What does a conductor actually do? How much effect does he or she have? Can the orchestra manage without one? Why don't the players look at the conductor more? Is it necessary for the conductor to play every instrument? What about interpretation? What happens at rehearsals? Why do some conductors “thrash around” more than others; does it mean they're more talented or more involved? Who's the boss in a concerto, the soloist or the conductor? How do the orchestra members manage to play together for somebody whose beat looks unclear? How does a young conductor learn the job and start a career?

These are some of the questions I've addressed in this book; they appear as topics (e.g., beat, ear, ego, memory, nervousness, rehearsing, tempo) under various headings (e.g., “The Conductor's Mind,” “The Conductor and the Musicians,” “The Conductor, the Composer, and the Score”). Each article begins with an anecdote or saying and ends with quotes from musicians, often expressing opposing views. Naturally, many topics are interrelated. Some are more technical than others, but they are all accessible to music lovers. There are suggestions for further reading and the occasional cartoon.

I feel strongly that we need to keep our connection with the great conductors of the past who've “passed the baton” on to us. As a young player, I was fortunate enough to work with Charles Munch, Jascha Horenstein, Vittorio Gui, and Adrian Boult—all of whom were around in the days of Arthur Nikisch (a favorite of Tchaikovsky), Fritz Steinbach (a favorite of Brahms), and Hans Richter (Wagner's assistant).