Here is an excerpt from Musica Russica's forthcoming translation of Pavel Chesnokov's The Choir and How to Direct It. This list of 29 suggestions for the young conductor appears at the very end of the book. Some of them are a matter of common sense, but I think others contain some valuable and important suggestions. Number eleven, for instance, is one many conductors ignore to their discredit: "Don’t become obsessed with just one composer; it will create monotony. Choose the best and most valuable works from every composer." The very last piece of advice, "Remember that the choral art is but one manifestation of human culture," received a bizarre rebuke from the Soviet editor of the second edition in 1952 (Chesnokov's book was published in 1940, with new editions in 1952 and 1961). The editor wrote in a footnote: “This characterization does not call forth an understanding of the choral art in the social-cultural life of our people. The choral art, tightly entwined with the labor and social life of the Soviet people, is one of the active means of communist education.” Isn't it remarkable that the editor couldn't leave Chesnokov's profound statement alone, but instead felt the need have the final word, and to blow this last gust of political hot air?
1. Technique assists inspiration, so the first task is to teach the choir to achieve technical mastery of a given composition.
2. Do not undertake work on a composition that you cannot fully apprehend yourself, either intellectually or emotionally.
3. If, when working on a piece, you notice that the choir does not take to it because it is below the choir's abilities, remove that composition from the rehearsal schedule. If a piece is too hard for the choir, abandon it for a time. Develop and perfect the group by working on easier pieces, and then at a later date, return to the difficult piece.
4. Remember that your job is to lead. A personal sense of responsibility will help you overcome many difficulties.
5. Do not go to the choir with a piece that you have not studied beforehand and analyzed thoroughly.
6. If the choir sings poorly, do not blame them; blame yourself.
7. When conducting a choir, you must always be at least to some degree in an inspired, enthusiastic state. The absence of enthusiasm weakens performance.
8. Do not depreciate the value of a composition by too-frequent rehearsal. If you notice a worsening in the quality of performance, and the appearance of mistakes, take the piece off the rehearsal schedule for a couple of months, then work on it a second time.
9. Do not add weak works, or works with low artistic value to the choir's repertoire.
10. Never be rude in working with the choir; it lowers you in their eyes, and it will cause only injury. Be enthusiastic, inventive, discerning; gain the confidence of the choir by engaging them in interesting tasks and by directing them toward the artistic performance of the pieces being studied.
11. Don’t become obsessed with just one composer; it will create monotony. Chose the best and most valuable works from every composer.
12. Working the choir to the point of exhaustion is ill-advised; if the choir is tired, they won’t work productively.
13. Before entering the stage, take two or three deep, slow breaths; it will have a beneficial effect on your nervous system.
14. As you enter the stage, do not survey the crowd, and do not attempt to quiet them. Once you have taken your position, assume a good posture, wait for a full quiet to come upon the hall, and for the choir to focus their attention; avoid, however, an overly long pause.
15. Thoroughly and in detail, instruct the choir regarding their entrance and exit, as well as their behavior in front of the audience. An outward order creates the impression of seriousness and discipline.
16. The first time you approach a new choir, don’t forget that the group has its own history, its own habits and traditions. Be careful not to disrupt the group precipitously: examine the group; create improvements, and gradually the flaws will be transformed into virtues.
17. Don’t be verbose with the choir; say only that which is necessary and that which has a practical purpose. Remember that verbosity is wearisome to the choir; be judicious both in gestures and in words.
18. Avoid making the choir repeat things without a purpose. When you repeat something, explain why you are doing it; otherwise the choir’s trust in you will gradually diminish.
19. Maintain strict demands on yourself, both as a conductor and as a person; this will guarantee a normal relationship with the choir.
20. Support an atmosphere of artistic camaraderie and unity of spirit in the choir.
21. Be an old comrade for the choral singer, in the best sense of the word; at the same time, be demanding in your work.
22. In studying a piece with the choir, show the singers the best musical ideas and details that it contains; by doing this, you will plant within them an artistic sensibility.
23. If you don’t succeed in eliciting a feeling of inspiration regarding the artistic value of the composition performed, your work with the choir will not achieve the desired goal.
24. A conductor who cannot succeed in calling forth a feeling of exalted surprise on the part of the listener is not an artist.
25. If you don’t yourself experience delight, and don’t find joy in your work, then you won’t give anything to the singers. You should consider work of that kind to be pointless.
26. Try to bring liveliness and interest to every dry technical task.
27. Study every singer as an individual; investigate his unique psychology and approach him in a way that is consistent with his personality.
28. Value and respect the choral singer if you want to be valued and respected by the choir; mutual respect and goodwill are a necessary underpinning for artistic work.
29. Remember that the choral art is but one manifestation of human culture.
