Universal leadership examples
TODO:
- This is draft version
- Spell check
- make sure all sources are listed
- search for additional data sets to complete analysis
Intro
In the company I work, every person is referenced as leader. We are leaders! Even if feels like corporate giberrish, before discarding it, lets be rational and look into the topic.
After I was promoted to L6 SDE, I started researching different examples to leaders in development. To become better at the role, and help others with it. I have found a ton of books and articles about Torvalds, Steve Jobs, Jeff Bezos, Gates, Turing and others.
But this list has one huge problem, they all are outliers in the dataset. They do not have a single long running team I could research.
I started researching from books, and trying to find patters in communication between Dota 2 teams. And then - I got lucky, my colleague invited me to a small friends event, where one well known musician will present a lecture about types of orchestra conductors. And that just clicked!
Why orchestra conductors?
First of all, these are established "development" teams, successfully running since 1600. Then have been evolving, going up, and down. And finally they are still successful. Lastly, orchestra is a place, where roles are as clearly defined as possible, therefore it is easier to analyze influence of each person in the ansamble.
Role of Conductor
Have you seen people trying clapping together? The sound is always non monotonic. Unless there is a some synchronization mechanism. The Leader is the one that takes the role. Each, in their unique way!
What do they have? They have notes, but not just notes, special notes, with tempo markings, and every instrument plan.
Does it look similar to anything you know?
- Yes! This is a typical project plan!
Project, or overview or some knowledge of where the team/entity should move to. This is what leaders have, the first distinct feature. Now when we know what leaders have, lets see what types there are.
Archetypes of conductors
Lets walk thought examples of conductors and learn from them. Listed types are identified based on research data, of successful Orchestra. More to it, in the data analyzed I have checked, have next parameters:
- success of the Orchestra with concrete type of Conductors;
- duration of success
- attrition - how frequently people leave Orchestra to move to other
- location
- current music director
- key achievements
1: Authoritarian
Two examples: Herbert von Karajan and Riccardo Muti
Authoritarian, perfectionist, focused on sonic beauty and precision.
Stylish, and sexy, he had his own distinctive sound to everything. Was pushing people to perfection, the one, only he could see.
Great example of successful authoritarian conductor. The man is a legend, like Big Getsby traveling the world, partying, living the life to fullest.
And pushes everyone to the edge of quality. Hist style could have been dictated by the times he lived.
He was successful for 35 years, till the very end of his career. Interestingly, he has low attrition rate.
But it is hard to understand, if people refused to leave due to success of the company or his leadership style.
Or good salary of one of the most successful orchestra in the world.
On the other side of authoritarian bar of conductors is Riccardo Muti.
Principled, uncompromising, demanding high standards - frequently conflicting with musicians, musical directors and principal conductors. He is also great with words, and strong with persuasion. He was not afraid of working under pressure, and taking most complex tasks, such as Orchestras during hard time, with not money, and no popularity. During his Awards acceptance he made a great and funny speech, and notable words:
"Behind the notes there's infinity - and that means God, and we are too small before God."
On the other side, his, and others authoritarian leaders, usually see higher attrition rate than other leadership styles.
2: Expressive/Emotionally-Centered Style
Here I will give you only one example: Arturo Toscanini Passionate, demanding, emotionally intense with focus on composer's intentions. A person with passion, and idea, first to create radio orchestra. The one to believe in what he was doing, and passionately, following it till the end. Once he retired, the orchestra closed itself. His passion was driver of change and perfection.
Here success is very random, it can be extremely successful, or quite opposite. Toscanini had low attrition rate.
"I would like to thank God for the fact Toscannini never heard me playing the guitar." - Random Youtube comment.
At one time Toscanini shared the podium with conductor Willhem Mendelberg. Toscanini did not like Mendelberg conducting and the two artists quarreled constantly about interpretation Beethoven's music. On conducting a certain overture, Mendelberg told Toscanini that he had the true interpretation of the work because he had gotten it through a friend, who was a friend of a friend of Beethoven himself. Toscanini muttered "BAH" and replied.
