The Columbian. [volume] (Bloomsburg, Pa.) 1866-1910, 1905-02-23
coNcERT-MAsTER's DUTIES.
Thoroughly Familiar With all or.
chestra Instruments.

Thoroughly Familiar With all Or.
ehestra instruments.
To the eye of the audience the con
cCrt-mastef-so we somewhat unin-
telligently translate the German word
Konzertmeister, ignoring the more de-
scriptive French name OF chef dat
taque--is the man who plays at the
forefront of the first violns at the left
of the conductor. But he is a much
more important parsonage than that
fact alone would imply. Now, the
importance of the concert-master's
function depends on number of
things, largely the nature and habits
of the conductor, and the personal
force of the concert-master himself.
1t is rather the fashion nowadays to
try to belittle the Importance of the
concert-master, as result of the
growth in the artistic position of the
conductor. But where the best rela-
tions exist, the concert-master is CIV
en- a responsible burden in the carrying
on of the orchestra. He Is, in a way,
the autocratic conductors grand vizier
his executive officer one of his chief
means of making effective his wishes;
and. where the right relation exists,
his best friend and right hand man.
His functions resemble those of
constitutional monarch's prime min.
lister. The king can do no wrong.
If all goes well in the orchestra, it is
the conductors achievement; If any
thing goes amiss, it is very likely to
be the cOnccrt-master's fault He
must always see that all the instru-
monts are in tune with one another
before rehearsals and concerts begin.
In most cases he sees that the violin
parts are properly marked for bowling
and phrasing which he determines
himself in order that all shall play
alihe-though not always is unifor-
nifty Of bowng considered indis-
pensable. If there is a misunder-
standing between the conductor and
a player, the concert-master's good
Offices are invaluable in setting 1t
right He advises the conductor as
to the deficiencies or eXcellences of
individual players, and may often be
called upon to assist in engaging new
men. II the conductor makes a mis-
take-and even the greatest conduc-
tor does-the concert-master is there
to see that the force of it is broken
in some way. Few conductors are
thoroughly familiar with the details
of the technic; and the limitations Of
oil in re
possibilities in the way of phrasing
and the production of special effects;
for, though most conductors have be-
gun their careers as performers upon
some instrument, their playing days
are past and they have other things
to think Of So, if the conductor gives
a direction as to phrasing or accentu-
alton that is impracticable, or if he
demands something that cannot be
done, the concert-master must be
ready, after the rehearsal, to explain
to the bewldcred or derisive player
that he is not to understand thus and
so exactly as he thought, but rather
this and that, which was what the
conductor really meant; and likewise
adroitly to intimate TO the mistaken
autocrat that some slight modification
Of his desires would be advisable.
In case OF direct need. should con-
ductor and orchestra lose touch with
each other in a public performance,
the concertmaster must divine the
cause of the trouble and, through his
intimacy with the men and his knowl-
edge of the conductors wishes as well
as of the score, bring them together
again with the sound of his instru-
ment, at critical moment more po-
tent than the conductors stick. Or,
should a soloist miss a cue or make
false entrance, he must if possible.
give such hint or catch up such
missing strand as shall set the un-
lucky one right In short, his Office
is of an importance to the prosperity
of the orchestra only less than that of
the conductor himself. 1t may be
easily seen how valuable man of
force and tact, of accomplished mu-
steamship and fertile resource, may
be in such a place, or how futile one
must be who has not these qualities.
-CpnturV