Quotes of All Topics . Occasions . Authors
Another thing that I don't like to do is show too much how it goes. I do it once in a blue moon. Sometimes there are lessons when I don't pick up a violin at all.
We have a lot of people onstage. We have a live violin, live cello, live drums played on this kind of massive electronic kit with some acoustic elements built in.
As far as I remember, there was no actual lyric written to that.At the very beginning of "Fiddler on the Roof," there's a violin solo, an unaccompanied violin solo.
I was much distressed by next door people who had twin babies and played the violin; but one of the twins died, and the other has eaten the fiddle, so all is peace.
Fundamentally I feel that there is as much difference between the stage and the films as between a piano and a violin. Normally you can't become a virtuoso in both.
I started off with violin, then I started learning guitar, then I went to piano. But I self-taught piano just because I enjoyed it. I've always really enjoyed music.
My brother, who's a violinist now, was the real ham, the real performer of the family. His passion for the violin is the only thing that kept him from being an actor.
It was loud in spots and less loud in other spots, and it had that quality which I have noticed in all violin solos of seeming to last much longer than it actually did.
A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.
A violin neck is much smaller than the guitar's, so it's much easier to play wide intervals on one violin string. On the guitar, you really have to stretch to play them.
The same way that I practiced the violin, the same way that I practiced my dance moves, I decided that I was going to practice being positive and practice loving myself.
It takes generosity to discover the whole through others. If you realize you are only a violin, you can open yourself up to the world by playing your role in the concert.
I realised, however, that you can't sing when you're playing the violin - or at least I can't - and as that aspect of performing is important to me I shifted to the piano.
The range of the cello is so big, it can play as low as the double bass and as high as the violin. It has the perfect shape, and its sound is the closest to the human voice.
To regard one's immortality as an exchange of matter is as strange as predicting the future of a violin case once the expensive violin it held has broken and lost its worth.
I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.
I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
Yes, I mean like you know, having studied with Yehudi Menuhin that is like some direct route into Bach, because he was one of the foremost interpreters of Bach for the violin.
I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
I grew up in a musical environment. My parents played music and had it playing on the radio. They brought me to a concert at the age of 5, the same age I started violin lessons.
When you fall in love, you genuinely hear violin being played in the background. You genuinely feel that clouds are bursting and you look at every small thing as really beautiful.
I started playing violin when I was six, so I thought I could be a professional. It wasn't until I was 15 when I got into acting classes and realized this was what I wanted to do.
I grew up studying martial arts, playing violin, swimming competitively, so I already had athletic focus, discipline and training. When I brought that to climbing, I became passionate.
I've played the violin since I was seven but stopped because there was a stage when it became 'uncool'. I was listening to Nirvana and wanted to play the guitar, so I ditched the violin.
My brother Leon started it all. He played the piano. In school they made me leader of the orchestra because I played the violin, but I followed Leon and the boys in his jazz band around.
Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.
Kids would come up to me after concerts and give me drawings they've made of violins or, you know, landscapes with a violin floating in it or some sketch of a concert or a portrait of me.
My mother adores singing and plays piano. My uncle was a phenomenal pianist. My brother John is a double bassist. I used to play the piano, badly, and cello. My brother Peter played violin.
I've played every instrument you could possibly think of for 10 minutes. So I'm mediocre at everything. I can play drums, guitar, piano, violin, saxophone, clarinet, flute... Just not well.
Well my dad forced me into playing the violin when I was about three and it all started from there. I went to Suzuki for violin lessons, and you learn to play by ear instead of reading music.
I can't stand being in Chicago anymore and hearing the Brahms Violin Concerto in the elevator. Because that shows me that when they come to the concert hall they listen to it in the same way.
I basically started playing violin at the age of six. That lasted about three years because my previous teacher died and the second teacher didn't really know how to successfully get me going.
I have this weird musical thing I do: I play violin, and I even went on tour with Tim Robbins. We did a bunch of Canadian cities, and then went down to the States, and then we ended up in Japan.
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
Often a star was waiting for you to notice it. A wave rolled toward you out of the distant path, or as you walked under an open window, a violin yielded itself to your hearing. All this was mission.
An hour of violin lessons in Berlin is an hour where you get the child interested in music. An hour in a violin lesson in Palestine is an hour away from violence, is an hour away from fundamentalism.
In the musician, there is a tendency to have a narrowness. It's all compartmentalized. I am playing the violin; that's all I know, nothing else, no education, no nothing. You just practice every day.
My mom was sort of involved in amateur dramatics like Gilbert and Sullivan operetta, and played the violin. My dad played banjo and piano and sang as well, so there was all this music in my childhood.
Violins are the lively, forward, importunate wits, that distinguish themselves by the flourishes of imagination, sharpness of repartee, glances of satire, and bear away the upper part in every consort.
I do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
Of course the most difficult thing on the violin is always intonation. The second one is rhythm. If you play in tune, in time with a good sound that's already high level. Those three are the main things.
I know a girl who cries when she practices violin because each note sounds so pure it just cuts into her, and then the melody comes pouring out her eyes. Now, to me, everything else just sounds like a lie.
I had no idea I was gonna be a songwriter, because I was too young to know my own evolution. I started playing the violin as a way to express myself because I didn't have a lot of vocabulary when I was 14.
Most kids are very seriously interested in something - friends, math, shopping, sports. For me it happened to be music and the violin. I had the chance to pursue it without having it get in the way of my life.
I have a very simple philosophy. One has to separate the abilities from the disabilities. The fact I cannot walk, that I need crutches or a scooter or whatever it is, has nothing to do with my playing the violin.
He was gazing at her, the way one did when one felt one was unobserved. He had that look on his face, the look he usually got only when he was playing the violin, as if he were completely caught up and entranced.
My fourth birthday, I was given a violin, and my fifth birthday, a guitar. I didn't start to play until I saw Hendrix on TV. They showed him setting his guitar on fire and burning it for the Monterey Pop Festival.
Would you just strap some toe shoes on and dance 'Swan Lake?' No. Would you just put a violin in your hand and - ? No. I felt that way about acting, and I was taught to feel that way. I didn't come to it on my own.
I started playing violin when I was about five years old and I learned to read a little bit of music, but that's all been long, long forgotten! I actually quit violin to teach myself guitar and just went from there.