A Quote by Joshua Bell
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.
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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.
The Ninety-Ninety Rule of Project Schedules - the first ninety percent of the task takes ninety percent of the time, and the last ten percent takes the other ninety percent.
To sum up the state of architecture in America: ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
The great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them. But there are conductors that actually inhibit the players from playing with each other properly.
A lot of people think the orchestra is playing and the conductor doesn't do very much, but the conductor's the person that gives shape to the music, gets the phrasing, and if he has really fine musicians in solo spots, the question is does he try to help them phrase, or does he let them go?
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.
It's different for people who have not seen a symphony conductor conduct from a chair. I feel very connected to the orchestra in a way that a conductor sometimes does not feel. I think it's more visceral.
Ninety percent of the buildings we live in and around aren't architecture. No, that's not right - 98 percent.
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most of the concerts. For me, that simply isn't enough.
When we come to understand architecture as the essential nature of all harmonious structure we will see that it is the architecture of music that inspired Bach and Beethoven, the architecture of painting that is inspiring Picasso as it inspired Velasquez, that it is the architecture of life itself that is the inspiration of the great poets and philosophers.
Persistence isn't very glamorous. If genius is one percent inspiration and ninety-nine percent perspiration, then as a culture we tend to lionize the one percent. We love its flash and dazzle. But great power lies in the other ninety-nine percent.
Direction is the most invisible part of the theatrical art. It's not like the conductor in the symphony orchestra performance because he's standing in front of you waiving his arms. You now what he's doing. You don't know what the director is doing unless you know a lot about theater and even then you can only deduce it. You know it when you go to rehearsal. You really know it when they are rehearsing something of yours. I learned more in the rehearsals for The Letter than I have ever dreamed of know in the theater as a critic. If it doesn't make me a better critic, I'm an idiot.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.
You have a great result if the orchestra trusts the conductor, and the conductor trusts the orchestra.
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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