Hidden Mojo

Last Friday, thanks to Traci Fenton (a friend of HiddenMojo), Eric and I had the pleasure of attending a rehearsal by the Orpheus Chamber Orchestra. This orchestra is unique because it doesn’t have a conductor (an idea that’s subversive and thought of as unworkable in orchestral circles, I’m told). Orpheus is based in New York, and has been around for more than 30 years.

According to this article in The Economist, Orpheus cellist Eric Bartlett nails why successful collaboration drives greater performances: “If even a great conductor is empowered to make all the important decisions musicians start to play in a more passive way. Orpheus has removed a barrier between the audience and the music, the conductor himself.”

Never having attended a rehearsal, I wasn’t certain what to expect, but I was excited to see an example of a self-organized democratic organization first-hand.

After watching Orpheus rehearse for 2+ hours, and speaking with the General Director of Orpheus, Graham Parker, and Managing Director Ronnie Bauch–both charming and gracious fellows–here’s what I learned about how Orpheus works:

• Leadership is contextual. Depending on the piece, a violinist could be the first row, first violin–the most prestigious position in an orchestra if you’re a violinist–or in a lesser role. Some musicians would even move to the audience to provide feedback from a different perspective. This role rotation forces musicians to try new things and see things from a different perspective. Because everybody leads at some point, people are more understanding when either leading or being led, knowing that they will be in the opposite role sooner or later.
• Egoless communication. Between pieces, nearly all the musicians were engaged in conversation with each other about how to make the piece better. The key here is that nobody seemingly took the feedback personally. There was a level of trust that everybody was focused on creating the best possible performance, and thus feedback was welcomed.
• Expectation of participation. Anybody was free (and expected) to interrupt the group while playing a piece to provide feedback. I learned this is in contrast to a conductor-led rehearsal, where the conductor is the only person that talks (”if you talk, you get fired”, said one Orpheus musician to me.)
• Fun! It was clear that these folks were focused on achieving something difficult and great, but much like a sports team, the playful jokes and laughter flew fast and furious. These people were passionate professionals, who know that it’s important to laugh and have fun when achieving greatness.

Seeing Orpheus rehearse was a fascinating example of how a democratic organization operates successfully. The principles are somewhat antithetical to American individualism: in some cases, it’s necessary to put aside one’s ego for the achievement of the group. But the end effect is worth it: Orpheus plays beautifully, because each musician plays as well as they can for him or herself, and for the group. It was inspiring to see a leaderless group produce something so beautiful. I highly recommend seeing the Orpheus Chamber Orchestra if you get a chance, because both the product and the process are special.