A Quote by Victor Borge

The oboe sounds like a clarinet with a cold. — © Victor Borge
The oboe sounds like a clarinet with a cold.
So the ideology was that: use sounds as instruments, as sounds on tape, without the causality. It was no longer a clarinet or a spring or a piano, but a sound with a form, a development, a life of its own.
I remember being a kid and wanting to be so many different things. There was even one point that I wanted to be a clarinet player, and I had never even touched a clarinet, in my life. And then, I wanted to be a chef. And then, I wanted to be a vet. It's hard to decide who you're gonna be, as weird as that sounds, because we all do it.
I was curious about experimenting with different colors - kind of like having an expanded orchestra. Suddenly, instead of just writing for strings, you can add bassoon and oboe and brass. I like these extreme differences in sounds right next to each other.
I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments - guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums.
If you take a violin, you can make it sound 50 different ways. Not just pizzicato and played by the bow, but ponticello, and harmonics, and tremolos. If you take an oboe and play it, there's about one way you can make it sound: like an oboe.
Clarinet is often associated with certain genres, like swing or folk music. I combine the old and new, using the clarinet as an expressive tool and not in one genre. I'm just happy that people are drawn to what I do.
Conductors do not know how the oboe does its work, but they know what the oboe should contribute.
I guess I just look at talent as a very subjective thing. I mean, if you never tried playing an oboe, how do you know you're not the most talented oboe player ever? The point is that if you don't love it, then it doesn't matter.
Yeah, musically, from a production standpoint my favorite is probably 'Have a Little Talk with Jesus'. Just the way it turned out production wise with the clarinet and everything, it sounds like something from a movie.
Benny Goodman was one of the big influences as a clarinet player. That's why I wanted the clarinet.
I was already playing the clarinet and the piano. My father's a piano player. But I wanted to play in a funk band, and the clarinet wasn't fit. So you was "Hey, man, can I sit in?" They're like, "No, man." So I started fooling around with the bass.
Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.
Some old people, they remember that they used to play clarinet, and they remember the squeaks of the clarinet. But I don't play like that.
Harry Potter (Daniel Radcliffe) is now fourteen, and, while he gives little sign of doing what Lord Rochester planned to do at the same age, there are nonetheless changes afoot. Harry's voice, like that of his best friend, Ron (Rupert Grint), sounds like the mating cry of an oboe, and, worse still, the two cease to be best friends.
We decided to do some of Merle's things with modern instrumentation. We used a flute, a bass clarinet, a trumpet, a clarinet, drums, a guitar, vibes and a piano.
Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.
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