2024 Author: Harry Day | [email protected]. Last modified: 2023-12-17 15:43
It so happened that the musicians got together. Everyone is a professional in their field, good musicians. They like to play, each on his own instrument, but all are loners. Without rehearsing, they gathered a huge audience, deciding to play together. Having started to play, they understand by the reaction of the audience: something is not going well, the music is still not pouring. Musicians find that it is difficult to feel everyone who is around and keep playing at the same time. They find they cannot sense each other. And since the hall is already assembled, and the audience is indignant, they have to find a quick solution - the musicians call the conductor. It turns out that the conductor was just in the hall. And having left the joint sound to the conductor, the musicians begin to play again. Now they are free - everyone can be busy with their part, everyone can concentrate on their instrument and devote themselves entirely to this.
This is how the conductor comes to the orchestra. When he comes, the first thing he starts with is discipline. In an orchestra, discipline is necessary, each instrument must sound independently, but in harmony with everyone else, taking into account other instruments. Otherwise, when everyone is on his own, music does not happen - a cacophony sounds. Therefore, a director appears in the orchestra - its conductor. It helps musicians to get together and play together - exactly as the conductor and sheet music dictate.
This is how music begins to sound in the orchestra for the first time, and this is already good. It sounds harmonious and melodic - this is no longer a cacophony, each musician is in his place here. But for some reason there is still no lightness in this music.
It turns out that the music at this moment sounds due to the strict discipline of the conductor, under his tireless control. Musicians are not free, they do not feel freedom and lightness, being under the yoke of such discipline. And over time, tired of the tyranny of the conductor, the musicians begin, one by one, each in their own way, at first from a feeling of protest - to add something of their own. But the conductor hears everything very well - the notes from the protest do not decorate the overall sound. And the conductor only strengthens the discipline.
One of the musicians is the most courageous, the one who was the first to protest, gives up, resigns himself to the conductor and the notes and his current situation. And one day, deviating from the usual part, he begins to play something else, not understanding what, but this time the conductor does not stop him.
By this time, the musicians have studied the work well, know it by heart and are well versed in it. The rest of the musicians also gradually begin to try without losing the canvas of the piece, gently interspersed with something of their own, making minimal digressions at first, and then more and more boldly. Gradually, one by one, the musicians realize that someone needs to keep the topic so that the other has the opportunity to solo and that these roles can be changed. This is how musicians learn to interact, yield to each other, support each other, complement each other, not be offended by mistakes and trust.
The conductor, noticing deviations from the course, at first, fights the musicians with all his might, trying to habitually put the bravest in their place. But gradually, the conductor begins to notice that at first rare, and then more and more often deviations from the course sound appropriate and only add beauty. This is how the conductor initially begins to trust only a few musicians from the orchestra. Gradually, noticing freedom and lightness, all the rest are drawn to these musicians - adopting their determination to manifest softly and beautifully, without losing the general outline of the work, but also without suppressing themselves, manifesting as the heart tells, and not just the exact notes.
And one day it happens that musicians do not need a note or a conductor, they learn to feel each other deeply, to be one, without losing their individual qualities at the same time. Here the musicians do not compete with each other at all, it is more pleasant for them to interact, they know how to both solo and be silent. Each musician here knows how to support the other, pick up at any moment, but also knows how to enjoy the playing of another musician from the orchestra. Everyone knows how to calm down, and knows how to solo. A part of the conductor is gradually revealed in every musician - now everyone knows how to appreciate the general, not only himself in the orchestra, but also the whole orchestra in himself.
And one day it happens that the orchestra ceases to need discipline, sheet music and conductor. The sensitivity of each musician now makes it possible to do harmoniously without it. At this moment, the conductor with a light heart and a smile on his lips retires - returning to the auditorium, continuing to listen to the music that now sounds itself.
This story is a metaphor. Musicians separately, and musicians together in an orchestra, conductor, audience and work, sheet music and music and the hall in which it sounds - all this is inside everyone, together with the opportunity to discover it.
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