Page:Century Magazine-69-602-000.png

Drawn by S. Ivanowski
A Clarinetman who plays at the forefront of the first violins at the left of the conductor. But he is a much more important personage than that fact alone would imply. Now, the importance of the concert-master’s function depends on a number of things, largely the nature and habits of the conductor, and the personal force of the concert-master himself. It is rather the fashion nowadays to try to belittle the importance of the concert-master, as a result of the growth in the artistic position of the conductor. But where the best relations exist, the concert-master is given a responsible burden in the carrying on of the orchestra. He is, in a way, the autocratic conductor's grand vizir, 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 a constitutional monarch’s prime minister. The king can do no wrong. If all goes well in the orchestra, it is the conductor’s achievement; if anything goes amiss, it is very likely to
Drawn by S. Ivanowski
A Soloistbe the concert-master’s fault. He must always see that all the instruments are in tune with one another before rehearsals and concerts begin. In most cases he sees that the violin parts are properly marked for bowing and phrasing, which he determines himself, in order that all shall play alike—though not always is uniformity of bowing considered indispensable. If there is a misunderstanding between the conductor and a player, the concert-master’s good offices are invaluable in setting it 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. If the conductor makes a mistake,—and even the greatest conductor 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 all the orchestral instruments, their possibilities in the way of phrasing and the production of special effects; for, though most conductors have begun 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 accentuation that is im-