Top 222 Conductor Quotes & Sayings - Page 3

It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.

For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume... to do something with your body. When singing in concert, you have to stand up in front of the audience, next to the conductor, which is less natural.

Lately, my mind is like an orchestra. If you don't have the conductor, you don't know what to do. One guy is playing jazz, one guy is playing rock and roll, another classical. It's a big mess.

Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds?

I, uh...I have a television, so I'm going to spend some time here to tell you some things. [To orchestra conductor:] And, and...and sir, you're doing a great job, but you're so quick with that stick, so why don't you sit. 'Cause I may never be here again.'

When I was younger, I felt more like a student working with a mentor when I worked with the conductor, but now it feels more like equals.

There is no reason why a joke should not be appreciated more than once. Imagine how little good music there would be if, for example, a conductor refused to play Beethoven's Fifth Symphony on the ground that his audience might have heard it before.

If we turn to the divine Conductor and follow the wise and loving baton that is His will, His Word, then the music of our life will be a symphony.

When I got out of college I moved to Seattle because it was the nearest big city and still didn't know if I wanted to be a composer, conductor, singer, actor. I just got day jobs and auditioned and took what came and the theater doors were the ones opening the most.

When I got out of college, I moved to Seattle because it was the nearest big city and still didn't know if I wanted to be a composer, conductor, singer, actor. I just got day jobs and auditioned and took what came, and the theater doors were the ones opening the most.

I don't like to hurry. I'm not a conductor of the fast, fiery romantic type. I prefer Bruckner, with the sincerity of his musical language and the huge time spans in which his ideas develop, to Mahler, with his hysteria and self-indulgence.

The conductor is a peculiar person. He turns his back on his friends in the audience, shakes a stick at his players in the orchestra, and then wonders why nobody loves him.

[conductor Eugene Ormandy introduces Warfield to the audience in an unintentionally humorous way:] With us tonight is William Warfield, who is with us tonight. He is a wonderful man, and so is his wife.

I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him. It was his face. It was whether or not he'd approve of my playing.

In high school, we had a really great jazz program that I finally was able to be a part of. They only wanted instrumentalists; they didn't want any singers. But I made my way in, and I remember the conductor of the band wrote a lot of arrangements and asked me what I wanted to sing.

Why is the sky blue? Why is the grass green? Why is metal a conductor of electricity, and wood is not, but you're more likely to be struck by lightning when standing under a tree? These are questions that require science to answer.

Pablo Casals is a great musician in all he does: a cellist without equal, and extraordinary conductor and composer with something to say. I have been profoundly impressed by all I have heard of his work, but he is a musician of this stature because he is also a great man.

Classic music somehow changed, and it changed between the first and the second world wars, and somehow what happened was that the hero that had been the composer, the hero now was the performer, and especially the conductor.

Born a slave, Harriet Tubman was determined not to remain one. She escaped from her owners in Maryland on the Underground Railroad in 1849 and then fearlessly returned thirteen times to help guide family members and others to freedom as the most famous conductor of the Underground Railroad.

I started taking piano lessons when I was about 5, and there was always a lot of music in my family: my parents both play instruments, my grandparents were classical violinists, and my grandfather was actually a music professor and a conductor.

The greatest contribution jazz has made in music has been to replace the role of the conductor with a member of the ensemble who, instead of waving his arms to keep time and convey mood, is an active member of the musical statement. That person is the drummer.

It seems always to have been difficult to have been a New York Philharmonic conductor because of the nature of New York. We are in direct competition with the great orchestras in the world who come to play in our hall or in Carnegie, and we are constantly compared. I think that 's a good thing.

My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.

SoftBank is not a specialist on any instrument. We did not invent any instrument. Not the best player. But we would like to be a conductor of this information revolution.

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.

The conductor of an orchestra doesn’t make a sound. He depends, for his power, on his ability to make other people powerful.

The life of any musician really doesn't fall into a normal schedule at all. Every week there are different rehearsals, different days and nights of performances, so we don't have a particular pattern that we can follow. For a conductor, it is a little bit worse because we have to allow for traveling.

A music director cannot and should not be chosen on the basis of a first date. It is not so difficult to make a good impression with a single appearance, usually containing some of a conductor's party pieces, works they have performed successfully many times before.

If you ever go to a music session, you'll notice that the musicians can sit down and start playing right away, and everyone knows what to do. Of course they're reading it, but the conductor can tweak little things, and you can take that back to directing motion pictures.

