Conducting is, above all, a profound exercise in trust: the orchestra trusting the conductor to keep a hand on the throttle, the conductor trusting the orchestra to soar. Conducting, as a distinct profession, only emerged in the mid-19th century, an inevitable result of converging musical and technological developments. An orchestra’s music director hears auditions, plans the repertoire for future seasons, and generally serves as an ensemble’s recognizable face, its ambassador to the public. At its best, the musical connection between an orchestra and a conductor is a profound and mysterious thing. Kleiber asks every member of the orchestra to not play until the other musicians play.