IMPORTANCE OF PERSONALITY
In the [introductory chapter] it was noted that the conductor must build upon a foundation of musical scholarship if he is to be really successful; that he must possess musical feeling; and that he must go through extensive musical training, if he is to conduct with taste and authority. But in addition to these purely musical requirements, experience and observation have demonstrated that the would-be conductor must be possessed of certain definitely established personal characteristics, and that many a musician who has been amply able to pass muster from a musical standpoint, has failed as a conductor because he lacked these other traits.
It is not my purpose to give at this point an exhaustive list of qualities that must form the personal equipment of the conductor. In general it will be sufficient to state that he must possess in a fair degree those personal traits that are advantageous in any profession. But of these desirable qualities three or four seem to be so indispensable that it has been thought best to devote a brief chapter to a discussion of them. These qualities are:
- 1. A sense of humor.
- 2. A creative imagination.
- 3. A sense of leadership combined with organizing ability.
A SENSE OF HUMOR
The first of these traits, a sense of humor, may perhaps upon first thought seem a peculiar quality to include in a category of virtues for the professional man of any type, and especially for the musician. But upon reflection it will be admitted that the ability to see things in a humorous light (which very frequently means merely seeing them in true perspective) has helped many a man to avoid wasting nervous energy upon insignificant occurrences, while the lack of this ability has caused more trouble among all sorts of people (and particularly, it seems to me, among musicians) than any other single thing.
ILLUSTRATIONS OF HUMOR IN THE REHEARSAL
Some player or singer is either over-arduous or a bit sleepy during the first stages of rehearsing a new composition, and makes a wrong entrance, perhaps during a pause just before the climacteric point. The occurrence is really funny and the other performers are inclined to smile or snicker, but our serious conductor quells the outbreak with a scowl. The humorous leader, on the other hand, sees the occurrence as the performers do, joins in the laugh that is raised at the expense of the offender, and the rehearsal goes on with renewed spirit.
An instrumental performer makes a bad tone, and the conductor laughs at him, saying it sounds like a wolf howling or an ass braying. If the remark is accompanied by a smile, the performer straightens up and tries to overcome the fault; but if the comment is made with a snarl there is a tightening up of muscles, an increased tension of the nerves, and the performer is more than likely to do worse the next time.
There is a difference of opinion between the conductor and some performer about fingering or bowing, phrasing or interpretation, and a quarrel seems imminent; but the conductor refuses to take the matter too seriously, and, having ample authority for his own viewpoint, proceeds as he has begun, later on talking it over with the performer, and perhaps giving him a reason for his opinion.