Igor Stravinsky has been praised as one of history’s greatest composers. His influence on other composers such Aaron Copeland is well-known. Stravinsky once said, “Conducting attracts few original minds, just like politics.” He was conveying the message that conductors were “unqualified”, “unequipped,” or “arbitrary” in their positions, but could still maintain “arbitrary authority,” because they excel at “power politics.”

Stravinsky also makes it clear at the very beginning that conducting and politics have many things in common. He claims that conducting and politics are more about making careers and exploiting personalities than being a discipline that requires exactness and standardization. This means that neither profession has a set of strict rules.

He continued to say “society woman (including criticism)” were more interested in observing the conductor’s “informality,” rather than his “musical abilities.” This may be a hint that spectators and critics alike are more amused by the informality of the conductors than they are by the musicians. Stravinsky wanted to show that a conductor can distract an audience from listening to music and make them become viewers.

The fact that he says that a musician can be less well-equipped for their work than the conductor, helps to emphasize that the conductor is a lesser position. Then he mentions “his [the director’s] career” does not depend on the musicians. It is almost ironic, given that a conductor can be regarded as the most valuable musician, even if he is “incomplete.”

Stravinsky’s second paragraph diagnoses conductors for having the “ego disorder,” claiming that their “ego levels were already high.” He continues by stating, “the disease grows under the tropical sun of pandering audiences,” which is an analogy that represents how the audience has contributed to the popularity of this phenomenon. It also illustrates how they encourage the performer to “impose an arbitrary, false and egotistical authority” on the conductor.

Stravinsky said that conductors who are prone to attention-seeking tend to focus on their appearance instead of how they make music sound. Even reviewers have fallen into this trap. They describe the conductor as a person rather than what he does.

Then, as a final blow against conductors, in a Coup De Grace, he sums up all he has said: “If the music is too difficult to hear, you can watch the corybantics. If you are able to do so, you should not go to the concert.” He uses an example of a film-actor conductor “acting” out his version of Napoleon’s Eroica to make his point. As a Coup de grace and final blow to conductors the author summarizes everything he said.