A Quote by Joshua Bell

I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.
There is no piece of guitar music that has the formal beauty of a piano sonata by Mozart, or the richly worked out ideas and passion of a late Beethoven string quartet, or for that matter the beautiful mellifluous poetry of a Chopin Ballade.
I much rather coach a string quartet in an interpretation of Haydn or Beethoven than to teach the guitar.
Once a month I play with a chamber music quartet. I play almost no solo music anymore because I so enjoy the interaction. The members of my quartet have become some of my best friends and so I really enjoy it now in ways that I didn't before.
There was one thing Beethoven didn't do. When one of his string quartets was played, you can believe the second violin wasn't improvising.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
In concertos, I stand up, and I conduct with the bow when I'm not playing. During symphonies, I sit, but sometimes I stop playing to conduct. Being seated in a section allows me to feel more like we're playing chamber music, which is how I like to approach it.
Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
A Beethoven string-quartet is truly, as some one has said, a scraping of horses' tails on cats' bowels, and may be exhaustively described in such terms; but the application of this description in no way precludes the simultaneous applicability of an entirely different description.
If some of our works are symphonies, then wrapped walkways was chamber music.
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?
The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.
I tried to resist his overtures, but he plied me with symphonies, quartets, chamber music, and cantatas.
People whose sensibility is destroyed by music in trains, airports, lifts, cannot concentrate on a Beethoven Quartet.
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