How much does a conductor actually control? According to Thomas Beecham, to describe conducting as “controlling an orchestra” shows a total misunderstanding of its function. But Beecham knew full well that his orchestra played at the tempo he wanted, with the shape and artistry he expected. His “control” was subtle, an instinctive part of his natural genius. One of his violinists said, “Beecham just hired the best musicians and let us play.” He got everything he wanted from his orchestra, yet he gave them the feeling they were playing how they liked. That's the heart of the matter. J. Cuthbert Hadden, writing in 1914, quoted Arthur Nikisch: “The tactics of the conductor culminate in letting each performer think that he is carrying out his own conception, when he is really subjecting himself to the conception of the conductor.” Felix Weingartner, in his book on conducting, describes how free an orchestra felt when Wagner conducted, yet everything worked wonderfully together: “Wagner's mighty will … had overborne their single wills.”

Conductors' styles of leadership vary. Some are more tolerant than others, enjoying different ways of playing as long as they all fit with the “bigger picture”; most of the veteran conductors I played for had this tolerance. Others think there's only one “right” way to play every note; their overall vision includes the integrity of the details. Members of one famous orchestra complain that they can't play a single note without referring to their conductor, who (unlike Beecham and Nikisch) doesn't give them the feeling of playing how they like.