A Quote by Jane Lynch

We still listen to the original lush arrangements with the orchestras. — © Jane Lynch
We still listen to the original lush arrangements with the orchestras.
You listen to a Metallica song, and you listen to the drums, and they're not necessarily swinging, but the arrangements are different. Why is that? Because it's more in tune with jazz arrangements. It's very different. It's not a traditional rock and roll production, in terms of the drums.
I like really sparse electronics, lush arrangements, and interesting chord structures.
There is a mysterious way in which orchestras keep a sense of their history and what they've done. I still listen to the L.A. Philharmonic and feel that Giulini was there.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
I like chords that are very lush with all the lush parts taken out.
I've done shows with orchestras, and I like writing with orchestras.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
The thing to remember when you're re-recording pieces from the past is that you have to have respect for the original performances, recordings, and arrangements.
The biggest difference between U.S and most European big cities is that in a place like London, for instance, there are five orchestras, and there's a bloody competition between these five orchestras.
Hollywood still makes things. We still export a couple billion dollars' worth of product overseas. Original, new product. Some people might not agree that it's original or new, but basically it is.
I have toured with Klemens Marktl, playing his original compositions and arrangements. He is a wonderful drummer, a writer possessing a high degree of creativity, and an assured band leader.
I've had stuff of mine adapted by other people, so I've come to the conclusion that a movie is a different form from a novel and there is no such thing as a true adaptation. You have to adapt to this other thing and do it right. But that voice of the original should somehow still be there, and the original intent should still be there. So if the original writer saw the movie, the writer would say, "Well, that's not what I wrote, but that's what I meant." And if you can do that, I think you've done your job as a screenwriter.
The social arrangements that produce responsibility are arrangements that create coercion, of some sort.
Metallica is going to be one of those bands you look back on in the year 2008, that people will still listen to the way I still listen to Zeppelin and Sabbath albums.
To apply poetic license or to apply incorrect arrangements requires the idea or the understanding of correct arrangements - becoming an expert of the conventions of correct arrangements in order to misplace them. In other words, misplacing things with the understanding, or even the mastery, of normalcy is actually quite poetic. These are rule-based operations.
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