A Quote by Joshua Bell

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.
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.
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?
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 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.
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.
Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.
I have had much pleasure in working with Orphei Drängar during my time as chief conductor of the Gothenburg Symphony Orchestra, and I consider OD to be one of the most brilliant men´s choirs in the world. The singers are highly professional and their repertoire is of a very wide range, but then they have been trained for years by Eric Ericson, the world´s leading choir conductor. I also admire the strength and the beauty of their voices. OD is an extraordinary powerful choir!
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
Before Liszt, a conductor was someone who just facilitated the performance, who would keep people together or beat the time, indicate the entries. After Liszt, that was no longer the case; a conductor was someone who shaped the music in an intense musical way, who played the orchestra as an instrument.
Have you seen a symphony orchestra? There is a person at the back carrying a triangle. Now and again the conductor will point to him or her and that person will play "ting." That might seem so insignificant, but in the conception of the composer something irreplaceable would be lost to the total beauty of the symphony if that "ting" did not happen.
There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.
I'm a little less hungry as an actor than I used to be. When you're a director, you're the conductor of the orchestra, and when you're an actor, you're playing the violin. There's a thrill to each of them, but as the conductor, you get the fuller sound.
A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.
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.
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