Top 568 Orchestra Quotes & Sayings - Page 4
Explore popular Orchestra quotes.
Last updated on December 4, 2024.
Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
It's really hard to smile when you play. As a performer, if I ever find myself focusing, it's like, 'Oh no - orchestra face!' It's not attractive at all, so I have to focus on smiling.
So when you enjoy the beats, the rock music - maybe even toned down with an orchestra - you are enjoying the spirit of the black race. And that's what I emphasize to the students.
The art of conducting consists in knowing when to stop conducting to let the orchestra play.
I can't stand going out to one more dinner with some Mrs. So-and-So who might leave a million dollars to the Chicago Symphony Orchestra when she dies.
I do like alternative rock and rap, but as far as inspirational, then I go full-on orchestra. It fills up your entire being.
The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.
I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.
Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.
I can imagine myself as an old man writing music for choir or orchestra. I don't know that I'll be touring six months out of the year in a rock band when I'm 60.
Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.
You can play Bach on the piano, a symphony orchestra or a quartet of saxophones, but let's stop this silly, childish business of knit your own musicology
[As a conductor] there has to be, between me and the orchestra, an unshakable bond of trust, born out of mutual respect, through which we can spin a musical narrative that we all believe in.
I would think, of all the saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.
...Ori Kam is an outstanding violist who has already played as a soloist with the Israel Philharmonic Orchestra twice, much to our delight and satisfaction, and has availed himself with distinction.
I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
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.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
Theatres, along with the likes of the Ulster Orchestra, for example, are the cultural heartbeats of our towns and cities, and without them, we are much poorer for it.
For an instant God opens his door and His orchestra plays the Fifth Symphony.
You can't play a symphony alone, it takes an orchestra to play it.
New York. It's home to opera, Broadway, museums, the ballet and orchestra - everything that I love. The most real people in the world live there.
The Queen and Electric Light Orchestra harmonies are so distinct and fit in our songs so well sometimes, but we don't know how to do them properly.
In the Jazz at Lincoln Center Orchestra we play such a diversity of music, with 10 arrangers in the band, we don't really worry about whether it's contemporary or not.
I was playing in the Metropolitan Opera Orchestra as principal horn. I was there for some 15 years - one of the most exciting and great musical periods in my life.
One has to build a fist against anti-Semitism-a first class orchestra will be this fist.
Over the years it has been my privilege to lead performances with Saint Louis, the National Symphony, Cleveland Orchestra and so many other wonderful organizations.
Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.
Being at the show, watching people do what they do so well, hearing a full orchestra, and hearing beautiful music? There's nothing better.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
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.
Great cataclysmic things can go by and neither the orchestra nor the conductor are under the delusion that whether they make this or that gesture is going to be the deciding factor in how it comes out.
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
Whenever I get asked to write orchestra music or music that is for a lot of players, I try to make it a little sad.
I have sat in with the Burbank Philharmonic and the Topanga Orchestra when they need someone if someone gets sick or something.
Aromatherapy without massage is like an orchestra without a conductor
I sometimes feel it is to my disadvantage that I have not conducted the Cleveland Orchestra or the Boston or Chicago symphonies, but then I have had to sacrifice something in order to have enough time with my orchestras.
In many ways, I think about the possibility that there could still be a Yes in 100 or 200 years from now, just like a live symphony orchestra.
I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
When I want 30 musicians in the orchestra, I get 30.
I first began with the recorder in our community music school. After that, I played horn and participated in the school orchestra.
My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tamboura I sound and clash inside myself. All I hear is the symphony.
Nothing can grab you by the throat - or heart or soul - like an orchestra. It's undeniably the most engaging and exciting way to bring a score to life.
I always felt that I would become somebody outstanding, whether it was in singing, instrumental playing, orchestra conducting, or anything involving feeling.
A conductor can't be too arrogant with an orchestra and try to impose himself too much.
I have always been an extrovert. When I was younger, I would go outside and sing to the flowers and pretend they were the orchestra. As one of my parents' friends said, I was an odd boy.
The most immediately gratifying thing about my work is conducting a large orchestra. But the long range payoff is composing because you've written something and it's there forever.
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
An orchestra knows during the first two minutes of the first rehearsal whether or not they are going to enjoy the person on the podium.
The symphony orchestra had played poorly, so the conductor was in a bad mood. That night he beat his wife--because the music hadn't been beautiful enough.
In 'Secret Life of Pets,' it's a huge orchestra - really, really big.
A conductor should reconcile himself to the realization that regardless of his approach or temperament the eventual result is the same-the orchestra will hate him.
If you think about how long it takes to write a piece of music for an orchestra, it's outrageous to me, outrageous.
If you can't play all the instruments in the orchestra of story, no matter what music may be in your imagination, you're condemned to hum the same old tune.
My experience with the Detroit Symphony has been musically very satisfying. They have a wonderful sound, which for me is one of the most important qualities in an orchestra.
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
I can't play an instrument to save my life. But when I'm creating, and when I'm making music, I feel like I'm the head of the orchestra, and I'm just waving my wand, and something is created.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
