Among the major changes that swept through the music industry during the mid-nineteenth century was how musical performances were managed and directed. From a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards, a new orchestral lay-out and a more focused rehearsal regime. The key figure in this process was Michael Costa whose uniquely powerful position in the operatic, symphonic and choral worlds provide a fascinating insight into the politics and changing aesthetics of the Victorian musical landscape.
Among the major changes that swept through the music industry during the mid-nineteenth century was how musical performances were managed and directed. From a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards, a new orchestral lay-out and a more focused rehearsal regime. The key figure in this process was Michael Costa whose uniquely powerful position in the operatic, symphonic and choral worlds provide a fascinating insight into the politics and changing aesthetics of the Victorian musical landscape.
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