A Quote by Zubin Mehta
In truth, I became a conductor because deep down I wanted to conduct Brahms's four symphonies and Richard Strauss's tone poems.
Related Quotes
In truth, I became a conductor because deep down I wanted to conduct Brahmss four symphonies and Richard Strausss tone poems.
I remain extraordinarily proud of the Vaughan Williams symphonies I recorded with the LSO, and in the 1980s and '90s, I made an almost complete cycle of orchestral works by Richard Strauss with the Vienna Philharmonic.
The Truth about Leo Strauss is the most balanced and insightful book yet written about Strauss's thought, students, and political influence. It dispels myths promulgated by both friends and foes and persuasively traces the conflicting paths that American thinkers indebted to Strauss have taken.
Deep down, classical Romantic music is what I love: Brahms, Tchaikovsky, the Romantics.
I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.
I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.
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.
Dwight D. Eisenhower, in my judgment, will go down in history as one of the four 'great' presidents since the U.S. reluctantly became an empire in World War II; Richard Nixon as the nearest to a sociopath by the time he was compelled to resign.
By the end of Pop's life I wanted to give something back and when I came on board as his musical director he needed me. I wasn't the greatest conductor of the orchestra, but I was hired to conduct Frank Sinatra. He was slowing down, his memory wasn't what it had been. But his audience never stopped loving him. He had teleprompters.
[On the music of Richard Strauss:] Too many notes!
Richard Strauss--Old Home Week in Gomorrah
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
I started to write my own stories, like small novels, and those novels became poems, and after poems, they became lyrics, and song came from that.
There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.
In concertos, I stand up, and I conduct with the bow when I'm not playing. During symphonies, I sit, but sometimes I stop playing to conduct. Being seated in a section allows me to feel more like we're playing chamber music, which is how I like to approach it.
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