A Quote by Igor Markevitch
Baton technique is to a conductor what fingers are to a pianist.
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I like Stevie Wonder as my favorite non-pianist pianist. I mean, I shouldn't call him a non-pianist, because he's really a great pianist, but he doesn't feature it that much - he uses his keyboards and his piano technique to support his great songs and so forth, but he can really blow.
Just as the pianist practices the most complicated pieces to improve the technique of his fingers, so too a grandmaster must keep his vision in trim by daily analysis of positions with sharp possibilities, and this applies whether he prefers such positions in his play or not.
I can't even touch another conductor's baton. The center of gravity, the feel of the handle, puts me totally off.
I urge pupils when studying a work and in order to master its most important aspic, the rhythmic structure, or the ordering of the time process, to do just what a conductor does with the score: to place music on the desk and to conduct the work from beginning to end as if it were played by someone else, an imaginary pianist with the conductor trying to impress him with his will, his tempo first of all, plus all the details of his performance.
I do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
If we turn to the divine Conductor and follow the wise and loving baton that is His will, His Word, then the music of our life will be a symphony.
Mother, being a pianist, told me how to play with my fingers on the piano.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
When I hear the words jazz pianist, that just means I have the skills to do most things. Because to be a jazz pianist, even to be a bad jazz pianist, you have to be pretty good.
Each generation has an obligation to pick up the baton. We want young people to feel a sense of responsibility to take that baton and run with it.
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.
Once at the White House I was asked to conduct the Drum and Bugle Corp. The man just handed me the baton and I finished the song. It was great. I got to keep the baton.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
The writer who develops a beautiful style, but has nothing to say, represents a kind of arrested esthetic development; he is like a pianist who acquires a brilliant technique by playing finger-exercises, but never gives a concert.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
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