A Quote by Christo

If some of our works are symphonies, then wrapped walkways was chamber music. — © Christo
If some of our works are symphonies, then wrapped walkways was chamber music.
I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.
The chamber music repertoire is so vast that if one is genuinely curious about music, the art of listening, understanding and responding to a score, the elementary skills and requirements of chamber works are easily applicable to that of any solo playing.
I tried to resist his overtures, but he plied me with symphonies, quartets, chamber music, and cantatas.
I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.
Our life a harp is, with unnumbered strings, And tones and symphonies; but our poor skill Some shallow notes from its great music brings.
Everybody is different. Some writers can write reams of great books and then J. D. Salinger wrote just a few. Beethoven wrote nine symphonies. They were all phenomenal. Mozart wrote some 40 symphonies, and they were all phenomenal. That doesn't mean Beethoven was a lesser writer, it's just some guys are capable of more productivity, some guys take more time.
I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
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.
Music always stimulates my imagination. When I'm writing I usually have some Baroque music on low in the background chamber music by Bach, Telemann, and the like.
That is another chamber of my heart that shows no electrical activity - the chamber that used to flicker into life when I saw a film that moved me, or read a book that inspired me, or listened to music that made me want to cry. I closed that chamber myself, for all the usual reasons. And now I seem to have made a pact with some philistine devil: if I don't attempt to re-open it, I will be allowed just enough energy and optimism to get through a working day without wanting to hang myself.
Many consider that Shostakovich is the greatest 20th-century composer. In his 15 symphonies, 15 quartets, and in other works he demonstrated mastery of the largest and most challenging forms with music of great emotional power and technical invention...All his works are marked by emotional extremes - tragic intensity, grotesque and bizarre wit, humour, parody, and savage sarcasm.
Not only are most of our citizens fathomlessly ignorant of the glories of American literature, a fast-growing percentage of our students are no longer taught much about any works of American art, be they novels, paintings, symphonies or ballets.
Classical music fulfills for me the function of narrative. I spend 90 minutes a day listening to symphonic music - Beethoven to Bartók - some chamber pieces, and that's my enrichment.
Life is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. If it works big, others quickly copy it. Then you do something else. The trick is the doing something else.
My training in music has been very eclectic - as first a flute player from classical chamber music to jazz, Greek, Brazilian and African music to contemporary concert music.
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