" I got the true interpretation from Beethoven himself -- THROUGH THE NOTES"
On the other side, Leonard Bernstein while being a genius, he has 8-12% attrition rate. And still successful.
3: Distinctive Approaches
From the video of different conductors, if we remove the sound, can you guess, when to start playing your part? Can you? - I can't!
And during interviews with musicians, on what helps them understand when to start playing. They mostly answer - other musicians, other teammates. Same happens a lot in tech teams, they follow other teammates, in each situation a different one but usually for a reason. At that point your teammate - he is the leader, or you are.
Maybe then you do not need a team/tech lead? Lets see how that works on example of orchestra!
Have a look on classic Symphonic Orchestra Structure:
It has a very Conductor-centric everyone is looking at Conductor, he is the one to set up the pace of the play.
After searching for all of the approaches to Orchestra structure, I have found one that is different.
Persimfans. It is one and special as it doesn't have a Conductor.
See how they are looking at set of other participants, they follow each other, they learn from each other. They are not the only ones, there are more self governed teams. Some of them have Conductors they invite, but still play on their own. They make Conductor adapt to their style instead of opposite.
There is no clear Attrition rate I could find, but they all had something in common: each brought something new or unique to the scene.
4: Democratic approach
Democratic approach is only slightly different from Distinctive. People group up, share their ideas, pick the music together. Conductor can't scream, has no punishing power, but can inspire, ignite the idea and bring passion and ideas. The share responsibility with the team and are trying to build single goal to reach together.
They usually struggle at the start, it takes longer to find a common ground between people, but once reached, it has all the chances to become awesome! Here is example of rehersal about Alondra de la Parra. Young and promising Mexican Conductor.
And now, after some time, actual concert:
Notice how people are listening to her, how they follow her lead, while she can let them lead certain parts.5: Common Understanding
TODO: Leonard Bernstein
Conclusion
Thank you for reading my article. I write them to share what I learn, and what I believe is fun and interesting. Leadership is more complex than 5 types, and your skills as a leader is a combination of each type, and maybe more! Each new challenge, will require adjusting the values in our skill matrix of leadership, picking what is the best for specific problem.
References
- appreciateopera.com
- Burlakas.ru
- Orchestrasforall resources and data
- Bernstein's 5th symphony
- Project planning
- Ted talk from Orchestra conductor about leadership
World's Orchestras: Notable Successes and Challenges
Authoritarian/Demanding Perfectionist Style
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Berlin Philharmonic | Berlin, Germany | Herbert von Karajan | 1955-1989 | Considered one of the world's finest orchestras; extensive recording catalog; Digital Concert Hall pioneering | Low (3-5%) | Elite international touring orchestra with distinctive sound | Authoritarian, perfectionist, focused on sonic beauty and precision |
| Cleveland Orchestra | Cleveland, USA | George Szell | 1946-1970 | Precision playing; residencies in Miami, Vienna; educational programs | Very Low (2-4%) | Elite American orchestra known for technical excellence | Demanding perfectionist, strict disciplinarian |
| New York Philharmonic | New York, USA | Jaap van Zweden | 2018-2024 | Oldest orchestra in the US (est. 1842); Young People's Concerts | Moderate (8-12%) | Historic American orchestra with extensive international touring | Precise, demanding, detail-focused |
| Rome Opera Orchestra | Rome, Italy | Riccardo Muti (before resignation) | Resignation in 2014 | Labor disputes; governance issues; financial instability | Very High (25-30%) during crisis | Diminished international standing; primarily regional importance | Principled, uncompromising, demanding high standards |
