Kenneth Woods, a highly-respected conductor and instrumentalist, is also a high-respected blogger, and he has written a series of posts concerning what it takes to be an effective concertmaster. Since we here at the Oregon Symphony are embarking upon our own search for a lead violin, it’s a timely subject. Here are some of my favorite snippets from the first installment (emphasis are Woods’):
- Ultimately, you want to set the tone for the orchestra– do you want the orchestra to be a virtuosic, flexible and efficient group? If so, it is up to you to say “anything that can be done, we can do.” You say this most clearly through your own preparation.
- … your first job is to set the tone for the entire orchestra. What are your expectations of how the orchestra functions in rehearsal? I work with one leader who is very quick to point out to his colleagues, politely, anytime I have to repeat something we’ve stopped for before. As a result, I rarely have to repeat things to that orchestra. How much disruption of rehearsal will you tolerate for marking bowings? How much talking and murmuring will you accept? What is your feeling about people asking questions out of turn?
- If there is a problem, make sure it is being worked on, but in the meantime, make sure you are setting an example for the whole orchestra that the rehearsal still matters, even if the conditions are difficult.
- As you approach the first rehearsal (which, again, is your most important performance), you should be challenging your own assumptions about the repertoire, broadening your horizons and preparing yourself technically to be able to play the piece in the broadest possible range of styles.
Read all of Part I here.