Preparing for a concert is a bit like preparing for a job interview; with the exception that you face a panel of 80 or so players, staring and waiting to decide in the first five minutes of a rehearsal if you're the worst candidate in history or not. That first three-hundred seconds can make or break you, regardless if you have a baton in your hand or just a good old CV - and as anyone who has been successful in an interview knows, it's all in the preparation. So how does this conductor prepare for those three-hundred seconds?

First Steps

My first step is getting a job in the first place! There is a technique to this, and it's mostly called luck. After that, add in a peppering of contacts, mix in the ability to blackmail a concert promoter with the secret photos of them and the local sheep, and finally garnish with a bit more luck, and Bob's Your Uncle. Now I have the job, I need the music.

Well over half of the concerts I conduct I orchestrate. This means it's my responsibility to fill the orchestral blank pages with squashed flies and hope they sound harmonious. Orchestration is a complicated affair and one that I'll explore in another post. That leaves the other half of my concerts where the music is already written. It's the promoter or orchestras responsibility to post out the substantial, A3 sized scores to me; and when the postman rings the doorbell, I have a mixture of excitement and mild panic at the mountain I'm about to climb.

The Score

The conductor's score is a culmination of all the individual instrumental parts. It has every element that'll be performed on the page, so that means a lot of information crammed into a relatively small space; similar to a miniaturised version of the Bible without the whole parting of the seas thing.