Collaborative/Democratic Style
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Royal Concertgebouw Orchestra | Amsterdam, Netherlands | Mariss Jansons | 2004-2015 | Named "World's Greatest Orchestra" by Gramophone (2008) | Low (4-6%) | Top-tier international orchestra known for exceptional acoustics and balance | Collaborative and warm, emphasizing orchestral cohesion and natural sound |
| Boston Symphony Orchestra | Boston, USA | Andris Nelsons | 2014-present | Tanglewood Music Festival; Grammy-winning recordings; BSO NOW digital content | Low (5-7%) | Historic orchestra with strong international reputation | Emotionally expressive, collaborative |
| Bavarian Radio Symphony Orchestra | Munich, Germany | Simon Rattle | 2023-present | Exceptional recordings; radio broadcasts; festival appearances | Low (3-5%) | Elite European orchestra with distinctive sound and growing reputation | Democratic, animated, emphasis on transparency and color |
Energetic/Inspirational Style
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Los Angeles Philharmonic | Los Angeles, USA | Gustavo Dudamel | 2009-present | Innovation in programming; Walt Disney Concert Hall; community engagement | Low (4-7%) | Highly regarded modern orchestra known for contemporary programming | Energetic, inspirational, spontaneous |
| London Symphony Orchestra | London, UK | Sir Antonio Pappano | 2024- | Film scores (Star Wars, Harry Potter); extensive recording catalog | Moderate (7-10%) | Leading UK orchestra with global reputation and touring schedule | Passionate and energetic with operatic flair |
| Philadelphia Orchestra | Philadelphia, USA | Yannick Nézet-Séguin | 2012-present | Filed for bankruptcy (2011); financial struggles despite artistic excellence | High (15-20%) during bankruptcy period | Once among "Big Five" US orchestras; rebuilding reputation after financial crisis | Energetic, communicative, emotionally direct |
| Not in original data | Not specified | Alondra de la Parra | Not specified | Not specified | Not specified | Not specified | Dynamic, charismatic, culturally innovative with emphasis on accessibility and energy |
Analytical/Intellectual Style
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Los Angeles Philharmonic | Los Angeles, USA | Esa-Pekka Salonen | 1992-2009 | Innovation in programming; Walt Disney Concert Hall; community engagement | Low (4-7%) | Highly regarded modern orchestra known for contemporary programming | Analytical, intellectual, innovative |
| Cleveland Orchestra | Cleveland, USA | Franz Welser-Möst | 2002-present | Precision playing; residencies in Miami, Vienna; educational programs | Very Low (2-4%) | Elite American orchestra known for technical excellence | Reserved, meticulous, focused on clarity |
| Orchestra of St. Luke's | New York, USA | Bernard Labadie | 2018-present | Financial instability; scaling back of operations; restructuring | Moderate-High (12-15%) | Chamber orchestra with diminished national profile | Historically informed, specialist in Baroque and Classical repertoire |
| KBS Symphony Orchestra | Seoul, South Korea | Pietari Inkinen | 2022-present | Government funding cuts; labor disputes; audience decline | High (18-22%) during crisis period | Primarily national presence; limited international recognition | Systematic, methodical, focused on rebuilding fundamentals |
Expressive/Emotionally-Centered Style
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| New York Philharmonic | New York, USA | Leonard Bernstein | 1958-1969 | Oldest orchestra in the US (est. 1842); Young People's Concerts | Moderate (8-12%) | Historic American orchestra with extensive international touring | Charismatic, theatrical, emotionally expressive |
| NBC Symphony Orchestra | New York, USA | Arturo Toscanini | 1937-1954 | First orchestra created specifically for radio broadcasts; recordings set new performance standards | Low (3-4%) | Elite orchestra during Toscanini's tenure; disbanded after his retirement | Passionate, demanding, emotionally intense with focus on composer's intentions |
