A Quote by Kurt Masur
You have to change your mind with every orchestra because every orchestra has a different character.
Related Quotes
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
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.
So many times, I've seen conductors that, every time they have a thought, they stop the orchestra and say it, and I can see the orchestra rolling their eyes and saying, 'Oh, God, he stopped again.' So there's a technique to rehearsing.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
The musical training taught me to focus my mind, before playing in an orchestra taught me how to truly concentrate. If you miss your moment in an orchestra, there is no forgiving.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.
There is something about the live performance of an orchestra that makes it very different to a film. With a film, you can rewrite it in a way with the material you have, and in rehearsals, you're really trying out different things. In an orchestra, you can't do that. They separate as soon as the performance factor comes into play.
Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.
Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.
The brain is more than an assemblage of autonomous modules, each crucial for a specific mental function. Every one of these functionally specialized areas must interact with dozens or hundreds of others, their total integration creating something like a vastly complicated orchestra with thousands of instruments, an orchestra that conducts itself, with an ever-changing score and repertoire.
it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.
I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
Only when every one of us and every nation learns the secret of love for all mankind will the world become a great orchestra, following the beat of the Greatest Conductor of all.
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