# Guest conductors and guest artists



## Calliope1 (Apr 16, 2020)

I'm a "consumer" of music rather than a participant so my knowledge of how orchestras work is very slim, hence this question. I've often wondered whether guest conductors and artists get to choose their own material for a performance, or are they told what to perform? Or is it arrived at collaboratively? Any insights appreciated.


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## Olias (Nov 18, 2010)

From what I've seen in interviews, it varies. Some solo artists have a list of concerti they have ready and let the conductor (or symphony board) pick one. Others are very specific about what they are performing that season. Some have different fees for different concerti. Some symphony boards want the soloist to play something that will sell tickets, especially if they need to offset a high performance cost.

Not sure about guest conductors but I'm guessing it varies for them as well.


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## mbhaub (Dec 2, 2016)

Guest conductors: it works in two ways. The best is when you're asked to submit three or four programs you would like to do. You look at what the rest of the season for the group is to make sure you're not duplicating. Sometimes you're given a soloist that you might or might not be able to work with and the concerto they chose may not be able to be changed. Then the management and the conductor work out a suitable program. Now bring in the librarian: are you bringing your own set of parts or does the orchestra have them (in what edition?) or do they need to rent them? Actually, if you're offered an all-orchestral program without a soloist, that's the best deal of all.

The messiest option is where a previously hired conductor cancels for one reason or another and you're asked to step in. Do you just accept the programming as is? That's the easiest route. Try to negotiate a change - this can be tricky.

I've conducted under both circumstances. (I'm no international, famous maestro. But I am efficient, I know the music, and can get the job done.) When I get to choose the entire program is always the best, especially if the management trusts you and doesn't interfere. There's always one board member who has to try to insert his ideas, but you learn to brush it off. I tend to program conservatively. I try to include lesser known works in every concert, but also include enough familiar and loved music so not to damage ticket sales.

I've had to deal with the latter case in recently: first was to come in and conduct a concert with Dvorak 8. Not a problem, and who would want to change that! The most nerve wracking case was being asked to take over rehearsals and performances of The Nutcracker with only a four hour notice. Obviously, that wasn't going to change.


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