James Gaffigan: “Developing Trust through Music” Part II
Conductor James Gaffigan (Photo credit: Vera Hartmann)
James Gaffigan - Developing trust through music - Part II
Klassisk Karantene
April 30, 2020
Part II The Rehearsal Process
Musicians and singers tend to be sensitive individuals and they identify personally with their technique and musicianship. This is especially true of singers as they have no instrument to hide behind – they are the instrument. When a conductor addresses a musical issue like ensemble, sound or intonation it can be perceived as an attack by the musician; critique can bruise the ego. This is intensified in a group rehearsal when individuals are singled out from the whole.
I make an effort to try not to address anything directly personal in a rehearsal setting. My priorities are: the music, ensemble and harmony, not Joe Smith the second clarinet who always plays behind and under pitch. The rehearsal process is not about me or the musicians. What it is about is an arc from first to reading to performance – the journey if you will – and doing justice to the composer.
So, how does one address a specific wind player? I tend to refer to the instrument and the harmonic function, rather than the name of the player. For example, if there is an intonation within a major chord, I would proceed this way: “Second clarinet, can you please make sure to keep the A nice and high, because you are the fifth of the chord here.” As opposed to: “Joe, you are flat, as usual.” Another example would be: “Second bassoon, you have the D, the root of the chord. Could you play a little more? And first bassoon, please the F# a little lower than you normally would because you are the third.” Instead of: “Sara, you are playing too loud and sharp.”
This way, a conductor gives the musician knowledge and empowerment without attacking their confidence – confidence being vital to the final product. By addressing harmony (which one should be prepared to do) I remove the personal element and foster trust by relying on the musician to rectify it.
I used to have a teacher that would say “Being in tune is like being pregnant…you either are or you’re not.” I understand what he meant, and it is pretty funny, but it’s not that black and white. Intonation is a tricky thing in that it does not exist in a vacuum; no player is out of tune alone. If Joe, second bassoon, is too flat on the root of the chord, Sara will sound sharp on her F#. I have to decide what the reference point is: Basses? 2nd Bassoon? Tuba? Celli? Harmonically, I have to assess function: a 3rd, a 7th, the root, etc. It depends on the context and the harmony – intonation is more complex than right or wrong.
A common mistake amongst conductors is not letting the orchestra play through a long passage, movement or entire piece before launching into a lecture or telling the group how much they know about the work. Some conductors start rehearsing right after hearing the first two bars of music, or worse yet, give warnings before the music has even started. Let the musicians play! Give them a chance to get through some music before rehearsing and give yourself a chance to show what you want before talking.
The truth is, you might be pleasantly surprised by what they give you in a first reading. You might even discover something you never expected. As a rule, I give musicians the benefit of the doubt that they will fix mistakes the second time through, so I have to give them the freedom to make mistakes. If issues don’t resolve themselves, then the pulpit is there to address what went array, whether that’s a note, a dynamic, phrasing or ensemble. What I encourage throughout the process is listening. Awareness is the key to great orchestral playing – it’s the fitting into the chord from earlier on a macro level.
Some of the things I encourage musicians to be aware of are:
Who is playing the 8th notes?
Who has the melody?
Who continues my phrase after I’m finished?
Am I too loud?
Am I playing in the correct part of the bow like my colleagues and the section leader?
This may seem complex, but it typically entails directing attention to where it needs to go, for example, bringing a particular section’s awareness to a solo wind player and barely moving to show that we are accompanying them and need to stay out of the way. I trust that by bringing things to their attention, they will react. I view myself as a conduit – staying out of their hair while they execute technical feats – but also there for guidance when needed. Negotiating when to lean in and when to give space comes with time and boils down to trial and error.
I remember once as a guest conductor with the Cleveland Orchestra, a particular modern piece had a very difficult passage for the first violins. I was conducting a complicated subdivision to help them stay together and after trying it three times with no improvement, the concertmaster whispered a suggestion to me. He told me to just conduct the bigger beats and trust them to fit everything in between. It worked without fail throughout the rest of the rehearsal process and in performances.
Another means of developing trust when conducting large string sections is to engage with the back of the section. This empowers the musicians in the back to lead – not just lead physically but with sound and energy as well. My belief is that the sound should come from the back. This avoids the dangerous tendency of players in the back of the section to hide, where they perceive themselves not to be seen or heard, especially in orchestras that don’t rotate positions. I make it a point to share eye contact with the players in the back and often get thanked for it after a week of guest conducting.
When it comes to the nitty gritty of rehearsal, a couple of things to mention. One is to not be afraid to point out the obvious. The greatest orchestras actually appreciate being reminded of some of these things. Sometimes a string section will have one or two players starting from way above the string and I’ll say, “I’m sorry, I know I’m stating the obvious, but let’s start this passage from the string,” rather than “4th stand second violins, how can you possibly be together with your colleagues if you start from so high off the string?!” What I’m addressing seems simple and obvious, but by speaking to the whole, I’m taking care of a specific issue in the ranks.
Tangentially, it’s vital that a conductor admit when they make a mistake when leading a rehearsal. This is an honest way to win respect. If a conductor won’t admit to a mistake or worse, blames someone else , they will most likely develop a bad reputation and loose the trust of the orchestra.
The conductor has to have an objective and a mission, and not get lost in the details. The priority should be communication, trust and displays of empathy.
James Gaffigan conducts the orchestra (Photo credit: Vera Hartmann)
James Gaffigan is Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra. He is Music Director Designate of the Verbier Festival Junior Orchestra. Since becoming Chief Conductor in Lucerne nine seasons ago, he has made a significant impact on the orchestra’s profile, both at home and abroad, thanks to their successful concerts, international tours and recordings.
Gaffigan is in high demand working with leading orchestras and opera houses throughout North America, Europe and Asia. The 2020/21 season features debuts with the Paris Opera, Valencia Opera and Philharmonia Orchestra of London. He returns to the New York Philharmonic, San Francisco Symphony, St. Louis Symphony, National Symphony Orchestra in D.C. and Bayerische Staatsoper. He leads his final season as Chief Conductor in Lucerne that commences with a South American tour and culminates in an Asia tour with Rudolf Buchbinder as soloist.
Recent symphonic highlights include appearances with the London Philharmonic Orchestra, London Symphony Orchestra, Royal Concertgebouw Orchestra, Munich Philharmonic, Bayerischer Rundfunk Sinfonieorchester, Orchestre de Paris, Rotterdam Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Dresden Staatskapelle, Vienna Symphony, Mozarteum Orchestra Salzburg, Orchestra of the Age of Enlightenment, Zürich Tonhalle, Tokyo Metropolitan and Seoul Philharmonic.
In North America, he works with top orchestras including the Cleveland Orchestra, Chicago Symphony, Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Pittsburgh Symphony, Atlanta Symphony, Toronto Symphony, Montreal Symphony Orchestra and Los Angeles Philharmonic.
A regular at the Metropolitan Opera and Bayerische Staatsoper, Gaffigan is equally at home in the opera house and conducts at the Zürich Opera, Vienna Staatsoper, Staatsoper Hamburg, Dutch National Opera, Glyndebourne Festival, Lyric Opera of Chicago and Santa Fe Opera.
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