The Conductor and the Orchestra

The ability to successfully direct and inspire 90 to 100 talented musicians to perform as one unit is often attributed to the conductor′s charismatic powers. The influence of the player as part of an interactive process is generally neglected. Examines these assumptions both by reference to the literature and from interviews with both conductors and musicians. Discusses leadership theories appropriate to the orchestral setting including a distinction between socialized and personalized charismatic leadership. The leadership‐followership process in the orchestra is seen as having three distinct phases; the testing phase, the working stage and the inspirational stage. Suggests implications for leadership in more generalized management settings.