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You are here: Home / Others / Sir Colin Davis Tells of Battles and Shares Secrets

Sir Colin Davis Tells of Battles and Shares Secrets

June 11, 2011 by philip copeland Leave a Comment


A remarkable interview with Sir Colin Davis in the Guardian, a portion of it here:
Davis tells me he has spent a lifetime fighting a battle. Not against orchestras, managers, or musicians, but against his ego. "One's ego becomes less and less interesting as you get older, to oneself and to everyone else. I have been around it too long.

"The less ego you have, the more influence you have as a conductor. And the result is that you can concentrate on the only things that really matter: the music and the people who are playing it. You are of no account whatever. But if you can help people to feel free to play as well as they can, that's as good as it gets."

A little later in the article is this secret: 
"All you have to do is learn how to listen," he says in his soft-focused sotto voce, which makes everything he says sound like the revelation of a closely guarded secret. "If you listen to the music, it will tell you what it's trying to do. If you try and interfere with it in some way, if you come with some theory about how it goes, then you're in for trouble. You just have to allow the music to flow. So if you can set it off right at the beginning, then you've got nothing more to do."
It sounds so easy, doesn't it?

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  1. Timothy Banks says

    June 17, 2011 at 11:11 am

    I admire Sir Colin’s opinion as much as I admire his superb music making.  He is, in fact, spot on.
     
    It is intriguing that we rather need a strong ego to drive us in our youthful endeavors.  As we age, however, the ego can be tempered by understanding and patience and altruism toward those with whom we make music, working toward more joyful and rewarding music making by all.  Unchecked egotism of conductors most often stands in the way of a truly rewarding performance experience on the part of the musicians we lead.  The conductor’s main job is to enable the music and the musicians, to be a conduit for the composer’s ideal, not the the great pseudo-maestro.
     
    Indeed, the conductor should quietly listen to the mind of the composer in the score, and then facilitate that ideal in the rehearsal and performance.
     
    Respectfully,  Tim Banks
     
    (aka Timothy Paul Banks, D.M.A.)
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