not only those qualities of the artist needed by the solo performer, but must in addition be a good business manager, an organizer, a tactician, a diplomat, a taskmaster—in plain English, a good boss. It is primarily because of the lack of these last-mentioned qualities that most musicians fail as conductors. A writer in the Canadian Journal of Music, signing himself Varasdin, sums it up well in the following words:
He who wishes to "carry away" his body of players as well as his audience, the former to a unanimously acted improvisation, the latter to a unanimously felt emotion, needs above all "commanding personal magnetism," and everything else must be subordinate to that.
He must be "very much alive"—(highly accumulated vital energy, always ready to discharge, is the secret of all personal magnetism)—and the alertness, the presence of mind, the acute and immediate perception of everything going on during rehearsal or performance, the dominancy and impressiveness of his minutest gesture, the absolute self-possession and repose even in working up the most exciting climaxes and in effecting the most sudden contrasts—all these are simply self-evident corollaries from our first and foremost requirement.
