A Quote by Esa-Pekka Salonen
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.
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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 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.
The great myth is the manager as orchestra conductor. It's this idea of standing on a pedestal and you wave your baton and accounting comes in, and you wave it somewhere else and marketing chimes in with accounting, and they all sound very glorious. But management is more like orchestra conducting during rehearsals, when everything is going wrong.
In Peru, there is no theatre that produces an annual opera season, and though there is one orchestra in Lima, it's always struggling to survive. We shouldn't have just one orchestra, we should have 15, we should have 50! And you should start to build this from the children.
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.
I want to take the great tradition of the orchestra within me, to take what the orchestra offers.
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.
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.
In the restaurant business, as opposed to the theater, center orchestra is an 8 P. M. reservation. Orchestra on the side is 7 or 8:30. Mezzanine is 6 and 9. But people don't take it personally when they call the theater and can't get what they want.
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
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.
Toting around a full orchestra on tour is very ambitious. I would consider doing a show now and then, like do a show at Radio City or Carnegie Hall with a full orchestra.
There are two types of conductors. One is the good conductor who can do passionate music but also listen to the singers and do the orchestra. And then there are great conductors, who have their own opinion on the music, who are ruling everything - and not listening much to the singers, but the orchestra play amazingly.
I thought there couldn't be a better backdrop for some kind of powerful music than a big orchestra. My wish to hear how a guitar would sound in front of an orchestra has always been there.
It can and will be a more powerful sound but the orchestra has far more potential for expressive power. When I hear a great rock band it can make me feel alive, but when I hear a great orchestra it can make me feel human.
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