The Silent Musician: Why Conducting Matters

by Mark Wigglesworth

The conductor—tuxedoed, imposingly poised above an orchestra, baton waving dramatically—is a familiar figure even for those who never set foot in an orchestral hall. As a veritable icon for classical music, the conductor has also been subjected to some ungenerous caricatures, presented variously as unhinged gesticulator, indulged megalomaniac, or even outright impostor. Consider, for example: Bugs Bunny as Leopold Stokowski, dramatically smashing his baton and then breaking into erratic poses with a forbidding intensity in his eyes, or Mickey Mouse in Fantasia, unwittingly conjuring dangerous magic with carefree gestures he doesn’t understand. As these clichés betray, there is an aura of mystery around what a conductor actually does, often coupled with disbelief that he or she really makes a difference to the performance we hear.

The Silent Musician deepens our understanding of what conductors do and why they matter. Neither an instruction manual for conductors, nor a history of conducting, the book instead explores the role of the conductor in noiselessly shaping the music that we hear. Writing in a clever, insightful, and often evocative style, world-renowned conductor Mark Wigglesworth deftly explores the philosophical underpinnings of conducting—from the conductor’s relationship with musicians and the music, to the public and personal responsibilities conductors face—and examines the subtler components of their silent art, which include precision, charisma, diplomacy, and passion. Ultimately, Wigglesworth shows how conductors—by simultaneously keeping time and allowing time to expand—manage to shape ensemble music into an immersive, transformative experience, without ever making a sound.

Genres: Music, Nonfiction

247 pages, Kindle Edition

First published October 2, 2018

Reviews

[Mike · Rating 4 out of 5]

I can't honestly say I read this book thoroughly. I skimmed a good deal of it, and didn't read some of it at all. And yet reviewers online have praised it highly.
It seemed to me repetitive, not well-organised, and lacking in concrete information. Yes, there are some good points in it, and some helpful advice for wannabe conductors. But somehow, for me, it missed the mark. For me, Inside Conducting by Christopher Seaman is a much more useful - and entertaining - book on the subject.

[Audrey Ng · Rating 4 out of 5]

Thought-provoking and insightful, I loved learning more about classical music and conducting.

[James Ingram · Rating 5 out of 5]

I really enjoyed this. It felt like an extended chat at a bar, where someone holds forth, making you reflect on your own approach to work, people, and getting through life. To use one of his own words, a privilege. Okay, so he can speak a bit too much, and repeat himself, but who at a bar doesn't? I don't come away from socialising nitpicking, wondering how a friend or new face could have communicated better! Just take it for what he says, for who he is, and I understand why he has a partner who loves him

[Kirk]

DNF at pg 74

[Diana Garzón · Rating 4 out of 5]

Me gusta mucho la música en vivo y aprovecho cada oportunidad que tengo para ir a conciertos, así que he visto a muchos directores de orquesta trabajando y tenía cierta idea de su rol, pero algunos eventos a los que tuve la oportunidad de ir recientemente y la serie Mozart in the jungle me generaron una curiosidad adicional que me llevó a comprar este libro.

El contenido del libro es exactamente lo que esperaba: una descripción de todo lo que hace el director de orquesta antes, durante y después de un concierto, incluyendo su relación con los músicos, los directores musicales, los directores de escena, el público, los instrumentos, la música y hasta los compositores.

Aunque el libro fue muy interesante y cumplió con mis expectativas, sentí que el autor era repetitivo y que podría haber dicho lo mismo en menos páginas. También hubo algunas explicaciones que me parecieron muy técnicas para mi nivel de conocimiento musical, pero aún así lo disfruté y me llevé algunas ideas clave. La más importante es que el director realmente juega muchos papeles en la orquesta, pero quizás su rol básico sea el que Wigglesworth llama «el narrador de la música», quien interpreta y genera una visión compartida de lo que el compositor quiso transmitir con su obra.

Otra cosa que me gustó del libro es que da algunas explicaciones sobre la evolución de los instrumentos y de la música, por ejemplo cuenta que en el pasado había piezas que se consideraban difíciles de interpretar pero que hoy en día no se califican de esta manera, gracias a que tanto los instrumentos como las técnicas han evolucionado. Supongo que para alguien que toque un instrumento esto será evidente, pero para mí no lo era.

Y lo último que no quisiera dejar pasar es una reflexión que hace el autor sobre nuestra relación con la música. Hace mucho tiempo escuchar música era un privilegio. Para poder hacerlo tenías que ser invitado a un lugar especial, en una fecha especial. Hoy la música está en todas partes, es un ruido de fondo del que muchas veces ni siquiera nos percatamos. Nuestra relación con la música ha cambiado, pero asistir a un concierto sigue siendo mágico, sigue siendo un privilegio.

Más en: https://vistoleidohecho.com/

[Ben Stanton · Rating 4 out of 5]

Overall, this was an interesting read but admittedly I stopped and started a fair bit with it. At times I felt it became a little repetitive but of course Wigglesworth’s obvious passion and love for his craft and his art shines throughout. I particularly found chapter 5 Conducting Performances of interest with his perspectives of his specific areas of the music industry, combined with the wider consideration of the challenges faced in the current state of music as an ingrained aspect of everyday life.

“Listening to music should be an active choice, not an Orwellian design to keep us quiet. Silence is not a void, but a space - a space that everyone has a right to control.”

[Robert Bolton · Rating 2 out of 5]

I enjoyed this book and the insights the author gave into the life of a conductor and his relationship to the orchestra and classical music. The chapter on conducting drama (ie: opera) was particularly interesting but overall I thought that although the writing is fine --it's a good, easy, reader-friendly read -- the book is somewhat over-written and repetitive.

[Helena Diaconu · Rating 4 out of 5]

Insightful, intuitive and enchanting. Feeding on my passion for music in general , I found Marks Wigglesworth's storytelling on conducting and classical music enriching.

[Adam Hilton · Rating 3 out of 5]

Lots of interesting concepts I have never thought about but the writing style is difficult to read.

[Amanda Witt · Rating 5 out of 5]

A great read about the ins and outs of the art of conducting and the smaller acts of the unseen stuff on the stage. As an amateur player for 30 years I can relate to a lot of it.

[Antonio Augusto Garcia · Rating 5 out of 5]

This book is like a great symphony. You love every part and can't say which one is your favorite. A must read for classical music lovers.

[Satya · Rating 3 out of 5]

It was not bad! It was a bit of a stream of consciousness. Lots of anecdotes though, which made it interesting. The role of the conductor is interesting. It was not always a thing for orchestras. You are also both in the orchestra but also outside it.

I think it must take enormous self-confidence to stand up and tell someone in the orchestra that they are playing the wrong note!