Quotes About Orchestral

I think 'Easy Rider' might have been the first time that someone made a film using found music instead of an orchestral score. No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene.

I always dreamed of writing in an orchestral context. But when you finish a piece, you want to hear it. So we played everything with Phish.

I had come from an orchestral background, but I didn't really have any orchestral pieces for film.

I usually speak with all my drummers so that I write my songs with them in mind, and we'll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology, I can play all kinds of sounds - double bass and stuff.

When it comes to orchestral music, whenever I see a concert with orchestra and strings, and I arrive and there are speakers up, my heart always sinks a little bit, and I think, 'It's going to be down to some sound guy's ideas.' Contact microphones on the violins. I'm a purist, I suppose.

When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.

Holst's astringent orchestral piece Egdon Heath, completed shortly after visiting Hardy, captures the novelist's eerie atmospheres and weight of foreclosing tragedy.

Harvey didn't set his phone to beep or buzz or vibrate like a normal person. Harvey's phone screeched with a string piece from the Hitchcock movie Psycho, the scene with Janet Leigh in the shower, the knife rising and falling, the string section shrieking with short, staccato stabs, the lone violin slashing through the fermata with discordant glissandos, more violins joining the first, violas adding their teeth, mad strings schooling like orchestral sharks at a blood-drunk feast.

Dateline Mesopotamia, 3500 B.C. That's when the multi-faceted sounds we call music got its humble beginnings. It seems clappers were sent out the the fields to scare evil spirits away. These clappers started getting into the beat of their duty and, bingo, you got drums. From there, horns, strings, reeds, the whole orchestral gestalt. So, born in staving off death, music continues to nourish us in a variety of forms as different as the colors of the spectrum.

It is against the spirit of our non-discriminating times to openly prefer one sort of music to another, so let's just say that hearing grand orchestral music in a public place is exhilarating in a way that hearing popular music never can be, if only because, in a popular music age, a full orchestra is less familiar to our ears.

My mother's father was Jewish, so she was very conservative. She liked little, pretty music-orchestral-type things.

We just sang real simple songs in a simple way that got to people. We didn't try to tart them up with orchestral arrangements and all the stuff. We were all blues fanatics. We like R+B and blues and simple, gut-feeling music.

How You Like That' has Blackpink's own color and it's more powerful than the previous songs. We tried to put in pop, rock and hip-hop aspects in it. Orchestral sound in the beginning is very impressive.

For a short while she considered the idea of orchestral courtesy. Certainly one should avoid giving political offence: German orchestras, of course, used to be careful about playing Wagner abroad, at least in some countries, choosing instead German composers who were somewhat more ... apologetic.

In Berlin I especially enjoyed the orchestral concerts, and I attended a large number of them. I formed the acquaintance of a good many musicians, several of whom spoke of my playing in high terms.

The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.

I want to write orchestral music. I want to get a group of singers together and sing William Byrd songs.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

'The Black Parade' is an epic, theatrical, orchestral, big record that is also a concept album.

The growing drama has outgrown such toys Of simulated stature, face, and speech: It also peradventure may outgrow The simulation of the painted scene, Boards, actors, prompters, gaslight, and costume, And take for a worthier stage the soul itself, Its shifting fancies and celestial lights, With all its grand orchestral silences To keep the pauses of its rhythmic sounds.

I began as a violinist, not a composer. Thus my contact with orchestral musicians, with the source of music, is very important.

I remain extraordinarily proud of the Vaughan Williams symphonies I recorded with the LSO, and in the 1980s and '90s, I made an almost complete cycle of orchestral works by Richard Strauss with the Vienna Philharmonic.

You need a platform upon which to release an orchestral record, otherwise it's just going to be an obscurity.

Classical - perhaps I should say 'orchestral' - music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It's all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities.