Quotes About Orchestra

If the rhythm or beat of the music changes with a live orchestra, you have to think on your feet. If you feel like you are not on your leg, you have to make a decision to make it look as though nothing is going wrong.

It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.

Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.

Mostly this problem is contained in the fact that the US makes it so difficult for Canadians to get green cards (you heard it here), but if an American orchestra really wants a player, they have their ways.

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.

As long as I can sing halfway decent, I'd rather sing than act. There's nothing like being in good voice, feeling good, having good numbers to do and having a fine orchestra.

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.

When I want 30 musicians in the orchestra, I get 30.

Why write for the orchestra? For one thing it's a very challenging problem.

The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.

A conductor can't be too arrogant with an orchestra and try to impose himself too much.

Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.

They're always so serious, the orchestras, you know? It's always a fun contrast of that song and the genre of music. And me.

I love working with an orchestra, but there are many ways to make music.

There was an opinion expressed in the newspapers that, after 20 years, maybe the Israel Philharmonic should consider asking me to leave. I thought they might have a point, so I asked my orchestra. They told me overwhelmingly that they wanted me to stay.

There are three orchestras in Munich, all world-quality, in a city of one million. Yet every hall is full.

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.

With an orchestra you are building citizens, better citizens for the community.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

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.

An American orchestra doesn't want to play more than it has to. I respectfully disagree with that attitude.

I endeavor that all orchestras I conduct sound Central European.

I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.