Quotes of All Topics . Occasions . Authors
I'm more authoritarian with the orchestras than I used to be. You need to hold your ground, I've noticed, or you'll be swept aside.
I've been lucky to conduct the very best orchestras in the world: New York, San Francisco, Chicago, Berlin, the London Philharmonic.
I often think of random melodies. And I pretty much hear in my head what I want to do with the orchestra as I'm writing on the piano.
Music is such an important part of society, and the Boston Symphony Orchestra offers such great quality, and we just want to share it.
I would love to be able to turn my recording career into something that is substantial, and where I can go and tour with an orchestra.
It makes me mad to hear these popular orchestras make a jammed-up comedy of a song like 'Wreck on the Highway.' It ain't a funny song.
At school, I enjoyed playing the bassoon. I was in the orchestra and played the melody when the other boys sang hymns at prayers time.
When I lived in rural Oxfordshire, I was walking home across a field when I stroked a cow. The damn thing butted me in the orchestras.
An orchestra knows during the first two minutes of the first rehearsal whether or not they are going to enjoy the person on the podium.
People talk very much about, 'What can we do with the orchestra in the 21st century?' We should think about the 21st century, of course.
We do not realize the sound the world makes -- unless, of course, it comes to a stop. Then, when it starts, it sounds like an orchestra.
Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
There's not an orchestra in the world that doesn't have weaknesses. None of us can play everything well. The repertoire is just too big.
Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.
Being at the show, watching people do what they do so well, hearing a full orchestra, and hearing beautiful music? There's nothing better.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
Japanese orchestras are generally playing at quite a high level on the first day of rehearsal, but they don't improve very much from there.
Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.
One of the things that benefited me that anyone can learn is classical technique. That shows the orchestra that exists within the instrument.
The Mahavishnu Orchestra - when it came out, it was an explosion, completely unexpected as far as I was concerned. I was just forming a band.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.
In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
Beauty and fullness of tone can be achieved by having the whole orchestra play with high clarinets and a carefully selected number of piccolos.
We had a normal childhood. I played baseball, and we played violin in orchestras three times a week. I learned more from that than anything else.
We are members of a vast cosmic orchestra, in which each living instrument is essential to the complementary and harmonious playing of the whole.
I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.
The Queen and Electric Light Orchestra harmonies are so distinct and fit in our songs so well sometimes, but we don't know how to do them properly.
I think the preservation of orchestras and what they do is worth expending all the ways there are to reach out to people who might not otherwise go.
I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
I like the power and versatility of a big band and how an orchestra can vary the dynamics from very loud to very quiet, and SNJO covers those bases.
Personality is the glitter that sends your little gleam across the footlights and the orchestra pit into that big black space where the audience is.
I can't stand going out to one more dinner with some Mrs. So-and-So who might leave a million dollars to the Chicago Symphony Orchestra when she dies.
I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
Nothing can grab you by the throat - or heart or soul - like an orchestra. It's undeniably the most engaging and exciting way to bring a score to life.
A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.
That process by which you become a writer is a pretty lonely one. We don't have a group apprenticeship like a violinist might training for an orchestra.
In symphonic music, when you are conducting, you do the same thing. You are feeling the whole orchestra, thinking ahead so you can prepare for a change.
Haute couture is like an orchestra, for which only Balenciaga is the conductor. The rest of us are just musicians, following the directions he gives us.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.
Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.
I've worked with some great orchestras and amazing classical musicians, but I don't like the conceptualization of classical music as an elitist form of art.
Through conducting, you express through your arms, through your face and even the body, what you want to tell, so the musicians of the orchestra understand.
When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.
I always felt that I would become somebody outstanding, whether it was in singing, instrumental playing, orchestra conducting, or anything involving feeling.
It's a wonderful thing to play with symphony orchestras - I've played with many - but it's really special in Israel because you have so many great musicians.
I grew up playing in youth orchestras, so they were my most treasured memories, so to be in front of an orchestra playing my own material would be incredible.
I often conduct an orchestra in my sleep; my orchestras are so huge that the back desks of the violas vanish into the horizon. And everything is so wonderful.