A Quote by Skitch Henderson

I also work with the regular orchestras in Munich, Germany and other similar orchestras. — © Skitch Henderson
I also work with the regular orchestras in Munich, Germany and other similar 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've done shows with orchestras, and I like writing with orchestras.
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.
There are three orchestras in Munich, all world-quality, in a city of one million. Yet every hall is full.
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.
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 me it's no accident that all the symphony orchestras around the world tune up to the note A. And A is 440 cycles, except in Germany where it's 444. But the universe is 450 cycles. So what I'm trying to say is, I think it's God's voice, melody especially. Counterpoint, retrograde inversion, harmony... that's the science and the craft.
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
'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.
As a professional, you pick up ideas from your colleagues and the orchestras you work with, while coming up with mutual interpretations in very short periods of time.
I endeavor that all orchestras I conduct sound Central European.
Symphonic orchestras have almost become a glut in the market.
Orchestras are like people. They're the sonic embodiment of their community.
We still listen to the original lush arrangements with the orchestras.
I think conductors do spend too little time with their orchestras.
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
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