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I was never that into the movies. Never. Even as a youngster. I became interested in movie music only because of the studio orchestras in Hollywood.
What I really enjoy about writing for orchestras is realizing that - and it's kind of self-evident - but the fact that they are 48 individuals. It's not, you know, a preset on a keyboard. It's all these people who have opinions and who are making decisions about how to play.
To me it's no accident that all the symphony orchestras around the world tune up to the note A. And A is 440 cycles, except in Germany where it's 444. But the universe is 450 cycles. So what I'm trying to say is, I think it's God's voice, melody especially. Counterpoint, retrograde inversion, harmony... that's the science and the craft.
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.
There are three orchestras in Munich, all world-quality, in a city of one million. Yet every hall is full.
I've worked with some great orchestras and amazing classical musicians, but I don't like the conceptualization of classical music as an elitist form of art.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
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.
In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.
It is very gratifying to see the music from 'The Lord of the Rings' trilogy find a new life on the concert stage as it is performed by different orchestras and choruses throughout the world.
I grew up playing in youth orchestras, so they were my most treasured memories, so to be in front of an orchestra playing my own material would be incredible.
I will never master this craft. Orchestras are very, very forthcoming with me.
David Ogden Stiers
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
David Ogden Stiers
I went to study some orchestration stuff because I got so inspired working with all the orchestras.
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.
When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.
I did the one concert, and I was not bitten by the conducting bug, and I thought I was done, but then the phone started to ring, and gradually, over time, I started conducting more and more. Now a third of my performances are with orchestras.
I grew up listening to hipster jazz and classical records... we went and watched ballet and orchestras - lots of cool stuff. Which I'm really grateful for - it's pretty nice being introduced to that when you're little.
While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.
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.
And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what's going to come next - when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they're thrown away.
I endeavor that all orchestras I conduct sound Central European.
I think conductors do spend too little time with their orchestras.
I sometimes feel it is to my disadvantage that I have not conducted the Cleveland Orchestra or the Boston or Chicago symphonies, but then I have had to sacrifice something in order to have enough time with my orchestras.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
Martin Luther King, Jr.
John F. Kennedy
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