A Quote by Skitch Henderson

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
The biggest difference between U.S and most European big cities is that in a place like London, for instance, there are five orchestras, and there's a bloody competition between these five orchestras.
In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
I've done shows with orchestras, and I like writing with orchestras.
Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.
I endeavor that all orchestras I conduct sound Central European.
All the instruments of percussion known to European science are essentially nonmusical and can only be tolerated in open air music or in large orchestras where a little noise more or less makes no difference.
When I was growing up, there were no women in orchestras. Auditioners thought they could tell the difference between a woman playing and a man. Some intelligent person devised a simple solution: Drop a curtain between the auditioners and the people trying out. And, lo and behold, women began to get jobs in symphony orchestras.
To this day I am indulgent toward orchestras that are trying to lift themselves in the world, while critics are busy assuring them that they are not the Vienna Philharmonic and never will be.
I was raised a musician and I played classic music, violin, in orchestras and music comedy theaters, I have music running around in my head all the time, and if I hear music that's too interesting, I have to pay attention to it.
To me, that's when music was music. Every studio had a full symphonic orchestra and a whole bunch of singers they used on every picture. Every radio show had singers on it, and NBC and CBS had their own staff orchestras. Music was everything. And it was good music; it wasn't based on three chords.
There is too much employer-employee relationship in America. I wish the musicians would feel that many decisions have to do with them and not delegate everything to management or to the board or to the committee. This is why you get a sense of pride in some of the European orchestras: because they are part of the decision-making.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
'Geronimo' was a huge amount of work. That involved 80-piece orchestras and Indians and Tuvans and all kinds of crazy people on that thing. That's a real circus, that score.
I'm more authoritarian with the orchestras than I used to be. You need to hold your ground, I've noticed, or you'll be swept aside.
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