A Quote by Daniel Barenboim
I can't stand being in Chicago anymore and hearing the Brahms Violin Concerto in the elevator. Because that shows me that when they come to the concert hall they listen to it in the same way.
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I usually listen to the same thing over and over again: Tchaikovsky's Violin Concerto in D Major. And Leonard Cohen.
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.
I can't even listen to Swans anymore. It doesn't do it for me at all, but I absolutely adore the early records and, on that same token, I wouldn't in any way wish for them to come back and repeat themselves.
The repressed memory is like a noisy intruder being thrown out of the concert hall. You can throw him out, but he will bang on the door and continue to disturb the concert. The analyst opens the door and says, If you promise to behave yourself, you can come back in.
I want to do 'Chicago P.D.' for as long as it's on the air. I love the show; I love the Dick Wolf family. I think he's created something genius with the crossovers and having everyone on these shows inhabit the same universe as far as 'Chicago Med' and 'Chicago Fire' and 'Chicago P.D.'
The only thing I can say that is not bullshit is that you do have to learn to write in a way that you would learn to play the violin. Everybody seems to think that you should be able to turn on the faucet one day and out will come the novel. I think for most people it's just practice, practice, practice, that sense of just learning your instrument until - when you have an idea on the violin, you don't have to translate it into violin-speak anymore - the language is your own. It's not something you can think your way into, or outsmart. you've just got to do it.
If you think of the history, in the days of Brahms and Beethoven and all these guys, almost every concert was a new music concert. To play something old was really an exception.
I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque.
Kids would come up to me after concerts and give me drawings they've made of violins or, you know, landscapes with a violin floating in it or some sketch of a concert or a portrait of me.
I don't look at certain things on TV anymore. I don't listen to certain music anymore. I make sure my kids don't listen to it. It's funny because back in the days I could look at comedy shows and all kind of stuff and you didn't even realize how much cursing it had in it.
When you go to a concert, part of being there is that you're all hearing the same thing. It's about being in a crowd. If you go to a gig and there are two people there, then it's not the same thing.
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
I play a lot chamber music.As for something that's hard for me to play, before I leave this Earth I'm hoping to play Brahms' Second Piano Concerto.
Complete strangers can stand silent next to each other in an elevator and not even look each other in the eye. But at a concert, those same strangers could find themselves dancing and singing together like best friends. That's the power of music.
The cello is a hero because of its register - its tenor voice. It is a masculine instrument, whereas the violin is feminine because of its soprano pitch. When the cello enters in the Dvorak Concerto, it is like a great orator.
Listening is totally different from hearing. Hearing, anybody who is not deaf can do. Listening is a rare art, one of the last arts. Listening means not only hearing with the ears but hearing from the heart, in utter silence, in absolute peace, with no resistance. One has to be vulnerable to listen, and one has to be in deep love to listen. One has to be in utter surrender to listen.
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