I have a big problem with conductors who gesture a lot.
From James Levine
There is no relationship between the gestures and what an orchestra will do.
Where my tastes in music are concerned, I'm a real maximalist.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
Great cataclysmic things can go by and neither the orchestra nor the conductor are under the delusion that whether they make this or that gesture is going to be the deciding factor in how it comes out.
When they are performing in front of the public, they ought to have a sensation that's relatively easy, if the technical and the interpretive work was done before.
I can imagine wanting to work with this ensemble and this company always.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
At my age, you are naturally inclined towards teaching.
What's interesting is that both men and women are struggling with this issue in remarkably similar percentages, but the big difference is that women tend to talk about this when men keep it silent.
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