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16. Ibid., 40.

17. Erich Leinsdorf, The Composer’s Advocate—A Radical Orthodoxy for Musicians (New Haven, CT: Yale University Press, 1981), 60–62.

18. Felix Weingartner, “On the Performance of Beethoven’s Symphonies”, trans. Jessie Crosland, in Weingartner on Music and Conducting: Three Essays by Felix Weingartner (Leipzig: Breitkopf and Härtel, 1906; New York: Dover Publications, Inc., 1969), 57–234.

19. Ibid., 10.

20. Ibid., 13.

21. Felix Weingartner, “On Conducting”, trans. Ernest Newman, in Weingartner on Music and Conducting: Three Essays by Felix Weingartner (Leipzig: Breitkopf and Härtel, 1895; New York: Dover Publications, Inc, 1969), 1–56.

22. David Wooldridge, Conductor’s World (London: Barrie and Rockliff, The Cresset Press, 1970), 310.

23. Elliott W. Galkin, A History of Orchestral Conducting (Stuyvesant, NY: Pendragon Press, 1988), 659.

24. Bernard H. Haggin, The Toscanini Musicians Knew (New York: Horizon Press, 1980), 16.

25. Ronald Taylor, ed. and trans., Furtwängler on Music (Aldershot, U.K.: Scolar Press, 1991), 8.

26. Ibid., 11.

27. Ibid., 12.

28. Yehudi Menuhin, Unfinished Journey (London: Futura Publications Limited, 1978), 294.

29. Roy Howat, “What Do We Perform?” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995), 4.

30. Hubert Toney, Jr., “Expressive Ensemble Conducting and Performance: A Qualitative Case Study of One Conductor’s Practice” (PhD diss., University of Illinois at Urbana-Champagne, 2000), 4.

31. Goehr, 169.

32. Leonard Bernstein, The Joy of Music (London: Weidenfeld and Nicolson, 1959), 122.

33. Helena Matheopoulos, Maestro: Encounters with Conductors of Today (London: Hutchinson Publishing Group, 1982), 229.