One clue: Education

İ advice Denise Ham.

​@@AmericanClownAcademy Thanks for asking. Saito's analysis shows that the Secondary point (that place in space and time when the motion is slowest) is the element that allows players to anticipate the Beat point and to play exactly together with ease. He also describes gestures to enlarge the pallet of expressive motions. He explains how controlling the acceleration and deceleration of the motions helps one express musical ideas through gesture. Those ideas complement those of Maestro Tilson Thomas.

I've seen you from the another video and I think you don't seem to notice how important is the conductor before and at the performance. Please note that I am just an amateur musician and I just giving a "report" of my observation. From what I observe, great conductors don't just analyse and rehearse, but also to inspire the musician because the great instrumentalists already know how to play their instruments. I won't get in too much detail about that, just watch Iván Fischer masterclasses. One instance is in an interview, the timpani player said his orchestra (I forgot what it is) is performing and he notices changes of sound within the orchestra, and then he realises that the reason is Furtwängler enters the room. What great orchestras needed was someone who had something to offer and to challenge them. But of course what I observe is just from great orchestras and great conductors, and I am not sure that is the case for not-so-good orchestras. If you want to know why a conductor is nessesary during a performance, literally just watch any videos of great orchestras and conductors performing Mahler, Bruckner, R. Strauss, Boulez, that kind of thing. Leonard Bernstein and Iván Fischer have the most clear gestures. Or just watch conductor documentaries. That way you can't compare a theatre director to a conductor. And pardon my english.

Yes they do. They typically are in the wings but when they aren’t they usually have stage managers and the like to delegate to. This was a sad comparison.

No, he literally makes the beat by waving his stick. Like. What is wrong with you lol

Haha you really are shallow aren't you sir.

Wow. Crawl back under your rock. Try starting any orchestra without a conductor.

Some orchestras, like the London Mozart Players, do fine without a conductor. Conducting itself didn't become a real profession until the nineteenth century. Before that time sometimes the concertmaster or concerto soloist could give the upbeat, and that was enough. The conductor has to be a good enough musician that other players are interested in following the conductor's vision for the piece. Otherwise, the conductor will just be competing against the good instincts of the players.

My father, who had no musical training, once thought very much like our commenter berighteous. However, after hearing and watching many MTT concerts, especially some of the Mahler symphonies, he came to understand the importance of the skill of the conductor. MTT may be the greatest conductor alive today. He is worth listening to.