A Quote by Leila Josefowicz
It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.
Related Quotes
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.
My ex-wife was trying to be nice once, so she took me to a concert in Los Angeles. I went with her to Symphony Hall, and the orchestra was playing. When the show started, the spotlight was sharp on this one man (Andres Segovia) and he had sombrero on and his guitar propped up like this and, oh man ... he was a master ! - I really heard it. That one guitar sounded like a whole orchestra to me.
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.
The musical training taught me to focus my mind, before playing in an orchestra taught me how to truly concentrate. If you miss your moment in an orchestra, there is no forgiving.
If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
I feel I'm most successful when I'm playing a concert, and it doesn't necessarily seem like I'm playing a saxophone but am coming off more like an orchestra or something like that.
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.
To me, there is nothing like the excitement and unique experience of a live orchestra playing.
I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.
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.
Playing a concerto with Zubin is like being surrounded by a well-loved, cashmere-lined silk glove.
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.
You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.
People are really nice in the world. The majority of every single person I meet is really nice. Some people get excited, and some people freak out when they accidentally run into me, but across the board most people are really nice, so I just like to treat people how they treat me.
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