A Quote by George Szell

Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience. — © George Szell
Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.
Conductors must give unmistakable and suggestive signals to the orchestra, not choreography to the audience.
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.
So many times, I've seen conductors that, every time they have a thought, they stop the orchestra and say it, and I can see the orchestra rolling their eyes and saying, 'Oh, God, he stopped again.' So there's a technique to rehearsing.
On the other hand, when I give it closer thought, I realize I'm not enough of a dictator to conduct an orchestra because it requires a pretty awful person. When you read these biographies of famous conductors, they are all awful people who fail in their private relationships.
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.
Many, many years ago, I was one of the few conductors who talked to the audience and now a lot of classical conductors have figured it out... otherwise, you just get the back of someone's head playing music you could hear on a CD. It's not enough anymore.
Directors have a tendency to use their hands like orchestra conductors. They don't realize that the actor is looking at their faces, anyway.
Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal - the vision, the structure, the architecture.
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.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!
In a large bureaucracy, it is vital to keep eyes on the grassroots as they almost always will give you warning of problems faster than official signals (which says a lot about official signals).
Conductors make too much fuss about conductors! Humility and hard work are virtues. We're nothing without our musicians.
Good conductors know when to push and when to lay back. I've known so many great conductors that I'm still doing what I can to learn the craft of this role.
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