Orchestra Quotes

It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.

So now, thirty years, forty years later, I mean, I could find a whole orchestra of a thousand to put these things together in New York City alone. In those days, if I could scrape up twenty musicians to do this it was something extraordinary.

I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.

How could you have a soccer team if all were goalkeepers? How would it be an orchestra if all were French horns?

The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.

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.

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.

The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.

Toting around a full orchestra on tour is very ambitious. I would consider doing a show now and then, like do a show at Radio City or Carnegie Hall with a full orchestra.

There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.

Show me an orchestra that likes its conductor and I'll show you a lousy conductor.

Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.

In or orchestra we have many nationalities, types, and temperaments.

I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.

The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.

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.

There is much modern music that is better adapted to a wind combination than to a string, although for obvious reasons originally scored for an orchestra. If in such cases the interpretation is equal to the composition the balance of a wind combination is more satisfying.

If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?

The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.

His style has the desperate jauntiness of an orchestra fiddling away for dear life on a sinking ship.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

I grew up in an era where an orchestra was like a treasure chest.

Remember, if you do the same act for 20, 30 years it gets a little boring unless you've got something else going for you... And the orchestra really kept you going. They'd laugh at all your jokes, even if they'd been hearing them for the last 30 years.

The Chicago Symphony is considered the greatest orchestra in the world.

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.

You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.

So, immediately after that, I got a commission to write a piece for chamber orchestra, and in working on the material I discovered it was possible to incorporate the Buddhist teachings into the music, so that's what I started to do.

When I owned the theater, I had the Glen Miller Orchestra. I had 20 girls singing and dancing. I had a cast of characters. It was a big group production, as well as ushers, ticket takers.