A Quote by Marvin Hamlisch
Many, many years ago, I was one of the few conductors who talked to the audience and now a lot of classical conductors have figured it out... otherwise, you just get the back of someone's head playing music you could hear on a CD. It's not enough anymore.
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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.
They gave me four weeks, and I asked if the first week could be just music with the two main conductors. So, the conductors came over to my home, and we worked in the music room, and I learned my two little songs.
I was starting a group of musicians and we had a group of young composers in Finland back in the '70s, and the real conductors, the professional conductors at the time were not interested in our stuff.
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.
Conductors make too much fuss about conductors! Humility and hard work are virtues. We're nothing without our musicians.
If I was running a British School of classical music I'd employ Tai Chi teachers to help the conductors at the end of their lessons.
A lot of my colleagues just don't really realize that they have to work in order to get the interest of an audience, especially with young kids, especially because it [classical music] is not that popular. You don't see it on TV, you don't hear it on radio, so you really gotta put an effort into promoting classical music.
There are so many people in this world that have the look and have talent, and yet they keep putting out this teenybopper singers that have no vocal capability at all. Sometimes I think there's no real music anymore. We don't have singers like we did back in the day. Music is supposed to convey a message. Music is supposed to make you feel a certain way. Now, I don't want to hear about big bootie shaking on the floor. Music just isn't what it used to be. I think that with the times changing, labels do actually need to get that and stop signing all these crap artists.
A lot of my friends loved Pearl Jam, so whenever I'd hang out with them, that was usually what CD - not album - back then, it was what CD, maybe even tape, but what CD was playing.
I believe very strongly, and have fought since many years ago - at least over 30 years ago - to get architecture not just within schools, but architecture talked about under history, geography, science, technology, art.
When I do things, like, with Josh Grobin, or he has so many fans, and I get people after my concerts, classical concerts, all the time coming back and saying, 'Never heard of you until I heard the song with Josh Grobin.' Then they're now classical music fans, which is something I think we need to reach a wider audience.
Someone has to really like you to go out there and physically get your CD. Shout out to everybody who actually paid for the CD. A lot of people don't realize that's how we live, that's our job. When we people take music from us, that's just like taking food off of our table and it's not cool. It's a lot of blood, sweat and tears that goes into the music and those lyrics. To have people just go and steal it, it doesn't feel well.
Of course, all people have their own reasons for believing what they do about gender. In my case, in over two decades of collaborating with men and women in music - conductors or otherwise - I have seen no distinction.
Perhaps, once I am gone, the one thing I might be remembered for is having sung a great deal of Mahler with a great many phenomenal conductors. It is wonderful music, very spiritual.
When I look in the mirror I see someone who's aging now, and someone who kept a commitment made many, many years ago, and who today is trying to be an example for young women.
A few years back, even the most commercial pop could have some artistic value. Someone who liked underground music could appreciate Justin Timberlake, too. Now, I just don't get it. Production values are boring; songwriting has gotten worse - the choruses on a lot of popular hip-hop songs are especially bad. The rappers hit their flow in the verses, then when they try to sing, it's a mess. And just like the airbrush tool in Photoshop, Autotune is way overused. It's not a toy!
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