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Vongries, CarolineWithout being askedWhen conductors are appointed against the will of an orchestracategory: Essay published in: das Orchester 02/2008, Page 22 |
What is identity and who exactly determines the identity of an orchestra – this is the basic question at the centre of the following eight contributions. As Vongries points out, identity is a construct that is fluid over time: it responds to historical circumstances as much as to varying structures within each ensemble. One answer as to who makes up an orchestra, obviously, is – the musicians. Yet as the second article shows, things are not clear-cut: musicians are individualists who have to form a coherent whole; organisational structures and responsibilities within orchestras can vary widely. Yet an orchestra is also its management, and management today often means communication: between musicians, directors and conductors, but also with local communities. The notion that identity is formed through open communication between musicians and conductor is also expressed by Gabriel Feltz, chief conductor of the Stuttgarter Philharmoniker, who also emphasises a unique sound, a distinctive repertoire and the ensemble's social responsibilities. The result, according to Marcus Bosch, chief conductor of the Sinfonieorchester Aachen, is ideally a multi-headed individual. Yet he also points out the limits of dialogue, stating that musicians sometimes prefer to execute than to develop ideas. Against such a dialogic approach, the charismatic figure of the genius conductor as autocrat and superstar is still popular within the music industry, even though such a position is historically contingent and artistically doubtful, as Sinsch points out. Vongries, in another article, also highlights the difficulties that are likely to arise if conductors or musical directors are chosen by the general management or politicians without consultation of musicians: enthusiasm cannot be enforced, and artistic quality is likely to suffer. The counter example are ensembles with an explicit democratic structure, in which musicians have influence on repertoire, appointments and management. While decision-making is often more protracted, such ensembles often report a higher job satisfaction.