The responsibility for planning an orchestra's programs is normally shared between the chief conductor and the artistic administrator. The overall plan for a season is like a huge jigsaw. The chief conductor's periods with his orchestra are fitted in first, then those of the guest conductors and the soloists, most of whom will have worked with the orchestra before. Fresh faces are a good idea, provided they're known to the conductor, the artistic administrator, or someone they both trust. Media hype is an unreliable source of information about guest artists, because many opinions are provided by paid publicists.

Once a “wish list” of guest artists has been made, the artistic administrator contacts their agents to discuss availability and fees. This leads to a reshuffling of the list to fit in with their schedules. Some may be too expensive, but if they like a conductor or an orchestra they may be willing to reduce their fees. Then the whole question of repertory is tackled. The chief conductor naturally has first choice, because he will have strong ideas about developing his orchestra's repertory; the guest conductors and soloists follow. As chief conductor I would always consult an orchestra's artistic advisory committee before planning programs.