Itay Talgam did not mean to address this question when he appeared at Google\u2019s 2008 Zeitgeist Conference, but he inadvertently offered an answer. Talgam, a renowned Israeli orchestra conductor, stood on a small semicircular stage wearing a wrinkled cotton polo shirt with a sweater draped over his shoulders, his sparse hair shooting in several directions. For a half hour, his presentation of how conducting could be a metaphor for transformational management hushed the audience. Music is \u201cnoise,\u201d he began, and what the conductor does is \u201cmake a large group of people work in harmony.\u201d<\/p>\n\n\n\n
Scanning a century\u2019s worth of conductors, he chose to discuss five. Each was outstanding, he said, but only two were transformational. The lights went down and on a large screen appeared a video clip of the autocratic Riccardo Muti, whose stern face and robotic baton movements brought forth from his orchestra no \u201cjoy,\u201d and suppressed the development of individual artists. Muti\u2019s \u201cexpression never changes,\u201d Talgam said. \u201cHe tells everyone what to do. He is a micromanager.\u201d The second conductor was Richard Strauss, who seemed to be in another place as he mechanically moved his arms, granting his orchestra more freedom but imposing no authority and offering no inspiration. The third was Herbert von Karajan, who never looked at his orchestra and also failed to inspire. The fourth was Carlos Kleiber, whose face was filled with rapture as he conducted and who, Talgam said, \u201ccreates a process\u201d and \u201ca feeling of freedom\u201d while also conveying \u201cauthority.\u201d Notice, he said, the way Kleiber shot a disapproving glance at a soloist.<\/p>\n\n\n\n
Talgam saved his favorite conductor for last. With the fifth clip, we were treated to a video of Leonard Bernstein welcoming an orchestra of high school students from around the world who had been granted one week under his direction to perform Stravinsky\u2019s The Rite of Spring. The first day of practice, the makeshift orchestra was discordant. But Bernstein did not wield a baton as a symbol of his \u201cauthority,\u201d Talgam noted. Instead, he stopped the music and spoke of the feelings Stravinsky sought to evoke, of the smell of spring grass, of waking animals. \u201cHe empowers people,\u201d Talgam said, \u201cby telling them that their world is larger than they think.\u201d Cut to a week later, and the high school orchestra sat attentively before Bernstein, who looked on with obvious satisfaction as an assembly of young strangers achieved musical harmony. Without a baton, arms folded, Bernstein conducted only with facial expressions\u2014a curled lip and lowered head for the basses, a raised eyebrow for the higher strings, a nod to the horns, an extravagant smile for the finale. Talgam did not need to tell the audience what they had seen. It was a sublime management seminar demonstrating how unusual leaders liberate those who follow. Bernstein was the boss, but he was not an autocrat. He managed to coax the best out of his orchestra, to make them part of a community.Excerpted from Page 284-285 of \u2018Googled: The end of the world as we know it\u2019 by Ken Auletta<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"