Quote of the Day
- Page 2
My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that's a job where I don't think sex plays much part.
The role of an orchestra in the 21st century isn't just playing, it's about developing future audiences and performers.
Acting is just playing the violin in an orchestra. Directing is being the conductor.
After I learned the piano, I went on to learn percussion, the tuba, b-flat baritone, French horn, trombone, trumpet, most of the instruments in the orchestra. Trumpet was my instrument.
I first played the Royal Albert Hall when I was 14. I was a violinist with the Birmingham Schools Concert Orchestra, and we travelled down from the Midlands for the last night of the School Proms. We played some pieces from the Harry Potter films, and the violin parts were really hard.
I grew up in an era where an orchestra was like a treasure chest.
To not sing with an orchestra, to not be able to communicate through my voice, which I've done all my life, and not to be able to phrase lyrics and give people that kind of joy, I think I would be totally devastated.
It's like a whole orchestra, the piano for me.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
I used to play works in progress to people, but now I wait 'til it's finished, because you make excuses all the time: 'Well, there's gonna be an orchestra on it.' Rather than make excuses, wait 'til it's finished, and then they can say they don't like it.
I was always very aware of drummers. My oldest brother Henry was a drummer, and he drummed on everything in the house from the kitchen sink to stovepipes. He was the first drummer in the Gil Evans Orchestra, so you've got to know how great he was.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
Alexander McCall Smith
When I was four, we had to choose a musical instrument to play at school, and I chose the cello. I played until I was 18, and although I found it nerve-racking to play solo, I loved playing in an orchestra. When I left school I didn't carry on with it, which I regret.
So now, thirty years, forty years later, I mean, I could find a whole orchestra of a thousand to put these things together in New York City alone. In those days, if I could scrape up twenty musicians to do this it was something extraordinary.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
I am going to be contradictory to myself many times for the simple reason that I am trying to bring all the religions to a higher synthesis. Different approaches have to be joined together. I am creating an orchestra.
When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
I had just left Yes and had done a concert at Crystal Palace, South London, with a choir and orchestra playing my solo album 'Journey To The Centre Of The Earth' when I had my heart attack. That day, I hadn't been to bed for four days. I don't remember much. I felt very numb during the day and airy, which is the best way to describe it.
I suppose, counting back, if the Beatles had been influenced by music in the same length of time ago - you'd have to put that into better English for me, thank you - they would have been like a banjo orchestra. They would have been doing show tunes.
When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being played.
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.
Toting around a full orchestra on tour is very ambitious. I would consider doing a show now and then, like do a show at Radio City or Carnegie Hall with a full orchestra.
I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
A. P. J. Abdul Kalam
C. S. Lewis
Image of the Moment
Get Social with BrainyQuote
Follow BrainyQuote on Facebook, Twitter and Google+ to share inspiring quotes with friends.
Join us on
Follow us on
Follow us on
Quote of the Day
BQ on Facebook
BQ on Twitter
BQ on Pinterest
BQ on Google+
BQ on Instagram
Quote Of The Day Feeds
Quote of the Day Email
© 2001 - 2015 BrainyQuote