Quotes About Orchestra

the most heroic symphony is a judicious combination of puffing, plucking, scraping, and beating.

The orchestra had ceased and were now climbing onto their chairs, with their instruments. The floral offerings flew; the coffin teetered. Catch it! a voice shouted. They sprang forward, but the coffin crashed heavily to the floor, coming open. The corpse tumbled slowly and sedately out and came to rest with its face in the center of a wreath. Play something! the proprietor bawled, waving his arms; play! Play!

sound of the orchestra but the intimacy of chamber music.

Jackendoff and Lerdahl also suggest that the way people convert music into gesture, whether by dance or in conducting an orchestra, is instinctive and special to music alone.

The first problem I had with conducting was coming out on stage and turning my back on the audience. It was an utterly foreign sensation. I always felt as if my rear end were hanging out. That particular portion of my anatomy suddenly seemed enormous, living a life of its own, engaged in its own relationship with the public behind my back. For the first couple of years I conducted, I sat on a chair in front of the orchestra, to help quell that particular discomfort.

I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.

He uses his music as an accompaniment to his conducting.

I used to be selected for the Pennsylvania all-state orchestra. It was a thrill to go from my home town of Aliquippa clear across the state to Lancaster for the concerts. No kid is immune to that kind of experience.

I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.

I always admired very much the virtuosity in Strauss because, really, he's a master of using the orchestra. And I like virtuosity, I must say, even if the taste of the music is not always mine.

Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.

I think this orchestra's strengths involve drama and voice.

I hear these melodies. I hear horn lines and string lines. That's what's fun about recording with an orchestra.

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

Haute couture is like an orchestra, for which only Balenciaga is the conductor. The rest of us are just musicians, following the directions he gives us.

I will never master this craft. Orchestras are very, very forthcoming with me.

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.

Because I don't take money, I'll go anywhere and do a benefit concert with almost any orchestra.

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.

Working in Hollywood for the orchestra world is a very time consuming and laborious job.

You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.

Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.

The better the orchestra, often the harder it is to conduct, not the other way around.

I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.