A Quote by Joshua Bell
Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.
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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.
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?
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
I guess I just look at talent as a very subjective thing. I mean, if you never tried playing an oboe, how do you know you're not the most talented oboe player ever? The point is that if you don't love it, then it doesn't matter.
I'm not crying about anything or anyone in particular. The life I live I created for myself, and I wouldn't want it any different. I cry because in the universe there is something as beautiful as Kremer playing the Brains violin concerto.
It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.
I got to perform the [Jaques] Ibert Concertino Da Camera with a brilliant pianist at school named Chunga. I got to perform the [Alexander] Glazunov Concerto in senior year with our school orchestra and the Jewish Grossman orchestra. I won a scholarship from the Goldman band to perform the [Paul] Creston Concerto. Which I never played with them, but they still gave me the money.
You have to change your mind with every orchestra because every orchestra has a different character.
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
I can't stand being in Chicago anymore and hearing the Brahms Violin Concerto in the elevator. Because that shows me that when they come to the concert hall they listen to it in the same way.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
The life of any musician really doesn't fall into a normal schedule at all. Every week there are different rehearsals, different days and nights of performances, so we don't have a particular pattern that we can follow. For a conductor, it is a little bit worse because we have to allow for traveling.
The only work that can be compared to Chopin's Etudes, innovatively, where every note is essential and one becomes completely exposed, is the Brahms-Paganini variations. These are etudes - not as interesting musically as, say, the Brahms-Handel - but they are incredible.
When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
I think people who basically do one thing like Eric Clapton is great. But I've always enjoyed playing different kinds of music and playing with different kinds of musicians because I find that really interesting, like learning and working with Kip Hanrahan. There's a great conga player called Milton Cardona and he taught me a lot of the nuances, he's a Santeria Priest and so he knows his onions as it were.
Every position is a bit different, but for a young player it's important to be able to play different positions, to see the game in a different view, to learn of every position. Because you need different skills, and it's perfect for a young player to develop.
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