The title of Music Director is given to a conductor who is hired by an orchestra as the artistic head of the organization. Along with conducting many of the concerts during that orchestra's season, this person makes most decisions regarding tours, repertoire, soloists, recordings, and personnel.
Regarding decisions made when conducting, all tempos, musical directives, including dynamics, articulations, and phrasing come under the authority of the conductor. In plain language, musicians work under a Dictator! It really doesn't matter what the composer indicates on the score because all indications are open to interpretation. This is as it should be for a living art such as music. The unusual aspect of this is that the instrumentalists and soloists, all experts in their field, have virtually no vote on the matter.
With this control over the musical score, it's easy to see how such power can be abused. It's one thing to address sections or the entire orchestra regarding changes in the score, however, when individuals are approached regarding rhythm, intonation, or sound issues, the tone of the conversation is telling. It doesn't take much for a musician to feel the conductor is not pleased with his or her contributions. And when this leads to being called into the office for a meeting or making an official request to re-seat a musician, it affects the entire orchestra because one never knows who may be next.
When a new Music Director takes over, there is a period of time when an evaluation is being made on all personnel, and musicians can feel when they are being singled out for criticism. Although, because of the tenure clause in all contracts it is very difficult to actually fire someone, however, re-seating is possible in the contract. When Music Directors abuse this power over musicians, it can effect their ability to perform at the continuous high level expected in a major orchestra.
The relationship between musicians and conductors in general is strange. If an orchestra had to vote on their opinion of any given conductor, the vote would probably be split 50/50. The major difference is whether the conductor's musical taste resonates with the individual. Other differences regard, baton technique, rehearsal technique, ability to communicate, and personality.
There is a quote in my book from Walter Legge founder of the London Philharmonia. It starts out with the statement: "There is no form of occupation which has a worse effect on a man's character than that of the conductor." It then goes on from there with unbelievable clarity regarding music directors who have tremendous power and are paid a lot of money.
Although some music directors can cause a great deal of heartache to musicians, many are very professional and treat the orchestra members with respect. The era of conductors ranting and raving on the podium to obtain the musical interpretations they desire, for the most part, has passed. Arturo Toscanini, one of the world's most celebrated conductors, whose antics on the podium included screaming, dancing, singing out in his high-pitched voice, and coming up with outlandish verbal comments to obtain the results he demanded, represented the epitome of abuse during this era.
From my book of the same name, my blog discusses the profession of orchestral musicians and the Artistry, Passion, and Heartache of performing in a major symphony orchestra.
