To a non-musician, the person that stands out in front of the ensemble and waves his or her arms around (the ‘Conductor’) does not appear to be doing very much. Even to the eyes of the instrumentalist (including orchestral players), when asked the question¬†“What is the role of the conductor?”, they either find themselves unable to answer or will say something along the lines of “they keep us in time”.

While it is indeed true that the conductor uses patterns to keep time and ensure that everyone plays together, this is by no means the only or the most important thing they do. This is, in fact, second nature and only a small consideration to the conductor.

I thrive off conducting particularly due to its ability to allow me to interpret the music in the way that I desire, musically (of course), but also emotionally. From there, I have to figure out how to portray this interpretation best to the musicians and deliver a complete and reputable performance. This is much more complicated than it looks, and I very much enjoy the challenge.

Inspirations and influences

For any person committing themselves to the fine art of conducting, we must have our inspirations to stylistic influences. There are of course many conductors who each highly differing styles, however, my personal favourite conductors are:

Each of these conductors have their own specialisms and influences upon me.

Ivan Fischer, Valery Gergiev and Vasily Petrenko are each highly important to my style development through their world-renowned and award-winning interpretations of many works.

Sir Simon Rattle, Sir Mark Elder and Esa-Pekka Salonen have more of an influence on me in terms of the relationship that they have with their ensembles, and the way in which they operate rehearsals.

Dominic Peckham and Robbie Jacobs of NYCGB are also an excellent example of how rehearsals and ensembles should be lead, and maintain outstanding working relationships with many organisations.