ABSTRACT
Conductors must perform not only beautiful, sublime music, but also music that recounts past and present horrors and injustices. Conductors should beware of the antiphrasers—singers who do not see the finish line, but only recurring hurdles they must jump over, with no other goals in mind. Crescendo gestures should always be angled up, and cuing gestures and fermatas always down. Taking music at a slower pace at the beginning of the rehearsal process is clearly beneficial and recommended. As the singers become more and more comfortable with the notes, words, and rhythms, conductors will want to get closer and closer to the actual tempo. Composers will relish the fact that different performances of the same piece will have the imprints of multiple interpreters, and will sound somewhat distinct. There must be a respectable balance, however, between interpreting and remaining true to the intentions of the composer. You must stay within the confines of what is perceived as the composer's wishes.
