Check out this article in the NYT about what a conductor does with his/her arms and hands: http://www.nytimes.com/2012/04/08/arts/music/breaking-conductors-down-by-gesture-and-body-part.html?pagewanted=all&_r=1&. It an interesting read and the reams of comments are also interesting, even if for no other reason than their sheer volume.
One of the commentators heaps praise on Robert Spano from the Atlanta Symphony Orchestra.
AMC believes that the article misses most of the point. The magic happens when a conductor can convince the musicians to play the music in the way that the conductor perceives the composer's intent. The conductor's interpretation can turn an overly familiar work into a great listening experience. But that doesn't matter if the conductor can't get the musicians to respond to reflect that interpretation. That interpersonal ability is difficult to bottle, and so many just don't have it.
One of the commentators heaps praise on Robert Spano from the Atlanta Symphony Orchestra.
AMC believes that the article misses most of the point. The magic happens when a conductor can convince the musicians to play the music in the way that the conductor perceives the composer's intent. The conductor's interpretation can turn an overly familiar work into a great listening experience. But that doesn't matter if the conductor can't get the musicians to respond to reflect that interpretation. That interpersonal ability is difficult to bottle, and so many just don't have it.
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