A Quote by Krzysztof Penderecki

You can only learn orchestration if you have the possibility of using an orchestra. — © Krzysztof Penderecki
You can only learn orchestration if you have the possibility of using an orchestra.
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.
Orchestration is part of the very soul of the work. A work is thought out in terms of the orchestra, certain tone-colors being inseparable from it in the mind of its creator and native to it from the hour of its birth.
The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.
I think what people call genre is just a question of orchestration. So, for instance, with Punch Brothers, you look at that band and say that's a bluegrass band, when really it's an orchestration choice.
I studied arranging and orchestration a number of years ago, so I have a home studio and arrange about three-fourths of my songs on the computer. Since writing orchestration is tedious, I often put an arrangement on the keyboard and let someone better-qualified finish it.
We're in an inflection point where it's cheaper to learn to read on a tablet computer than it is to learn to read on paper. And that being the case, it's only a matter of time before every 6-year-old kid has a tablet computer, and we know for a fact, 3- to 4-year-old kids are using tablets and iPads, and 75 and 80 year olds are using them.
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.
Profound insights arise only in debate, with a possibility of counterargument, only when there is a possibility of expressing not only correct ideas but also dubious ideas.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.
I like large sounds and very complex sonorities, and I also tend to opt for creating a feeling of vast space. I could achieve this effect either by using a symphony orchestra, which for a dance piece is pretty much impossible these days, or by using a synthesizer on multi-channel tape and a superb sound system, to get that same sensation of expansiveness and depth.
Liberty is the possibility of doubting, the possibility of making a mistake, the possibility of searching and experimenting, the possibility of saying No to any authority - literary, artistic, philosophic, religious, social and even political.
I always try not to overload my music with orchestration and to use only those instruments that are absolutely necessary.
JavaScript is the only language that I'm aware of that people feel they don't need to learn before they start using it.
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