Conducting for Soloists: Part Two by Ray DeVilbiss
The musical aspects of performing with a soloist call for empathy between conductor and soloist
While ensemble precision is necessary to provide soloists with a good accompaniment, there must also be empathy between the conductor and soloist that melds their distinctive musical personalities into an aesthetic unity so that both are of one mind about interpretation of the work. When that rapport prevails, conductors can get along more comfortably with the task of persuading 50 or more musicians to provide the soloist with a sympathetic accompaniment.
In our first installment (read Part One), we examined external or nonmusical issues related to establishing this rapport–in other words, the protocols of conducting for a soloist. In the present installment, we will focus on musical issues.
Musical suggestions
1. Well before the first rehearsal, conductors should enter into a thorough discussion of the solo with student soloists involved–its tradition, style, tempo, rubato, the existence of important melodic lines in accompaniment, dynamics, climaxes and so on. Student soloists very much need to receive this pertinent information regarding their solos.
2. Although conductors may previously have advised student soloists about matters concerning interpretation, they should not impose this interpretation on them during public performances. Student soloists have the same right as guest artists to be free to express themselves musically.
3. Conductors must be certain a soloist is ready to begin before giving the downbeat.
4. Conductors must not beat time during a cadenza by the soloist.
5. Since introduction, interludes and coda are essential parts of the whole, it is important that they are played with crisp authority by the ensemble. Moreover, this style of performance tends to give soloists more confidence.
6. The ensemble must always play beneath the solo part, unless melodic lines in accompaniment are of higher priority for the moment.
7. To secure proper balance, conductors must be prepared to reduce the number of players on a part when necessary and, through editing individual parts, remove excessive doubling of voices in the accompaniment.
8. Conductors should keep visual contact with soloists at all times, in order to observe signals from the latter that may lead to shaping interpretation in ways different from those prevailing at final rehearsals.
9. Conductors must rehearse endings, whether marked forte or piano, in a way to make them climactic.
10. There must be a clear understanding between conductors and soloists about setting tempi for various sections of a solo–theme and variations, changes in mood or style, and the like. While this is usually a conductor's provenance, during public performance, guest artists often wish to reserve these decisions for themselves.
11. Although the audience should always be able to hear a soloist over the accompaniment, an exception to that rule can be made for tutti fortissimos during final measures, when power and excitement take precedence over balance between soloist and ensemble.
Soloists appreciate conductors who can take charge of an accompaniment, yet still allow a soloist room for flexibility in the interpretation. Indeed, nothing is more satisfying to soloists than to feel at ease with accompanying ensembles. While it is important that baton technique is firm, precise and authoritative, and that good intonation, balance, dynamics and correct tempi prevail in ensemble accompaniment, it is even more important for conductors to be sensitive to every nuance introduced by soloists during public performance, whether or not the solo was interpreted that way during final rehearsals.
When empathy between conductor and soloist is absent, conducting an accompaniment can be a most difficult task. The degree of empathy between conductor and soloist is the foundation for the rapport that will then exist between soloist and conductor. This oneness of artistic spirit between the two is not only the final answer, but also the sole key to securing an artistic performance in which every musician is able to take part–members of the ensemble no less than conductor and soloist.
Ray DeVilbiss, professor emeritus at the University of South Dakota and retired director of the Sioux City (Iowa) Municipal Band, died in December, 2002. The prominent music educator was author of several articles and pamphlets first published by Leblanc Educational Publications in the 1960s. This installment is a revised excerpt from one of those publications. Part One appeared as an earlier Keynotes online update.
