A Quote by Simon Rattle

I first heard Mahler's second symphony aged 11 in Liverpool, and it inspired me to become a conductor. — © Simon Rattle
I first heard Mahler's second symphony aged 11 in Liverpool, and it inspired me to become a conductor.
For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.
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.
Although, I am proud of all my Symphonies as they all have something special to say, my particular favourite is the Fifth. As the great Mahler expert Donald Mitchell said that if Mahler had written another Symphony, it would have been my Fifth!
I started playing ukulele first for 2 years from age 9 to 11 and got my first guitar and got inspired by blues I heard on the radio that turned me on and I started learning myself.
I have always adored Mahler, and Mahler was a major influence on the music of the Beatles. John and me used to sit and do the Kindertotenlieder and Wunderhorn for hours, we'd take turns singing and playing the piano. We thought Mahler was gear.
A Haydn symphony had a meaning for the social group that listened to it. A Mahler symphony had a meaning for the man who composed it. Here is the difference between the classical and romantic attitudes to art.
Mahler wrote it as the third movement of his Fourth Symphony. I mean the fourth movement of his First Symphony. We play it third. The trumpet solo will be played by our solo trumpet player. It's named 'Blumine,' which has something to do with flowers.
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.
We know that he gave Aschenbach Mahler's first name, and also his facial features. So Visconti picks up on something interesting. That led me to think about ways of developing further the Aschenbach-Mahler connection.
There is no reason why a joke should not be appreciated more than once. Imagine how little good music there would be if, for example, a conductor refused to play Beethoven's Fifth Symphony on the ground that his audience might have heard it before.
In South America, I heard the 8th Symphony of Beethoven. And the young conductor thought, Beethoven must be heroic. But this is piece which shouldn't be heroic. And this was such a misunderstanding, such a deep misunderstanding.
I'd be much more likely to watch the latest Tarantino movie than to listen to a Mahler symphony.
[On being asked how it felt to be the first female conductor of the Boston Symphony:] I've been a woman for a little more than fifty years, and I've gotten over my original astonishment.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
People have an affinity towards things, and you don't know where it comes from. Mozart wrote a symphony when he was four, so it's said; the theory is maybe because his father was a conductor, it happened in vitro, and he heard the music before he was born, and by the age of four he knew how to write music.
Hanks' ideology first came into our zone shortly after 9/11, when he criticized me for asking Hollywood telethon stars to become more aggressive in getting the money to 9/11 families.
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