How Much It Matters

In my opinion, in a completely arbitrary way :

- 70% orchestra

- 30% conductor

Speaking of a recording, I would probably assign a good slice to the sound engineer as well

Ok, but Beethoven's seventh is a great symphony... and if you listen to Kleiber, then what do you do?

A conductor would probably answer you that "the conductor certainly counts!" and everyone would think there was no other way for them to respond; and an orchestral musician would probably tell you "we don't even look at 'that guy,' whether he is there or not, we play the same!" and, in this case too, the reason would be understood. The truth lies, as always, in the middle. The orchestra, any orchestra, is an instrument with its own timbral and technical characteristics, so it has its own standard, which differs from one orchestra to another (the Berliners have their standard, the Viennese another, the Caltanissetta railway workers' orchestra yet another); every conductor, when faced with an orchestra, can rely on this standard or make sure to enhance certain qualities, both of the piece they are conducting and of the orchestra in front of them. A very complicated discussion, I realize, but if it is true, as it is, that one can recognize who is conducting the same orchestra just by listening to a few bars of a piece (the Viennese conducted by Karajan are very different from the Viennese conducted by Bernstein or Muti, for example...), then, as I was saying, it means that the conductor can make a difference. The best thing is to listen to the same piece conducted by different conductors to understand what and how the conductor works to achieve results that are sometimes diametrically opposed with the same music.

What a beautiful topic, I hope that the difference can be felt whether I conduct or another conductor... even with the same orchestra members. Therefore, I think the figure of the conductor matters quite a bit. For this reason, I quote Carlos.

Regarding enthusiasm, in my opinion, several factors play a role, as well as the piece of music listened to, the state of mind at that moment, etc.

It is better to do more systematic work and listen, perhaps at the same time, to more versions of the same piece. It could be that one version is not inherently exciting, while the piece itself might be... and perhaps a certain conducting can more or less highlight details that we had overlooked.

I also quote Carlos,

I believe that the quality of a stable orchestra can be taken for granted, or at least linked to a series of factors managed and controlled by management.....the conductor, on the other hand, changes often, so they are more decisive on the sound of the orchestra compared to individual elements.

I would reverse the percentages given by Dino: 70% conductor - 30% orchestra.

Ciao

F

I quote Feliciano.

Most of the time, people think that the conductor is there just to wave the baton... Eheheheh, in reality, there is an insane amount of preparation before a concert. The conductor listens to practically every orchestra master to unify timbre, colors, tempo, embellishments, etc., etc.; then several rehearsals are held with the entire orchestra. In short, it's truly a hard job (so to speak, if only one had it). However, I also put myself in the shoes of the orchestral musicians who must nevertheless apply themselves and conform to the standards imposed by the conductor. In my opinion, the breakdown is 50% - 50%. I would take Dino's percentages into consideration if the conductor in question had been Toscanini!! Poor orchestra!!! Between various curses and insults hurled at the musicians in their place, I would have thrown him off the stage. A small excerpt for you.... After 6 minutes, it gets better.

http://www.youtube.com/watch?v=Cxh-o9ENW5o

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