What is a career, actually? Nobody can destroy my career. Only I can destroy my career, if I am a bad conductor. I've gone to lesser known orchestras in Scotland and Sweden, Detroit, but I have enjoyed the places I've been, and had success. I like the close community relations, and to solve problems.

I am still very proud of that concert. In America, the (musicians') connection with the conductor is as with management - it becomes political. You cannot conduct properly in this environment. I hate this enemy situation between management and orchestra members.

It's been a thrilling journey - I have had to really learn that an orchestra is an entity - it's a creature. I have been calling it the dragon and the conductor is the dragon tamer. And you just have to ... ride and don't let go and you will be fine.

There's power in the collective. If you don't believe me, just watch a symphony orchestra with a conductor and 120 people who are thinking about exactly the same thing at the same moment - no babies, no stock markets, no mortgages. Just 32nd notes.

Sympathy wanting, all is wanting; its personal magnetism is the conductor of the sacred spark that lights our atoms, puts us m human communion, and gives us to company, conversation, and ourselves.

[A conductor's] happiness does not come from only his own story and his joy of the music. The joy is about enabling other people's stories to be heard at the same time.

Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.

There's a very curious and - and almost sadistic lust for blood that overcomes the concert listener, and there's a waiting for it to happen: a waiting for the horn to fluff; a waiting for the strings to become ragged; a waiting for the conductor to forget the subdivide, you know? And it's dreadful!

The end result of my personal story is that I became a really good drummer, and I know myself well enough to know that I wouldn't have without this really tough conductor and this really cutthroat hostile environment I was in.

I study the Bible constantly. I teach the Bible. You know, I'm a Bible conductor, and I have a lot of people studies. But also, I see how small things really help people to get over humps in their life. Gives them direction.

I am the conductor for life of the Staatskapelle in Berlin, which fills me with tremendous joy because I feel absolutely at one with them. When we play, I have a feeling that together we manage to create one collective lung for the whole orchestra so that everybody in the stage breathes the music in the same way.

Shared leadership... is less like a an orchestra, where the conductor is always in charge, and more like a jazz band, where leadership is passed around ... depending on what the music demands at the moment and who feels most moved by the spirit to express the music.

My father, Rodolfo, worked as a train conductor and that's how we came to live in the railway car. The Government owned it, and we paid rent on it. Back then I would wake up at 4 in the morning and run through the streets, selling newspapers. I'd scream out, 'Sol, Debate, Noreste.' Those were the papers I sold.

The great conductor is always a despot by temperament and intractable in his ways. ... The artist is obliged to keep his laughter and tears to himself. If they want to emerge, in spite of himself, then he must hide them or unleash them in someone else.

Thank you, Wes... You've been a great inspiration. You are like a conductor. You are like a composer... You inspire us, all of us... If it wasn't for you...I couldn't have done it this way.

A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.

Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

I didn't have traditional stage fright. If there was 500 people in the audience or three people in the audience, it didn't really make a difference. What made a difference was the conductor. Everything that I was scared about as a drummer was him.

Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning-conductor of his existence.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

People have an affinity towards things, and you don't know where it comes from. Mozart wrote a symphony when he was four, so it's said; the theory is maybe because his father was a conductor, it happened in vitro, and he heard the music before he was born, and by the age of four he knew how to write music.

In South America, I heard the 8th Symphony of Beethoven. And the young conductor thought, Beethoven must be heroic. But this is piece which shouldn't be heroic. And this was such a misunderstanding, such a deep misunderstanding.

When I'm having a rehearsal and there are new guys who come in to try out for the job, I always let my conductor rehearse them. Because I don't want the guy to get bent out of shape, because I walk in.

It's been a thrilling journey - I have had to really learn that an orchestra is an entity - it's a creature. I have been calling it the dragon and the conductor is the dragon tamer. And you just have to... ride and don't let go and you will be fine.

Playing music well is difficult, yet the world has an abundance of fine performers. Explaining a little about music is easier, yet few do it well. Those who can do both supremely form a tiny club, whose honorary chairman is the conductor Michael Tilson Thomas.

In getting good results team leaders become conductor rather than driver, enabling others to play the right music, not by hands-on domination of all decisions and execution, but by providing inspiration, motivation and stimulus.

I was the conductor of the Underground Railroad for eight years, and I can say what most conductors can't say; I never ran my train off the track and I never lost a passenger.

We are aware that the conductor is not really making the music, it is making him -- if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us.

For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume ... to do something with your body. When singing in concert you have to stand up in front of the audience, next to the conductor, which is less natural.

There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.