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138. What Self-Management Sounds Like with James Wilson and Alexander Scheirle
At Work with The Ready
Orpheus - The Real Power Structure of the Orchestra
I'm curious just to kite together a couple of things that we've already heard from you. So the observation that things got a little looser or less engaging as you worked your way back through the section, as like, distance from explicit power holder in the conductor did something. And then also imperious about this dynamic of some one like the concert ser it the difference between folding power who's actually part of the section and also a player in the ensemble verseis a conductor who's sort of outside of the work. What are some of your observations about, about that dynamic ther the performance?
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