A Quote by Elvis Costello
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.
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I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.
So, immediately after that, I got a commission to write a piece for chamber orchestra, and in working on the material I discovered it was possible to incorporate the Buddhist teachings into the music, so that's what I started to do.
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.
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?
My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.
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 piano is really the featured instrument of a 10-piece chamber orchestra. The construction is the harmonic language.
You can play Bach on the piano, a symphony orchestra or a quartet of saxophones, but let's stop this silly, childish business of knit your own musicology
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
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.
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.
My ex-wife was trying to be nice once, so she took me to a concert in Los Angeles. I went with her to Symphony Hall, and the orchestra was playing. When the show started, the spotlight was sharp on this one man (Andres Segovia) and he had sombrero on and his guitar propped up like this and, oh man ... he was a master ! - I really heard it. That one guitar sounded like a whole orchestra to me.
Over the years it has been my privilege to lead performances with Saint Louis, the National Symphony, Cleveland Orchestra and so many other wonderful organizations.
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