Chamber orchestras are different animals from symphony orchestras, because they are smaller and much of their repertory was composed before baton conducting began. All Baroque and Classical music, and some early-nineteenth-century pieces, were directed from the keyboard or the violin. Orchestras were smaller, playing together by listening and by watching the leader. Modern chamber orchestras have this ability and often perform with a “soloist-director” rather than a conductor.

When I work with chamber orchestras, I enjoy taking full advantage of the players' highly developed ensemble skills. It is even more important than usual not to over-conduct. There's no need to dictate every beat; you can take care of phrasing, rhythmic ebb and flow, balance, and sound quality and generally create the “space” for an orchestra to function at its best.

A chamber orchestra looks to a conductor for leadership, but it's more a matter of “first among equals” than “the big boss.” Sensitive conductors make this adjustment instinctively. When they don't, the musicians' ensemble skills are handicapped, and the orchestra doesn't realize its potential.