| Berlin Philharmonic | Berlin, Germany | Kirill Petrenko | 2019-present | Considered one of the world's finest orchestras; extensive recording catalog; Digital Concert Hall pioneering | Low (3-5%) | Elite international touring orchestra with distinctive sound | Reserved, humble, detail-oriented with emotional depth |
Distinctive Approaches
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Vienna Philharmonic | Vienna, Austria | Self-governing | Various guest conductors | Annual New Year's Concert; Salzburg Festival; unique playing tradition | Very Low (2-3%) | Prestigious orchestra with signature Viennese sound and extensive touring | Self-governing collective leadership; guest conductors must adapt to orchestra's traditions |
| Mariinsky Theatre Orchestra | St. Petersburg, Russia | Valery Gergiev | 1988-2022 | Historic opera and ballet performances; extensive touring | Moderate (8-12%) | Russia's oldest orchestra with strong international presence | Intense, improvisational, often using minimal gestures with focus on dramatic build |
| Boston Symphony Orchestra | Boston, USA | Seiji Ozawa | 1973-2002 | Tanglewood Music Festival; Grammy-winning recordings; BSO NOW digital content | Low (5-7%) | Historic orchestra with strong international reputation | Graceful, fluid, emphasis on color and balance |
| London Symphony Orchestra | London, UK | André Previn | 1968-1979 | Film scores (Star Wars, Harry Potter); extensive recording catalog | Moderate (7-10%) | Leading UK orchestra with global reputation and touring schedule | Versatile and accessible, bridging classical and popular worlds |
| Tokyo Symphony Orchestra | Tokyo, Japan | Kazuyoshi Akiyama | 1964-2004 | Suntory Hall performances; international collaborations; extensive recordings | Low (4-6%) | Japan's leading orchestra with growing international reputation | Precise, methodical, blend of Western technique with Japanese sensibility |
| Detroit Symphony Orchestra | Detroit, USA | Jader Bignamini | 2020-present | Six-month musician strike; financial restructuring; community reengagement | High (20-25%) during/after strike | Regional orchestra rebuilding after near-collapse | Collaborative, community-focused, rebuilding trust after crisis |
Crisis Management Leadership
| Orchestra | Location | Current/Notable Music Director | Notable Period | Key Achievements | Attrition Rate | International Status | Leadership Style |
|---|---|---|---|---|---|---|---|
| Minnesota Orchestra | Minneapolis, USA | Osmo Vänskä | 2003-2022 | 16-month lockout (2012-2014); Grammy wins despite organizational turmoil | High (15-20%) during lockout | Recovering international reputation after labor crisis | Persistent, resilient, maintained artistic standards through crisis |
| Orchestra | Location | Current Music Director | Notable Period | Key Achievements | Attrition Rate | International Status |
|---|---|---|---|---|---|---|
| Berlin Philharmonic | Berlin, Germany | Kirill Petrenko (2019-present) | Herbert von Karajan (1955-1989) | Considered one of the world's finest orchestras; extensive recording catalog; Digital Concert Hall pioneering | Low (3-5%) | Elite international touring orchestra with distinctive sound |
| Vienna Philharmonic | Vienna, Austria | No principal conductor (self-governing) | Various guest conductors including Muti, Barenboim | Annual New Year's Concert; Salzburg Festival; unique playing tradition | Very Low (2-3%) | Prestigious orchestra with signature Viennese sound and extensive touring |
| Royal Concertgebouw Orchestra | Amsterdam, Netherlands | Klaus Mäkelä (2027-) / Guest conductors | Mariss Jansons (2004-2015) | Named "World's Greatest Orchestra" by Gramophone (2008) | Low (4-6%) | Top-tier international orchestra known for exceptional acoustics and balance |
| London Symphony Orchestra | London, UK | Sir Antonio Pappano (2024-) | André Previn (1968-1979) | Film scores (Star Wars, Harry Potter); extensive recording catalog | Moderate (7-10%) | Leading UK orchestra with global reputation and touring schedule |
