The methodology proposed in Part One underlines basic principles rather than rules. Boulez’s caveat confronts the issue directly: ‘To imitate the gestures of other conductors is completely useless, since it’s a question of length of arm, suppleness of hands, technique with or without a baton, of physiognomy even.’ During their professional lives instrumentalists are directed by a vast number of different conductors, all of whom are distinctive in their techniques and artistry. Their preferences and requirements can be the substance of heated debate in the band room, both positive and negative. But there is considerable agreement on the qualities which make it possible for them to produce an impressive performance, both for the audience and themselves. ‘Clarity of gesture’ is the common call. Nona Liddell recalls her experience with conductors when she was principal violin in the London Sinfonietta. While she acknowledges the clarity, intelligence and assurance of some, it is knowledge of the score which impresses her most. In complex scores it is easy for a conductor to be overwhelmed by the technical issues involved at the expense of the aesthetic characteristics of the music. It is this which concerns her when a conductor fails to ‘internalise’ a performance, so that the gestures become mechanical. When the geometry of the beat is complex there is a danger that exaggeration will obscure the musical endeavour with the perfectly good intention of providing clear direction for the players.

Also a member of the London Sinfonietta, the trombonist David Purser expresses concern when this failure of a conductor to ‘internalise’ (he uses the same word) affects pulse changes. He underlines the importance of expression in the gestural language, no matter how complicated the music becomes. The conductor must ‘go beyond the beating process’ is how he puts it. Ross Pople is a conductor who spent many years as principal cello in the BBC Symphony Orchestra and the London Sinfonietta before founding the London Festival Orchestra. He holds a similar view to that of Purser in stressing that ‘time-beating has no meaning if heart and soul are absent’ and that ‘the conductor has failed if the players do not enjoy the music-making’.