for it — a violin doesn’t have the same range as a bassoon, nor should it try to play that part. It must play its own part. It might be simpler to play without, say, the horn section — but imagine what you would lose — the timbre, the power and the force. “Third, you have the performers. The best performer must play a team role when asked and must also do a solo performance when it is called for. By the way, many of these performers are virtuosos; many are tremendous leaders in their own right. Sometimes they’re conductors and I’m a performer. And whenever I play the performer role, I do it with all my heart. Joe, perhaps you’ve noticed that during a performance, the conductor’s back is to the audience. The conductor focuses on bringing out the best in the performers, who in turn will inspire the audience — the conductor never plays a note. “Fourth, you have the conductor or leader. The conductor cannot change the notes, but can in昀氀uence the interpretation via a number of nuances, such as tempo or dynamics. However, they must be used with discretion so as not to tamper with the essence of the composition. The leader, as I mentioned before, is not necessarily the most talented. He or she must inspire all in the orchestra to perform at their best. Sometimes that means being 昀椀rm; sometimes it means being sensitive. “And 昀椀fth, you have the nuances or attributes, such as tempo, timing, syncopation, dynamics, and yes, passion — these can all be great in昀氀uencers of your music. Here, again, the conductor can make a huge difference. I sometimes feel I have to work harder than the musicians themselves to bring out their best — I use dynamics, inspiration, or whatever is appropriate for the piece, to do that. I think that’s why they like my conducting — they, too, want to be part of something great. “Joe, you told me tonight that our performance of Beethoven’s Fifth was the best you had ever heard. I submit that all of these 14