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I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
I often think of random melodies. And I pretty much hear in my head what I want to do with the orchestra as I'm writing on the piano.
Andrew Lloyd Webber
An American orchestra doesn't want to play more than it has to. I respectfully disagree with that attitude.
I'm a little less hungry as an actor than I used to be. When you're a director, you're the conductor of the orchestra, and when you're an actor, you're playing the violin. There's a thrill to each of them, but as the conductor, you get the fuller sound.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I come to New Orleans so often that, one day soon, someone's going to declare me a native. I love the food. I love the music. I serve on the board of the New Orleans Jazz Orchestra.
That process by which you become a writer is a pretty lonely one. We don't have a group apprenticeship like a violinist might training for an orchestra.
It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.
Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.
The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.
I played cello in my high school orchestra.
An orchestra knows during the first two minutes of the first rehearsal whether or not they are going to enjoy the person on the podium.
An orchestra full of stars can be a disaster.
Why write for the orchestra? For one thing it's a very challenging problem.
Working in Hollywood for the orchestra world is a very time consuming and laborious job.
Eventually we want to do a puppet musical with turntables in the orchestra pit.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
The Chicago Symphony is considered the greatest orchestra in the world.
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.
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.
I can't stand going out to one more dinner with some Mrs. So-and-So who might leave a million dollars to the Chicago Symphony Orchestra when she dies.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
You have to change your mind with every orchestra because every orchestra has a different character.
But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.
Michael Tilson Thomas
Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.
A. P. J. Abdul Kalam
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