| Chapter 1: | Conducting in Theory and Practice |
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The authoritarian view of the conductor/ensemble relationship seems rather neglectful of the role of the player in performance. The notion that a performance “must establish its own credentials as a meaningful and valued artistic act”38 does not exclude the ensemble musician. The performer’s contribution to the performance process is of critical importance in its own right. Leinsdorf writes that “an ensemble of good musicians possesses a collective instinct that must not be disregarded”.39 Karajan recalls an anecdote that illustrates this point:
Such a view does not suggest an autocratic environment, but one of collaboration between conductor and ensemble. This approach implies open-mindedness with regard to input from the orchestra. Following Stern and Walter, conductors would always work toward “persuading” the orchestra to perform the work their way. However, for Karajan, the conductor must use the musical materials provided by the performers. It is this interaction that ultimately forms what we call the interpretation. Karajan writes, “[I]f I want to realise my spiritual concept through an orchestra, the concept has already been transformed by contact with that orchestra.