A Quote by Bryan Ferry

I've done shows with orchestras, and I like writing with orchestras. — © Bryan Ferry
I've done shows with orchestras, and I like writing with orchestras.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
The biggest difference between U.S and most European big cities is that in a place like London, for instance, there are five orchestras, and there's a bloody competition between these five orchestras.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.
When I was growing up, there were no women in orchestras. Auditioners thought they could tell the difference between a woman playing and a man. Some intelligent person devised a simple solution: Drop a curtain between the auditioners and the people trying out. And, lo and behold, women began to get jobs in symphony orchestras.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
There is a mysterious way in which orchestras keep a sense of their history and what they've done. I still listen to the L.A. Philharmonic and feel that Giulini was there.
Orchestras are like people. They're the sonic embodiment of their community.
What I really enjoy about writing for orchestras is realizing that - and it's kind of self-evident - but the fact that they are 48 individuals. It's not, you know, a preset on a keyboard. It's all these people who have opinions and who are making decisions about how to play.
We still listen to the original lush arrangements with the orchestras.
Symphonic orchestras have almost become a glut in the market.
I endeavor that all orchestras I conduct sound Central European.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
I think conductors do spend too little time with their orchestras.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
I've worked with some great orchestras and amazing classical musicians, but I don't like the conceptualization of classical music as an elitist form of art.
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