A Quote by Zubin Mehta

The New York Philharmonic is a tremendous opportunity, a great orchestra. — © Zubin Mehta
The New York Philharmonic is a tremendous opportunity, a great orchestra.
Essentially, the [New York] Philharmonic is just like any other orchestra-they all have the spirit of kids, and if you scratch away a little of the fatigue and cynicism, out comes a 17-year-old music student again, full of wonder, exuberance and a tremendous love of music.
It seems always to have been difficult to have been a New York Philharmonic conductor because of the nature of New York. We are in direct competition with the great orchestras in the world who come to play in our hall or in Carnegie, and we are constantly compared. I think that 's a good thing.
As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?
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.
My whole childhood was filled with classical music and going to concerts of the New York Philharmonic and other New York ensembles and organizations, but interestingly, I didn't become conscious of wanting to be a musician until I was about 11. I was a rather late starter.
I can't imagine Jon Cryer performing with the New York Philharmonic isn't one of the signs of apocalypse.
I have tremendous affection for New York and my life, but I'm a satirist at heart. And it's easy to satirize New York.
I miss the standard of the New York Philharmonic's playing very much. It has certainly been a high point in my life.
I think I infuse the music with a new passion. Part of this is because I have fallen in love: I am in love with the New York Philharmonic. The chemistry has just been right. Beyond expectation.
I've been lucky to conduct the very best orchestras in the world: New York, San Francisco, Chicago, Berlin, the London Philharmonic.
And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.
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.
Chicago seems to follow New York, and coming from New York and being in real estate, I worry about things happening in Chicago that have happened in New York. I've seen a great city like New York go downhill. It has a wonderful financial downtown, but the rest of the city is not very nice.
Any time you get to come to New York and be near New York City, that is a very cool opportunity.
One of our books has been made into a musical, 'The Great American Mousical,' which I directed at the Goodspeed Opera House in Connecticut. And another, 'Simeon's Gift,' has been adapted for a symphony orchestra and five performers. I'm also a very proud member of the board of the Los Angeles Philharmonic.
Every philharmonic orchestra merely interprets the composer. My goal was to create new music by that composer. In doing so, I wanted to find the painter's creative center and become familiar with it, so that I could see through his eyes how his paintings came about and, of course, see the new picture I was painting through his eyes - before I even painted it.
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