The Art of Leading

“What does art mean to me?” That was the question that started off our opening weekend at the Bronnbach Monastery – quite different from the usual questions about studies or jobs. We – 16 young people who normally deal with economics, law, computer science, natural sciences, or technology – will take a close look at art during the next year as part of the 19th cohort of the Bronnbach Scholarship. Through direct dialog with artists, we will learn more about their work and probably also learn a lot about ourselves.  

I learned three things during this opening weekend with conductor Anna-Sophie Brüning. First: to guide a group, you first need to know what you want. We had never sung together before, had not known each other until a few hours before we started, but Anna, just by her gestures, was able to get us to start singing at the same time, louder or softer, faster or slower. When we then tried conducting out for ourselves, I realized how important it is to give very clear signals. To do this, you first need to know exactly what you want. You do not see leadership most of the time – but conducting is an exception to that rule. 

Leadership was definitely a central theme of this weekend, and my second insight also has to do with leadership: It is possible for things to work without leadership in the classic sense, but only if everyone takes on more responsibility. Anna told us about her experiences with very hierarchical structures at many theaters. The idea of the conductor as a lonely genius is widespread. One example showing that an orchestra without a conductor is possible is the STEGREIF.orchester: This is a collective of 30 international musicians whose concerts are held entirely without sheet music, conductors, and chairs, so as to create more freedom for interaction and movement. The musicians have to prepare and learn the pieces by heart. It is more work and everyone bears responsibility. Anna taught us an art song by Schumann in a very short time, using the “monkey method,” which is when she sings first and we sing after her. It was simple and sounded really good.  

My third realization was that an amazing amount is possible. We were all asked to bring an instrument to the weekend, whether we could play it or not. A piano was on site, and we also had guitars, ukuleles, flutes, drums, a saxophone, an accordion, and two instruments that not even Anna was familiar with, a kalimba and a washboard. Despite this unusual mix of instruments, and even though we had just met, we played a waltz by Shostakovich on the first afternoon. In the morning, none of us would have thought that would be possible.

Text: Lea Rauh / October 2022