The technic of the baton

At the conclusion of this chapter, a word or two on practice in the art of conducting may not be out of place. One might read all about the art of swimming and yet be entirely lost the first time one is actually thrown into the water. The tricky resistance and action of the water is not unlike what the tyro conductor feels when he first takes his stand, baton in hand, in front of the orchestra or chorus.

Of course, when the conductor has even the most amateurish orchestra or chorus with which to practice, no better method need be recommended. But in England and America this is all too seldom the case, and the hapless beginner has to learn his art the best he can, without the aid of this valuable experimental laboratory.

It is related of Koussevitzky, the great Russian conductor, that in his apprenticeship period he gained his practice of baton technic on an imaginary orchestra which consisted of empty chairs with signs on them representing the various instrumental choirs. It required imagination to do this, and let it be said right here that imagination is one of the first requisites of the conductor.

The beginner in conducting can at least familiarize himself with the feel of the baton, and practice the ordinary gestures until they become as automatic as walking and breathing. Conducting to a phonograph record is most helpful.

After the score has been mastered (see Chapter VI) it is a good plan for the student to conduct an imaginary performance of it, giving the proper gestures and all necessary cues. More great conductors than would ordinarily admit this make a regular practice of this “silent” conducting. Like the great actors whom they strive to emulate, they make a detailed study of every gesture, attitude and, sometimes, pose, which might be expressive of the character of the music they are interpreting.