| Chicago Symphony Orchestra | Chicago, USA | Riccardo Muti (2010-2023), Jessie Montgomery (from 2027) | Georg Solti (1969-1991) | 62 Grammy Awards (most by any orchestra); distinctive brass section | Low-Moderate (5-8%) | Major American orchestra with international reputation |
| New York Philharmonic | New York, USA | Jaap van Zweden (2018-2024), Gustavo Dudamel (2026-) | Leonard Bernstein (1958-1969) | Oldest orchestra in the US (est. 1842); Young People's Concerts | Moderate (8-12%) | Historic American orchestra with extensive international touring |
| Los Angeles Philharmonic | Los Angeles, USA | Gustavo Dudamel (2009-present) | Esa-Pekka Salonen (1992-2009) | Innovation in programming; Walt Disney Concert Hall; community engagement | Low (4-7%) | Highly regarded modern orchestra known for contemporary programming |
| Cleveland Orchestra | Cleveland, USA | Franz Welser-Möst (2002-present) | George Szell (1946-1970) | Precision playing; residencies in Miami, Vienna; educational programs | Very Low (2-4%) | Elite American orchestra known for technical excellence |
| Boston Symphony Orchestra | Boston, USA | Andris Nelsons (2014-present) | Seiji Ozawa (1973-2002) | Tanglewood Music Festival; Grammy-winning recordings; BSO NOW digital content | Low (5-7%) | Historic orchestra with strong international reputation |
| Mariinsky Theatre Orchestra | St. Petersburg, Russia | Not permanently filled (post-Gergiev) | Valery Gergiev (1988-2022) | Historic opera and ballet performances; extensive touring | Moderate (8-12%) | Russia's oldest orchestra with strong international presence |
| Tokyo Symphony Orchestra | Tokyo, Japan | Jonathan Nott (2014-present) | Kazuyoshi Akiyama (1964-2004) | Suntory Hall performances; international collaborations; extensive recordings | Low (4-6%) | Japan's leading orchestra with growing international reputation |
| Bavarian Radio Symphony Orchestra | Munich, Germany | Simon Rattle (2023-present) | Mariss Jansons (2003-2019) | Exceptional recordings; radio broadcasts; festival appearances | Low (3-5%) | Elite European orchestra with distinctive sound and growing reputation |
| NBC Symphony Orchestra | New York, USA | Arturo Toscanini (1937-1954) | Toscanini era (1937-1954) | First orchestra created specifically for radio broadcasts; recordings set new performance standards; introduced millions of Americans to classical music via NBC radio | Low (3-4%) under Toscanini's leadership | Elite orchestra during Toscanini's tenure; disbanded after his retirement |
| Orchestras Facing Challenges | ||||||
| Philadelphia Orchestra | Philadelphia, USA | Yannick Nézet-Séguin (2012-present) | Wolfgang Sawallisch (1993-2003) | Filed for bankruptcy (2011); financial struggles despite artistic excellence | High (15-20%) during bankruptcy period | Once among "Big Five" US orchestras; rebuilding reputation after financial crisis |
| Rome Opera Orchestra | Rome, Italy | Various conductors | Riccardo Muti's resignation (2014) | Labor disputes; governance issues; financial instability | Very High (25-30%) during crisis | Diminished international standing; primarily regional importance |
| Detroit Symphony Orchestra | Detroit, USA | Jader Bignamini (2020-present) | Strike period (2010-2011) | Six-month musician strike; financial restructuring; community reengagement | High (20-25%) during/after strike | Regional orchestra rebuilding after near-collapse |
| Minnesota Orchestra | Minneapolis, USA | Thomas Søndergård (2023-present) | Osmo Vänskä (2003-2022) | 16-month lockout (2012-2014); Grammy wins despite organizational turmoil | High (15-20%) during lockout | Recovering international reputation after labor crisis |
| Orchestra of St. Luke's | New York, USA | Bernard Labadie (2018-present) | Various periods | Financial instability; scaling back of operations; restructuring | Moderate-High (12-15%) | Chamber orchestra with diminished national profile |
| KBS Symphony Orchestra | Seoul, South Korea | Pietari Inkinen (2022-present) | Strike period (2018-2019) | Government funding cuts; labor disputes; audience decline | High (18-22%) during crisis period | Primarily national presence; limited international recognition |