When people think about conducting, they often imagine control – a person standing on the podium, shaping the music with clear authority. While there is truth in that image, I have come to understand that leading an orchestra today is much more complex. It is not about control, but rather, it is about listening, trust, collaboration, and the ability to bring together many individual voices into a shared artistic vision.
Over the years, as I have worked with orchestras across different countries and musical traditions, my understanding of leadership has continued to evolve. Now, as I step into my role as Orchestra Conductor and conducting faculty member at the Altschuler Summer Music Institute in Italy, I find myself reflecting even more deeply on what it truly means to lead.
Leadership Begins with Listening
One of the most important lessons I have learned is that leadership begins with listening. Before a conductor can shape the sound of an orchestra, they must understand the musicians in front of them. Every ensemble has its own character, its own strengths, and its own way of communicating.
Listening goes beyond hearing the notes – it involves observing how musicians respond, how they interact, and how they interpret the music. In rehearsal, I often spend time allowing the orchestra to play and reveal its natural tendencies and encourage the musicians to really listen to each other. From there, I can guide the ensemble more effectively, building on what is already present rather than imposing something artificial that isn’t part of the orchestra’s DNA. It can very well be the case that the way in which a musician performs a particular part might make me rethink about how I’d like that segment of the music.
This approach creates a sense of trust. Musicians feel heard, and in return, they are more open to collaboration and direction.
Clarity and Communication
While listening is essential, clarity is equally important. A conductor must communicate ideas in a way that is both precise and expressive. This happens through gesture, eye contact, and sometimes words, but it always requires intention. Audiences generally don’t know how little time a conductor has in rehearsal with an orchestra. Unfortunately, the economics of the artform (specifically, classical orchestral music), don’t allow for any mismanagement of time or too much experimentation. The conductor, while allowing the musicians to be expressive, has to guide them very effectively and efficiently.
I have found that the most effective communication is entering the rehearsal with a clear idea of what I’d like to communicate, and doing so with very clear gestures, thoughtful phrasing, and without encompassing the overly affective tendencies that often overcome conductors, which can confuse musicians rather than allowing them to respond naturally. Overcomplicating communication and gestures can create confusion and a mess. Yes, it might look very impressive when audience members view the conductor in a concert and see these grand, impressive, overly excited gestures. But I can guarantee you that the orchestra members often have little patience for that and can often be more frustrated and confused. Simplicity, when supported by a deep understanding of the music and the arc of the music, leads to stronger results.
When teaching conducting students, this is something I emphasize repeatedly, and breaking the terrible, confusing habits they have watched or learned in the past can be difficult to overcome. Learning how to communicate clearly is one of the most important skills they can develop. It allows them to lead with confidence while remaining open to the ensemble.
Balancing Authority and Collaboration
Conducting requires a balance between a command of the music (not authority in a traditional sense) and collaboration. The conductor must make decisions, shape interpretation, and guide the overall direction of the performance in time and at the moment- no two performances are the same and one must be ready to react to the sounds and guide the orchestra instantaneously. At the same time, music is a collective art form. The best performances emerge when musicians feel a sense of shared ownership. This is to say while having command over the music, one must never act as the dictator on the podium. This kind of behavior is a remnant of the “old style” of conductors, which was never appreciated by musicians and often didn’t result in the most inspired performances.
I approach this balance by creating space for input while maintaining a clear vision. During rehearsals, there are moments when I invite discussion or adjustment, especially when working with contemporary or unfamiliar repertoire. At other times, decisive leadership is necessary to maintain focus and cohesion.
This balance is not fixed. It shifts depending on the ensemble, the repertoire, and the context. Learning how to navigate it is part of the art of conducting, which takes time to develop.
The Role of Preparation
Strong leadership on the podium begins long before the first rehearsal. Preparation is essential. Studying the score, understanding its structure, and internalizing its details allows a conductor to lead with confidence and clarity. I was deeply influenced by the idea of conducting by memory, a practice passed down through my teachers. This approach forces a complete understanding of the music while freeing the conductor to engage fully with the orchestra, rather than being tied to the page.
When a conductor is well prepared, rehearsals become more focused and productive. Musicians can sense this preparation, and it builds confidence in the leadership of the ensemble. There is a saying that some conductors have their “head in the score” while others “have the score in their head.” The latter approach definitely yields much better results.
Teaching Leadership Through Experience
At the Altschuler Summer Music Institute, I have the opportunity to work closely with young conductors who are developing their own leadership style. One of the most valuable aspects of this program is that students learn through direct experience. They step onto the podium, work with the orchestra, and face the real challenges of leading in the moment.
In these settings, I encourage them to think not only about technique, but about presence – how do you stand – how do you breathe and how do you create an atmosphere where musicians feel focused and inspired. These elements are just as important as the mechanics of conducting. Each student brings a unique personality to the podium. My role is to help them refine their approach while staying true to who they are as artists.
Leadership Beyond the Podium
The idea of leadership extends beyond conducting. It applies to how we build ensembles, collaborate with artists, and engage with audiences. In today’s musical landscape, conductors are often involved in programming, outreach, and the development of new projects.
This broader view of leadership requires flexibility and vision. It means thinking about how music fits into a larger cultural context. It also means finding ways to make performances meaningful and accessible to diverse audiences. In my own work, including multimedia projects and collaborations, I have seen how leadership can shape not only the performance itself, but also the experience surrounding it.
Building a Shared Experience
Ultimately, leading an orchestra is about creating a shared experience. It is about bringing together musicians, composers, and audiences in a moment of connection. The conductor serves as a bridge, guiding the flow of energy and shaping the overall narrative of the performance.
When everything comes together, there is a sense of unity that goes beyond individual roles. The music becomes something larger than any one person. This is the goal of every performance, and it is what continues to inspire me as a conductor. A great performance involves the conductor inspiring the musicians, and in turn, the musicians inspiring the audience. Of course, it matters that the audience has some relation to the music to begin with – it’s much easier to communicate a Beethoven symphony to the audience than a contemporary piece that they’ve never heard before. But that’s precisely the task of the musicians – to allow the audience to have the space to experience the contemporary piece. Moreover, one of the reactions I often get from an audience member when presenting them with a “challenging,” contemporary piece of music, is “I don’t understand this music.” My response is always the same – don’t worry about understanding the music – just allow yourself to have an experience with it. We don’t always understand every piece of art we come across, but we can allow ourselves to have an experience with the it.
Looking Ahead
As I continue my work at the Altschuler Summer Music Institute and beyond, I remain committed to exploring what it means to lead in today’s world. Leadership in music is not static. It evolves with each experience, each collaboration, and each new generation of musicians.
For me, the process is ongoing. Every rehearsal offers a chance to listen more carefully, communicate more clearly, and connect more deeply. Leading an orchestra is both a responsibility and a privilege – a really great privilege – and it is one that I approach with curiosity, respect, and a desire to keep learning.