Quotes About Orchestra

With El Sistema, you can create orchestras everywhere; then they can decide whether they want to become professional musicians. The aim is not only to create musicians, but to create people.

You find Jews, Irish, and Italians in every orchestra.

Playing in an orchestra is where I learned the most about music.

It's so important which musicians we choose for being in the orchestra.

Through conducting, you express through your arms, through your face and even the body, what you want to tell, so the musicians of the orchestra understand.

If anything, when I was young, I wanted to be an orchestra.

I feel choir just has a great sense of power when used with an orchestra, or even by itself.

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.

I feel I'm most successful when I'm playing a concert, and it doesn't necessarily seem like I'm playing a saxophone but am coming off more like an orchestra or something like that.

When I played my first concert with an orchestra, I was eight years old in Berlin.

For me, the main goal is loving music and experiencing the great music-making with the orchestra, which is the great reason why I conduct, and that is the main goal.

People talk very much about, 'What can we do with the orchestra in the 21st century?' We should think about the 21st century, of course.

On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!

At nine or ten, I was playing guitar in music class in my elementary school in Jackson, Michigan. They had a guitar class, and I played with ten of my classmates, and we did a little guitar orchestra for a school music.

'Geronimo' was a huge amount of work. That involved 80-piece orchestras and Indians and Tuvans and all kinds of crazy people on that thing. That's a real circus, that score.

Most of the time, I'll be conducting the orchestra, but there will be some pieces that I'll be playing an instrument as well, just because I love playing. There's pieces where I want to grab an instrument and play with the rest of the group, like 'The Light of the Seven,' for example; I would love to play the piano for that.

I played in orchestras all through high school and taught myself how to play guitar.

In western classical music with an orchestra, you focus the orchestra on melodies and harmony. In African music, the biggest focus is on rhythms and counter-rhythms - the complexity of rhythms.

It was a huge honour to play at the Palladium with the BBC Concert Orchestra.

If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.

Since my father's death, a lot of people have made it clear that they're not ready to give up the music. For me, it's a big, fat gift. I get to sing with a big orchestra and get to sing orchestrations that will never be old.

When I was going to high school, in the high school band we would play these kind of hour-long concerts for our parents. All the parents would come to the gymnasium, and the band would play an hour-long kind of orchestra piece. 'Synchestra' is supposed to be similar, like a high school band orchestra piece.

Normally when you write for an orchestra, you think about melody and harmony and countermelody.

I used to sing classical music to the flowers in the garden and imagine they were all different parts of the orchestra. It used to really annoy the neighbours.