Insider Insights: Exploring the Crucial Role of Communication in Orchestral Settings

Attending concerts given by a symphony orchestra is an exciting experience; often, audience members wonder how such a big group of musicians functions seamlessly and without a spoken word. The following essay addresses the significance of communication in orchestral settings, based on my decade-long experience of playing in various orchestras as a French Horn player.

To begin with, an average full-size symphony orchestra comprises 80 to 100 instrumentalists and a conductor, alongside stage managers, librarians, promoters, financial specialists, and other administrators. They all share a common purpose: to facilitate music performance. Given the multiplicity of actors, efficient communication is a crucial component of a well-functioning orchestra.

An orchestra can be broken down into three main sections: strings, winds and percussion, which can be further divided into first and second violins, violas, cellos, double basses, woodwinds, brass, pitched percussion and non-pitched percussion. All these sections include more than one player, with some sections consisting of up to 15 people. In order for an orchestra to function well, it has to follow a hierarchical structure. The conductor is on top of the hierarchy, and this person is responsible for making and communicating musical decisions, planning rehearsals, and providing feedback. Essentially, the conductor's role is to manage musicians on stage. Next in line are the section principal players, tasked with leading their respective groups while closely following the conductor's cues. On top of that, principals also play an important role in communicating with leaders of other sections, fostering collaboration in a unified manner.

Historically, orchestras have undergone expansion in size. In the 18th century, orchestras led by composers like Haydn and Mozart typically consisted of around 35 musicians. Most of these musicians were from Europe, sharing common ideas regarding the styles and genres they were expected to perform. However, these factors changed as composers wrote new pieces demanding artistic flexibility. This relationship also involved musicians engaging in dialogues, providing technical advice to composers who did not play a particular instrument in question. Over time, the responsibility to communicate artistic decisions made by composers of the past fell into the conductor's hands. This is generally done by meticulously analyzing the intentions behind the composition, providing ground for directing aspects of artistic expressions like tempo, dynamic balance and overall character of the music.

Beside the responsibility to decipher composers’ intentions, a conductor often serves as the music director of the orchestra. This role involves setting various goals, such as planning the concert season, determining the number of rehearsals, and creating a detailed plan for each rehearsal session. These procedures provide clear objectives for a particular rehearsal enabling musicians to concentrate on executing, problem-solving, or listening for specific details, therefore contributing to effective practice. These objectives are further reinforced during sectional rehearsals led by a section principal player. In such a scenario, when the conductor is absent, the principal must have a clear understanding of the conductor's intentions to facilitate an efficient sectional rehearsal.

Regardless of who is responsible for communicating artistic decisions, verbal communication should always be clear, respectful, and professional. Music, being a subjective art that conveys emotions and feelings through sound, relies on well-articulated ideas for unified expression. Frequently, conductors use metaphors to better illustrate particular passages or provide feedback making it easier to convey their ideas to a wider range of people. For example, a conductor may say “play like you are hammering the notes” to illustrate the way an epic passage has to be executed. On the other hand, the same remark “you are playing like you are hammering the notes” can be used as a feedback to point out misinterpretation of dynamic balance or articulation of the phrase. Although metaphors and references are often used, it has to be done very cautiously. Feedback is a sensitive and subtle form of communication which if it is done successfully can uplift, inspire and motivate, while badly done feedback can cause embarrassment, frustration, resentment and even hatred. To illustrate, a bad feedback may include references to nationality, sexual orientation, race or other identity aspects of the player who is being criticized. These unprofessional interactions can cause interpersonal conflicts which ultimately may negatively impact on the orchestra’s abilities to deliver its best performance.

While verbal communication is instrumental during the rehearsal process, nonverbal communication is vital on stage. In orchestras and chamber groups, synchronization among musicians is paramount, and this is mostly achieved through body language. The conductor, for instance, uses distinct hand gestures in a universally recognized pattern to convey the beats and highlight specific aspects of the music. Softer passages are expressed with smaller motions, while louder sections require bigger movements. However, conductors have only two hands, so section principals are responsible for cueing other nuances when the conductor is occupied. For example, principals often cue the beginning and the end of a passage by subtle nod-like gestures, helping their section to follow along in a unified manner. Nonverbal communication also serves to express appreciation for specific musical moments. For example, when a neighbouring musician delivers a beautiful solo, a colleague sitting nearby may silently tap their hand on their knee to acknowledge it, out of sight of the audience of course. On the flip side, there are certain types of nonverbal communication that are taboo. These behaviors may include staring at a colleague who is struggling with a musical passage, turning one's head to identify the source of a wrong note, or openly laughing at someone's performance. These behaviors are avoided to prevent intimidation and to nurture a healthy and supportive environment for musicians to collaborate effectively.

In conclusion, efficient communication is a key component of successful symphony orchestras. In this context, details like artistic decisions, rehearsal objectives, and a season program have to be communicated to the orchestra members. The charge of making those decisions follows a hierarchical structure placing the music director in the front line of decision making and communicating ideas to the principals who are responsible for their respective groups. Both verbal and nonverbal communication should be appropriately used in order to facilitate a supportive and respectful artistic environment.