Quotes About Music

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.

Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.

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.

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.

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.

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.

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.