Can a Person Be Both a Good Composer and a Conductor?
The question of whether an individual can effectively serve as both a composer and a conductor has been a topic of debate among musicians, music educators, and music enthusiasts alike. While there are overlapping elements in these roles, they indeed encompass distinct skill sets.
Overlap and Differences in Roles
In some ways, the relationship between a composer and a conductor can be analyzed much like the relationship between an architect and a construction foreman. Both professions share some fundamental knowledge, but their daily responsibilities and required skill sets are quite different.
One of the most striking differences lies in the active, applied psychology required of a conductor. A conductor is often depicted as a manager who must not only understand the music they are leading but also possess the charisma to guide and inspire their musicians. On the other hand, a composer might find themselves grappling with uncertainty and indecisiveness, focusing more on the creative aspects of their work.
The Role of Ego and Charisma
One of my conducting teachers once remarked that no matter how proficient one is in stick technique and score study, these skills will be meaningless if the conductor lacks a strong will on the podium. This can be crudely explained as a conductor needing a strong ego and the ability to elicit the compliance of their musicians, often through charisma rather than force.
As a composer, my practice often involves questioning whether I fully believe in what I am writing. While I continue to write, this uncertainty can sometimes seep into my conducting, impacting rehearsals and performances. It’s a relentless battle against this internal conflict that requires constant vigilance and self-reflection.
The Historical Context
It is worth noting that historical figures like Lully were both composers and conductors, leading the first performances of their own works. They worked in an era before the clear division between these roles, where the composer's involvement as a conductor was much more common and integral.
More contemporary examples include John Williams, the renowned film composer. In 'Star Wars: Episode I - The Phantom Menace,' you can observe how his role as both composer and conductor brought out the fullest potential of his scores, translating his intimate knowledge of the music into dynamic performances.
The harmonization of these roles requires not only technical proficiency but also a strong dose of personal confidence and the ability to navigate the complex interpersonal dynamics of a music ensemble. The physical and psychological demands of conducting, combined with the creative process of composing, make this a challenging but ultimately rewarding endeavor.