A Quote by Quincy Jones
There's power in the collective. If you don't believe me, just watch a symphony orchestra with a conductor and 120 people who are thinking about exactly the same thing at the same moment - no babies, no stock markets, no mortgages. Just 32nd notes.
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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.
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.
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 am the conductor for life of the Staatskapelle in Berlin, which fills me with tremendous joy because I feel absolutely at one with them. When we play, I have a feeling that together we manage to create one collective lung for the whole orchestra so that everybody in the stage breathes the music in the same way.
I listen to the summer symphony outside my window. Truthfully, it's not a symphony at all. There's no tune, no melody, only the same notes over and over. Chirps and tweets and trills and burples. It's as if the insect orchestra is forever tuning its instruments, forever waiting for the maestro to tap his baton and bring them to order. I, for one, hope the maestro never comes. I love the music mess of it.
I'm just not arbitrarily choosing to have five guitars play one type of thing. In that way there's a definite similarity between a symphony orchestra and the 100 guitar symphony.
I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.
I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
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.
~You know how parents rattle on to you about, 'Oh, you won't believe your life will never be the same,' and you think, Why can't these people just get over it? All they're doing is yakking about their kids. It's such a bore. And then you have kids and you just want to do the same thing.~
When people blanket a whole class of people with statements, I just think that is unfair to everybody. I could do the same thing about media. I can do the same thing about politicians or lawyers, and they're just never accurate.
When the weather changes and hurricanes hit, nobody believes that the laws of physics have changed. Similarly, I don't believe that when the stock market goes into terrible gyrations its rules have changed. It's the same stock market with the same mechanisms and the same people.
Never underestimate the power of confidence. If you believe you're the dopest thing walking, you might convince people of the same just because you're so headstrong about it as a fact.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
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.
In my early writing, all of my characters were exactly the same person. They all spoke the same, made the same types of jokes, reacted the same, etc. I think they were all just me in disguise.
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