Zane Dalal says becoming a conductor is sort of like answering a calling.
"In many ways, at this level, it chooses you, and not the other way around.
Sometimes I wish the paths could be easier, but many a Pope started out content
to be a parish priest," says Dalal, conductor of the Dallas Symphony Orchestra.
Nan Washburn, a conductor in California, agrees. "This is one of those
professions that sort of finds you, rather than the other way around. One
has to willingly put up with a lot of sacrifices -- especially financial ones
-- in order to do your work. It takes many years to learn the craft of conducting
and it is an extremely competitive job. The rewards can be great musically
and financially, but it may take time to get there."
Dalal encourages others to explore this career, but adds that it is not
for everyone and there are no quick routes.
He also believes that the hardest part of his profession is feeling humble,
but at the same time having the self-confidence to convince 110 musicians
that the direction in which he is taking them is the correct one.
"Communication with people is the key to everything. There is a fine line
between being the artist and the traffic cop. Beating time is not necessary
when the music has been put into orbit in the correct way. Everyone should
innately feel the pulse, or there is something wrong. Once in motion, to try
to impress a human will on music is much like second-guessing God and thinking
it will work," he explains.
Washburn echoes Dalal's view that getting a symphony to act as a single
body is a tough assignment. "It is a huge challenge, of course, to get all
80 to not only accept that I'm their leader, but actually play as one
big instrument," she says.
Dalal compares the work of the symphony orchestra conductor to an artist
who wants to paint a masterpiece each time.
"A conductor's task is much like having two hours to paint a copy
of the Mona Lisa, capturing the full extent of Leonardo Da Vinci's message
using his oil paints on his canvas, but not being able to erase anything as
one proceeds. Add to this the public scrutiny of every brush stroke."
As interpreter of a composer's music, he can only hope he presents
the music as the composer would have wished it presented. "There is a colossal
burden that someone listening to your Beethoven may judge Beethoven to be
a schmuck, as opposed to your performance of it," he says.
Washburn, who conducts both the Orchestra Sonoma and the Channel Islands
Symphony Orchestra, says her work gives her a natural thrill. "There is a
certain intangible kind of electricity that can be generated in a performance
which is a high like no other. I think they call it something like 'peak
performance,'" she says.
"It not only includes the conductor and orchestra, but for me, the audience
also has to be involved. I can sense this even with my back turned to the
audience!"
Her career has benefited her in other areas of her life as well. "Being
a conductor helped me to grow as a person. I grew up being very shy, and learning
to be a conductor has really forced me to be much more bold, social and has
given me an emotional freedom that I don't think I would have otherwise
experienced," she explains.
"I don't know that a lot of conductors could say this, but I know
that what I'm doing has already changed the music world. I've been
on the forefront of making orchestra concerts more accessible and fun for
audiences, pushing for more concerts for children and changing the kinds of
programs and repertoire that people expect to hear."
"Most of the time, a conductor works in isolation studying the score,"
says music director Herbert Tsang. "The conductor's instrument is the
orchestra. A conductor will not get to use a good instrument until he or she
is very experienced."
Tsang feels passionate about his work because he loves to make music with
a group of people and share his ideas with them. "Not everyone can work with
a genius every day, but I do since I perform music composed by some of the
greatest geniuses who ever walked this Earth."
He says the most exciting thing about this profession is to rehearse the
first time with a group. It is like a first date. No one knows how it is going
to turn out, but everyone gets into the situation with great expectations.
"Through my music, I have made friends all over the world. The social importance
of the work I do is to inspire young musicians and help them to excel. I believe
playing a musical instrument really trains a young person in the value of
being patient, working hard and in social skills," says Tsang.