A Quote by Nigel Kennedy

Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time. — © Nigel Kennedy
Even if you're playing Brahms or a Beethoven concerto, you've got to have a different vantage point, slightly, each time.
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.
If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.
On stage, everyone stays put; the vantage point is always the vantage point, and you have to play to the size of the house. And of course, on film, there's different angles, different shots, so that determines how animated or how still you must be.
I'm too busy playing. When I'm playing I don't pay attention to who's listening. When I was listening I listened to symphony orchestras, Beethoven, Bach, Brahms, Stravinsky. You don't listen to one instrument; you listen to music.
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
If you mess up the tiniest little thing in the Beethoven concerto, or the phrasing isn't just exactly perfectly executed, Beethoven brings out the worst in the best violinist. You almost never hear a satisfying performance, because it doesn't play itself.
I was playing a lot of bigger, sort-of-comedic characters in slightly heightened realities, and it had been so fun and fulfilling for a long time. But it got to a point where I just felt like I didn't have that in me anymore.
You have to find a different approach to what is through a different vantage point.
The three greatest composers are Bach, Beethoven, and Brahms. All the others are cretins.
After working with Ligeti I began to hear Brahms and Beethoven differently.
I can't stand being in Chicago anymore and hearing the Brahms Violin Concerto in the elevator. Because that shows me that when they come to the concert hall they listen to it in the same way.
On Russia, I can only repeat what the president [Barack Obama] said. This is all about respecting certain principles, and I'm saying this from a European vantage point, from a European, from a German vantage point, sorry, the fact that for over 70 years we have been able to enjoy peace.
I found that looking at the Israeli/Palestinian conflict from an outside vantage point was actually quite distancing. The history of the conflict, the personalities, the violence, the distrust, and the seeming lack of viable solutions made meaningful involvement feel impossible. What changed that, for me, was changing the vantage point.
After conducting Wagner, Beethoven's triple concerto is like taking an Alka Seltzer.
I ended up breaking a bone in my foot early in my rookie season, and honestly, it was kind of a blessing. I had so much free time while being laid up that I put a lot of time in on film to understand the game from a different vantage point.
I have a set of images that go around the world in an art gallery installation. Each of them have different audiences, and they kind of each elucidate the subject in a slightly different way, and they ping off of each other.
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