The choral conductor by definition has stepped into a highly visible position of leadership. A worthy leader is not satisfied with doing only good work–it is our desire to move from good to great. In Jim Collins' writing on moving good organizations to great organizations, he offers key ideas for moving in this direction.
• Leaders channel their ego needs away from themselves and into a larger goal of building a great organization.
The goal of every conductor must be to create a performance representing a composer's intentions, that brings inspiration to performing musicians and audience, and that contributes to the vitality and continuity of the artistic mission. The conductor's personality must disappear into the desired goal of a worthy performance in which the music can be truly heard and experienced. Within the boundary of a composer's intentions, performance practice, and refined musicianship, there is indeed room for interpretation on the part of the conductor–that is without question. Collins' definition of great leaders is reserved for those that channel their own ego needs.
• Leaders first ask Who, and then What, by getting the right people doing the right job.
In previous posts I stated we are motivated by the why of our work. To Collins' point, the conductor must build an ensemble of good musicians, and must choose quality and appropriate musical literature for the ensemble to perform their best. Both who and what are integrally related to best performance. Who for the conductor means sopranos, altos, tenors, basses, string players, wind players, brass players, and percussionists. What for the conductor means the musical score, the musical program, and the acoustic space.
• Leaders are brutally honest about the situation and current reality.
The conductor must first analyze and identify every potential problem, every weakness, and every flaw, which determines the course of action that will follow. Every detail must be analyzed, and a proper course of action identified that leads to correction, improvement, and finally worthy performance.
• Leaders realize that they are the best at what they do, and are doing what they are best at doing, doing what they are deeply passionate about, and doing what is best to move their organization forward.
It is easy to identify the conductor-she or he is the person in front, and standing upright. They are there because they have the preparation and skills to lead, and they are best at conducting the ensemble. In my book on conducting (Precision Conducting, Roger Dean/Lorenz), as a forward I quote words from the Hebrew scripture book of I Chronicles 15:19 that I believe speak to this topic of choral leadership: "The musicians Heman, Asaph and Ethan were to sound the bronze cymbals; Zechariah, Aziel, Shemiramoth, Jehiel, Unni, Eliab, Maaseiah and Benaiah were to play the lyres according to alamoth, and Mattithiah, Eliphelehu, Mikneiah, Obed-Edom, Jeiel and Azaziah were to play the harps, directing according to sheminith. Kenaniah the head Levite was in charge of the singing; that was his responsibility because he was skillful at it." (my bold italics).
• Leaders build the vision for the organization.
The conductor is the artistic director for the ensemble, charting a course for the performances by the organization. The conductor develops a direction for the organization. Our performers are focused on the present, as they should be. The conductor is working in the present, but focused on the future.
• Leaders create and affirm a core ideology and an envisioned future.
The conductor not only gives a faithful and inspired interpretation of the musical score, but also participates in sustaining the mission of the ensemble as it remains relevant in concert seasons yet to come.
These are the qualities we want to embrace as we move our choral organizations from good to great.
Tim Sharp says
Tom Carter says
Tom Carter says
In the choral realm, this means that the conductor gives the singers the tools to be authentically and powerfully expressive, rather than controlling their expression themselves. The singers try to affect “the conductor” rather than the conductor trying to get the singers to be expressive. The director’s face is neutral or authentically reactive rather than formed into a mirror or a motivator for the singers.