RELAXING on a warm afternoon many years ago in his dressing room
at the Ravinia Festival--the North Shore suburban summer home of
the Chicago Symphony Orchestra--Pierre Monteux was discussing con-
ducting with his old friend Walter Piston. "You go like this," he said,
giving his characteristically firm downbeat, "and they begin. It s very
simple." Then his bright little black eyes became more serious. "I re-
member once I conducted the Berlin Philharmonic in the Beethoven
First Symphony. No matter how I tried to beat it, we couldn t begin
the first movement together. You know, it is very hard. Even in the
concert it was not good. A while later, the Berlin Philharmonic came
to Paris with Furtw~ingler. The Beethoven First was on the program,
so I went--just to see. You know how his downbeat was--a sort of
shudder sometimes. That s what he did, and they all came in perfectly."
As an art reaching beyond technique, conducting can no more be
explained in precise terms than can Horowitz s piano tone or the light
in Rembrandt s painting. Real conducting, that is, as opposed to beat-
ing time. All one needs for the latter is some technique and a certain
physical facility. Real conducting involves a lot more. Call it charisma,
if you will--not necessarily the charisma that merely excites the audience
but the commanding personal magnetism that so controls one hundred
musicians that their performance communicates musical excitement to
the audience, despite the fact that every player may regard himself as a
better musician and have a quite different concept of how the music
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