Faceless, Rudderless and Nondescript Conductors

Today's conductors (and musicians) face a harrowing quagmire. For example, let's take the Symphony No. 5 by Dmitri Shostakovich as a focal point. Over 80 years ago, working conductors during the 1930s and 40s had not yet witnessed a live performance of this new work, nor did they have access to recordings which were nonexistent at the time. So studying and deciphering a new symphony was an arduous task. In this case, Yevgeny Mravinsky, leading the Leningrad Philharmonic, conducted its premiere performance on November 21st, 1937. The event was considered to be an unqualified triumph. So much so that before long, the symphony had been performed in major cities across the world by different conductors who, unless they had heard it as a radio broadcast, had to prepare it blind. In other words, they all got the honors of imposing their personal stamp and character on the music. One could say the interpretation possibilities had no bounds.

Fast forward to 2024. With the countless number of available recordings, downloadable material and endless streaming possibilities, how can a conductor possibly perform this work with a fresh approach. New insights? They've all been applied. New expressive touches? They've all been heard. I suppose a conductor could amplify or exaggerate certain details but then the whole thing would end up sounding like a caricature of itself. The overabundance of material brought on by digital technology has devalued classical music to the point where everything sounds exactly like everything else.

I pity the up-and-coming musicians and conductors who have to invent new strategies to inject frisson and exhilaration into a performance in order to command attention. Great music can speak for itself. Unfortunately, its already all been said. I suppose they could focus strictly on "new" music. Unfortunately, most of today's "new" music doesn't communicate with the listener, so how can it possibly speak for itself.