STANLEY tells it all – Studying Sousa: style/4
In the late 19th century, the newly developed profession called conductor was challenging to many, but most of all to the performing musicians who were used to playing with the composer himself. That meant being in direct contact, mingling and having fun. This type of interaction creates an environment where there is interlocking exchange of knowledge, both in creativity, instrumental possibilities and musical expression. Result is a form of loyalty at both ends which is hard to explain, but one of the most important subjects in forming an orchestra, band or ensemble of any kind, size and formation.
So, early conductors were performing musicians who had performed with the composers. They became the carriers of their heritage and successors to their interpretation, thus the one who knows how to perform a given composition. Still, style is a different matter altogether. That is to be found in how performing musicians play their instrument, thus how they sound.
Musicians are trained in a certain way. We are all dependent on the teachers we meet during our lifetime. The ones who teach us a.k.a. we are allowed to take up classes with, train us in their own way of playing a given musical instrument. In the beginning we copy our teacher, taking over his way of playing. At higher levels, most remain in the style of playing of their respective teacher at that moment, but not all. There is a small, but fine, group who bring a given style to the next step. An evolutionary approach. This gradual development is based on a strong foundation from which new directions within the style can be found.
However, for a long time, most teachers at the highest levels of performing didn’t appreciate this at all. They demanded their style to be continued. This approach enabled sections in a symphony orchestra to maintain their respective way of playing. Since the musicians sound similar, they blend well together. At least, as long as they play on their instruments. Matching characters are harder to find.
Result is continuity in style. Interlocking this with the other components, brings a staggering result. This is what we call the national schools of performing.
John Philip Sousa was aware of this all to well. On the one hand, he wrote about several of his musicians with high acclaim. On the other hand, there is the famous story as how he rehearsed his musicians.
To be continued.
Stanley E. van Wel MM – Music Director
Posted on LinkedIn.com dated 10 April 2024