Orchestra Quotes

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.

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.

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.

Eventually we want to do a puppet musical with turntables in the orchestra pit.

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.

On the other hand, when I give it closer thought, I realize I'm not enough of a dictator to conduct an orchestra because it requires a pretty awful person. When you read these biographies of famous conductors, they are all awful people who fail in their private relationships.

I never use a score when conducting my orchestra. Does a lion tamer enter a cage with a book on how to tame a lion?

I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that's a job where I don't think sex plays much part.

I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.

And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what's going to come next - when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they're thrown away.

I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.

Very often, if I know the orchestra doesn't know a piece or it's a new piece, I have main ideas about it. But then we start to play and I never talk about places where they played so beautiful and so clear in the beginning that there is nothing to say.

As long as I can sing halfway decent, I'd rather sing than act. There's nothing like being in good voice, feeling good, having good numbers to do and having a fine orchestra.

I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.

Sometimes there is a 36-piece orchestra going off in my stomach.

The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.

It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.

Mostly this problem is contained in the fact that the US makes it so difficult for Canadians to get green cards (you heard it here), but if an American orchestra really wants a player, they have their ways.

When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.

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.

When I want 30 musicians in the orchestra, I get 30.

The other saxophones, except as solo instruments, really don't have much point in the orchestra.

I used to go with him and I'd sometimes play, take over from him. That was my first taste of the music business, I suppose, but I was also in the youth orchestra at Johnston Grammar.

The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.

A man who wants to lead the orchestra must turn his back on the crowd.

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