On conducting and directing
I recently had the opportunity to see Klaus Mäkelä conduct the Chicago Symphony Orchestra (shoutout to a fellow Finn!). Watching him, it occurred to me that conducting an orchestra is not entirely dissimilar to directing a project or team:
First, it is not the conductor’s job to play every instrument in the orchestra. Many are accomplished musicians in their own right, but having mastered just one or two instruments does not disqualify them from being able to conduct others. Even if a conductor did know how to play every instrument in the orchestra, it would be impossible for him to play every instrument at the same time. One person can only play a series of solos, not a symphony. Learning not only that you can’t keep contributing like a soloist but also that you shouldn’t is one of the hardest lessons to internalize when moving from contributor to director. You have a team because it would be impossible for you to do it all, and it is the coordination of simultaneous efforts that brings a project together. That is your new job.
Ironically, despite being responsible for producing impressive music, the conductor himself doesn’t make a sound. When you close your eyes during a symphony, you can hear each instrument but are no longer aware of the conductor. Instead, you realize that each musician is ultimately in control of his or her own part. Like conductors, directors must trust each contributor’s skill and talent, bearing in mind that just because they may not do a task exactly the way he or she would doesn’t make it wrong. And during the standing ovation, the conductor takes care to have each soloist and key section stand and receive directed applause. Good directors aren’t afraid to give credit where credit is due; they allow individuals to shine.
Of course, just having a group of skilled soloists can easily result in a cacophony instead of a symphony. In a group as large as an orchestra, how could they communicate and coordinate mid-performance? What if they don’t share the same vision for how a piece should sound? It is the conductor who is responsible for the overall tone of the performance. Logistically, this means keeping an eye on the whole score, keeping the beat, and giving cues at the right time. At a higher level, it also includes varying the tempo, changing the dynamics, and balancing the sections. Who else could dissuade the brass from drowning out the strings? Similarly, directors must keep sight of the entire arc of a project, staying both on schedule and one step ahead to make sure the team is prepared. In multidisciplinary programs, this also means helping different teams work together in harmony.
Note: these views are my own and do not necessarily reflect those of Nemera or the Insight Innovation Center.