Germany's Christian Schumann will be conducting the Viet Nam National Academy of Music's Youth Orchestra during a concert tonight at the Ha Noi Opera House. The 27-year-old, who joined the Bavarian State Opera in March, spoke about the challenges faced by foreign conductors in Viet Nam. What do you like most about being a conductor?
I think conducting should be a burning passion. It is something you must want to share with others. While training as a professional pianist I continuously tried to communicate my ideas to my colleagues, teachers and friends.
Conducting requires many skills that you have to learn while studying, for example, what a 4/4 bar should look like or how dynamics work. One has to be familiar with a huge repertoire of work in order to do the job. However, the most important thing is to practise with your chosen instrument, which my case is the orchestra. That instrument requires social and psychological skills. It is important to feel comfortable. If one doesn't feel comfortable, the orchestra won't feel comfortable.
And what do I like most about conducting? I guess, it's motivating others and getting the best out of them in order to create a special performance.
What do you feel is your particular strength as a conductor?
Young conductors can be inventive before they become rooted and settled. As a composer I'm very interested in contemporary music. I have played jazz and musical scores for films, which has served to open my eyes. In your career you might be asked to conduct operas, musicals, recording sessions for soundtracks, etc., in addition to regular symphonic orchestras. I think this is one of my strengths – being able to react to changing conditions and demands.
How does dealing with young people differ from working with established artists?
Of course, dealing with a young orchestra requires more flexibility in terms of guidance. I can't tell you which is the greater challenge. In Viet Nam for example you can't rely on long-established orchestral traditions so you have to try to create a distinct atmosphere in which the members realise that there are issues which are meant to be basic rules for playing in an orchestra. In an orchestra, the weakest player defines the quality of the group so you have to gently make the weaker ones aware of this fact and give them hints as to how they can improve their playing.
What are the strengths and weaknesses of Vietnamese orchestras? Have you ever worked with any young orchestra before?
One of the many really positive things about Vietnamese musicians is their openness and eagerness to work. And of course they are pleasant and friendly. Bad habits are the result of overwork. It is something that cannot be corrected. As I said before, the weakest player in the orchestra determines the overall quality. There are some instruments that you'll naturally only start playing at a certain age, such as the double bass or trombone. On the other hand, you'll begin practising the violin or the flute at a fairly young age.
So many things depend on the individual. But as soon as he or she starts playing chamber music, in ensembles or orchestras, various other qualities such as awareness, social skills, careful thought, a fine ear, interest in the repertoire... need to be built up. The key factors that make orchestras different are: the conductor, how long they have been playing together, individual performance levels and the repertoires they've already played.
What can you do to help Vietnamese orchestras improve?`
Work, work, work as much as possible. They have be driven to improve. Every single member of the orchestra must feel this. All I do is wave a stick about and lecture them. — VNS