Top 37 Quotes & Sayings by Gustavo Dudamel

It's a small city where I have a lot of time to think. The orchestra and I have had a chance to connect very well in this time. I think of all the millions of people in Los Angles. There aren't that many millions of people in all of Sweden.

Los Angeles is a very special city. It's a great ethnic mix, a great cultural mix.

For me, Venezuela is very important, not just because it's a place I go to conduct, but because my family is there - my wife, my parents and my musical family.

I set out to create a means whereby music could be a way of vindicating the rights of the masses.

I love to read different books on completely different subjects at the same time. I cannot focus on one. I read a few pages of literature, then I jump to philosophy and at the same time I'm reading biographies of Mahler.

We have to go and show these people what classical music is. We say sometimes that classical music has a small audience, but it's because people don't have the chance to be closer to it.

It's a physical challenge. It's a spiritual challenge. I'm studying almost every day a different symphony, not returning to any one for a week.

You have to believe that things will happen, you have to work and love what you're doing.

My material life is simple.

I think that I need to learn a lot, a lot.

My relationship with the Philharmonia Orchestra brought me many times to London and I will always reflect positively on that early period of development with them - their patience, their warmth, their dedication.

Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.

Classical music in Venezuela is now something like a pop concert. You can see people screaming or crying because they don't have a ticket.

I wanted to play my violin and have my musical expression through the instrument. But then I was really young when I had my first opportunity to conduct.

I live day by day.

For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.

It's not that people don't like classical music. It's that they don't have the chance to understand and to experience it.

You learn a lot about each other from a tour, musically and humanly.

I love to travel, but sometimes it's nice to stay in one place.

I want to work with the big orchestras. I want to have a big family.

When people feel that something really special is happening on the stage, things change.

I have eaten very well in Los Angeles. Marvelously!

People say that having three orchestras is a crazy life, but it's better because you have three families. I want to have my own kids very soon. In future, I still want to conduct a lot, but less, to be with my family.

I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.

Recently, I went to a disco with friends, and all the young people were saying, 'Dudamel, we want to go to your concert, but it's impossible because it's sold out.' It's really amazing.

With an orchestra you are building citizens, better citizens for the community.

In my imagination yes, I remember, when I was six years old, I was conducting all this concert in my house. But now it's real.

I think the atmosphere of a Prom concert can change your life, in the best way. It's so deep, the feeling you have there. The audience is so close, and there are so many of them, that you feel they are almost embracing you.

A friend gave me a CD of the 'Pathetique' Symphony as a Christmas present. I went home, and I put on the CD expecting to listen to Tchaikovsky. But it started 'ta ta ta taaa.' It was too long for me. I didn't understand it at first, but then I fell in love, in love, in love.

Of course, we also have to play in concert halls. This is our dream when you are a musician - to play in a good, comfortable hall with a wonderful acoustic.

Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!'

Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!

My main goal, and it's a big one, is that every child has a chance to get close to music - as a right - that as they have access to food, health, and education, they get the chance to have art and culture - especially music.

The challenge is not so much to change the sound. The challenge is to connect and to create something special.

Music is a fundamental human right

I studied music since I was four years old, and from that moment I became part of a family. And that family has taught me things; not only musical things, but things I have to face in life, and that is where the success of the system lies

When you play Mozart, it's so clean, it's so simple. It's the body naked.