When you play the piano, do you ever find it difficult to play your chords exactly together, not one hand before the other? Do you find it difficult to make all the notes sound evenly, if you want them so, instead of bumping out the thumb-note? Or do you find it difficult to make one note in a chord stand out if you want it like that, and be heard as part of a tune coming through all the rest of the harmony? It is difficult and you need perfect control over each one of your fingers in order to do it.
Now consider how much more difficult is the task of the Conductor. He has to have the perfect control, not only over members of his own body, but also over each of the members of the orchestra; and each member of the orchestra has to be so in touch with the conductor that it is as if there were invisible nerves stretched directly between the Conductor's brain and the fingers or lips of each player.
An Intricate Business
In the case of the Conductor and the orchestra a perfect marvel of intricacy takes place. Let us suppose that the Conductor already knows the score and does not need to read it. He has to think in his brain (1) what he wants the sound to be; (2) what to indicate to the band by his movements; and (3) what actions will best show his meaning. Next he has to despatch messages from his brain to his arms and hands to tell the muscles what to do. Finally his brain has also to receive messages from his eyes and his ears (especially his ears) which tell him what is actually happening in the orchestra as distinct from what he wishes to happen. In the new light of these messages his original ideas about the music have to be reconsidered. That is about all on his side.
The Players' Part
Each member of the orchestra has to receive messages into his brain - simultaneously three from his eyes and one from his ears - (1) what he sees the Conductor doing; (2) what he sees written on the copy; (3) what he sees the other players doing; and (4) what he hears the other players doing. His brain has to decide (1) the meaning of the Conductor's signals; (2) the meaning of the printed copy; and (3) what actions he must perform to carry out these instructions. Finally, just as the Conductor has to listen to what is actually happening, so the player has to listen to himself as well as to the other players, in order that he may reconsider and make any necessary adjustments to ensure that he is indeed producing just what he intended.
It has taken you quite a while to read all this, but the time occupied in the travel of these messages, from the moment the thought is in the Conductor's mind to when the actual sounds are produced, is considerably less than a second!
Conductor's Chief Function
I spoke just now of synchronizing the two hands on the pianoforte and of adjusting the balance between the different notes in the chord. To deal with these two matters in the orchestra is the chief function of the Conductor. Primarily he has to beat time. That is to say, he has to assume absolute control over each individual will in that unruly mob - and whenever several human beings meet together they always exhibit more or less mob instincts - and actually dictate the precise instant of time at which every single note shall begin and end. And his own will must be so firm that he will not be deflected, against his will, from his original purpose by the mob will. But the good Conductor will always recognize the good musician in the orchestra and will be constantly on the alert to receive suggestions from the player and so play a sort of give-and-take game with the orchestra.
Balance and Style
The timing element makes or mars the music far more than most people recognize, but control of the pulsation is not the end of the Conductor's duties. He can also indicate partly, though not completely, the balance between the various instruments, the general style, and even tone-quality. These things he often indicates with his left hand, but he may use all sorts of devices: a nod or a glance at the player concerned is often enough. If any player has a long rest followed by an important entry he will generally receive some sort of lead from the Conductor to bring him in safely.
Among things which the Conductor cannot indicate by signs and can only control at rehearsal may be mentioned the rather important details of whether the players play the correct notes and rests and whether they play in tune. If also, there are "contrary expressions," going on simultaneously, then the players must go by their copies individually, and the same is the case with simultaneous diversity of style, when, say, there are two tunes at one, one legato (smooth) and the other staccato (detached).
Come and See!
Finally - go to a concert and see and hear the real, live orchestra. :-)
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