Top 1200 Chamber Music Quotes & Sayings

I think you can tell a lot from the lives of many of today's great soloists. Their participation and gravitation towards chamber music is ever increasing.

To draw an analogy: a man's suffering is similar to the behavior of a gas. If a certain quantity of gas is pumped into an empty chamber, it will fill the chamber completely and evenly, no matter how big the chamber. Thus suffering completely fills the human soul and conscious mind, no matter whether the suffering is great or little. Therefore the "size" of human suffering is absolutely relative.

In its beginnings, music was merely chamber music, meant to be listened to in a small space by a small audience.

In chamber music, the audience can hear each instrument and understand (and feel) what the composer and the musicians have in mind as they play.

condoms are about as effective against AIDS as a twenty-four-chamber gun instead of a six-chamber gun when playing Russian roulette.

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.

And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.

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.

Writing in modern Hebrew is a bit like playing chamber music inside a huge, empty cathedral. If you are not very careful with the echoes, you may evoke some monstrosities.

Amy gritted her teeth. "King Louis XVI even put Franklin's picture on a chamber pot!" Jonah looked at his dad. "Do we have souvenir chamber pots?" "No." His dad whipped out his phone. "I'll make the call.

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.

There are two kinds of music. One comes from the strings of a guitar, the other from the strings of the heart. One sound comes from a chamber orchestra, the other from the beating of the heart's chamber. One comes from an instrument of graphite and wood, the other from an organ of flesh and blood. This loftier music I speak of tonight is more pleasing than the notes of the most gifted composers, more moving than a marching band, more harmonious than a thousand voices joined in hymn and more powerful than all the world's percussion instruments combined. That sweet sound of love.

I would advise all young musicians to not only experience and play chamber music, but to go to operas, speak to the singers, to explore and expand your horizons.

I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.

A successful current affairs television show seems to be more and more a cross between a music hall turn and a scene in a torture chamber.

I have written symphonic poems and chamber music. It is my way of personal expression.

The difference between an echo chamber and a filter bubble in my mind is an echo chamber you choose to in with likeminded people, a filter bubble chooses you and you don't really see it.

I tend to write short, brief snippets - I lean toward the chamber music end as opposed to the symphony end of things.

And the silken sad uncertain rustling of each purple curtain Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door — Some late visitor entreating entrance at my chamber door; — This it is, and nothing more.

Chamber music - a conversation between friends.

Once a month I play with a chamber music quartet. I play almost no solo music anymore because I so enjoy the interaction. The members of my quartet have become some of my best friends and so I really enjoy it now in ways that I didn't before.

Writing for chamber ensemble is the thing that excites me the most. So when I went down into the cistern, I didn't know that I was going to make a record based on that time and those improvisations. But as soon as I started playing music down there, I realised that it was going to be something significant for me.

I listen to lots of music, especially Bach, opera (all periods), German lieder, chamber music, and rock, old and new. I can't listen to music while I write. It's too absorbing.

Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.

'Music for Strings, Percussion, and Celesta' is a kind of expansion of 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.

We were very rich culturally. One Sunday each month, we would do this thing called Chamber Pots at somebody's house. A classical music group would come over and we'd have dinner. There were thirty people - parents and kids - and we'd sit on the floor and listen to this beautiful music.

I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.

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.

I really like Adam Curtis' 'Century of Self.' It's about how artists have failed the general public by being so exclusive, like being in an echo chamber. I was definitely more like that in my early twenties - my music was completely inaccessible.

Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.

I think touring is an important part of the life of an orchestra. Not only sharing with other audiences, but bringing that sense of family that you get back home. The sense of growing deeper into the music, of making it all sound like chamber music - that comes from being together on tour.

Sometimes I get too wound up in my chemistry, but if you play chamber music, it's impossible to think about chemistry.

With chamber music you can get people who work on the music for months, rehearsing it every day for a couple of hours, and if they get it in a different way than you do, which is entirely possible, it's not as a result of anything other than their good musicianship.

I tried to resist his overtures, but he plied me with symphonies, quartets, chamber music, and cantatas.

Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.

In the 1950s in the United States, few music lovers were listening to chamber music. Daddy played Bach and Haydn on our phonograph for me. Not only did I become familiar with the form; he discussed the concerti. My own head start. My own Head Start.

Most experiences are either sensual or intellectual. Chamber music, played by a small group so the listener can follow what each player is doing, is both.

I play a lot chamber music.As for something that's hard for me to play, before I leave this Earth I'm hoping to play Brahms' Second Piano Concerto.

I love what I do. I love the music, and I'm honored to be presented with a star by the Hollywood Chamber of Commerce.

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore--While I nodded, nearly napping, suddenly there came a tapping, As if some one gently rapping, rapping at my chamber door. "'Tis some visitor," I muttered, "tapping at my chamber door--Only this and nothing more.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

The next chamber is full of songbirds, if I remember right. Their music is like turtleweed. It will put you to sleep if you listen to it. They sleep most of the time, so the best thing is to pass through without waking them up. If they do awaken, then you must sing loud enough to drown out their music." "Great," Han said. "Whose idea was that?" "It seemed like a good idea at the time," Crow said. "I was an excellent singer.

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.

I never liked opera growing up. I always liked chamber music or solo music even more than orchestral music.

What isn’t on my iPod playlist? I have very eclectic tastes. Jazz. Classic Rock. Hip Hop. Ska. Soul. Electronica.World Music. Funk. Blues. Chamber Music. Reggaeton. Gospel. And a whole lot of Prince. (I am a Minnesota gal through and through.)

[Patrick Leonard] is such a magnificent composer. I don't think there is anybody working today with those kind of skills that could translate one of my tunes into that really beautiful chamber music.

I studied voice when I was at school, and I was in the chamber choir, and I studied music theory as well, so I guess a lot of it came from being taught at school.

Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.

Thorny compositions that sound as if female teen punkers the Shaggs received doctorates in the music of 12-tone composer Alban Berg, and then rewrote their Philosophy of the World.... Carefully notated structures and interplay morph effortlessly into free improvisation that is intelligent and expressive, but never self-indulgent. Also featuring intense lyrics sung with their clear and melodic voices, the two women make transcendent chamber music outside of any genre.

So, immediately after that, I got a commission to write a piece for chamber orchestra, and in working on the material I discovered it was possible to incorporate the Buddhist teachings into the music, so that's what I started to do.

Mozart has written opera, symphony, sacred and chamber music - not to mention his piano and violin concerti.

A Beethoven symphony should be rehearsed like chamber music, only for a lot more people.

Nothing in the next-door world of Dachau impinged on the great winter cycle of Beethoven chamber music played in Munich. No canvases came off museum walls as the butchers strolled reverently past, guide-books in hand.

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.

Every Senator in this Chamber is partly responsible for sending 50,000 young Americans to an early grave. This Chamber reeks of blood.

My teachers said, 'Always keep a Beethoven sonata under your fingers.' I always have. I still play chamber music, and I always play classical.

If some of our works are symphonies, then wrapped walkways was chamber music.

I did take composition lessons when I was in high school, so I wrote piano pieces. I wrote some chamber music. I don't think any of that was particularly interesting.