like a metronome, such a sense for the right tempo

[@kwwwai]

Great video, as always, Nahre. 3:45, the man in the picture is actually sociologist Max Weber. He's a great sociologist. Don't know if he conducted as well. Come to think of it, Max Weber does have the look of a German conductor :) But were you referring to Carl Maria von Weber?

[@sauletto1]

This was very enlightening ... Thank you for this video !