Music Orchestra Quotes Page 2

I don't get into politics, general or musical, but just call me if you get jury duty. Even in New Jersey I was able to help somebody.

So when you enjoy the beats, the rock music - maybe even toned down with an orchestra - you are enjoying the spirit of the black race. And that's what I emphasize to the students.

My intention always has been to arrive at human contact without enforcing authority. A musician, after all, is not a mili- tary officer. What matters most is human contact. The great mys- tery of music making requires real friendship among those who work together. Every member of the orchestra knows I am with him and her in my heart.

[As a conductor] there has to be, between me and the orchestra, an unshakable bond of trust, born out of mutual respect, through which we can spin a musical narrative that we all believe in.

People who are qualified are symphonic orchestra players and jazz musicians;

they're qualified to do what they do. Rock stars are lucky. It's a combination of right time, right place and having certain genes or a gimmick or whatever, but it's really not anything more than sugar. It tastes good and goes away fast.

If you can't play all the instruments in the orchestra of story, no matter what music may be in your imagination, you're condemned to hum the same old tune.

I feel like people used to leave their homes and go to their local theatre, and they used to watch ballet dancers and musical theatre performers and tap dancers and orchestras and dog acts. You had to leave your home, be in the presence of other people, know how to behave, and enjoy the human being whose beating heart was in front of you.

I've always been fascinated by music and sounds.

I was lucky to receive proper classical training as an orchestra player and I'm always learning as a composer, looking to create new flavors and colors.

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.

You can play Bach on the piano, a symphony orchestra or a quartet of saxophones, but let's stop this silly, childish business of knit your own musicology

The sound of the orchestra is one of the most magnificent musical sounds that has ever existed.

I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.

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.

I can't play an instrument to save my life.

But when I'm creating, and when I'm making music, I feel like I'm the head of the orchestra, and I'm just waving my wand, and something is created.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

When I went to school, it was really just to immerse myself in listening to, studying, and making music. I came out like, "How is this going to be more than a hobby I'm always paying off debt for?" I could've sat at a desk and written pieces for orchestras that never would have been played, or I could've written music for me as a performer. I play electronics, and the places I was gonna be playing were bass clubs and house parties.

I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs.

[As a kid] I felt it was really weird that music schools behaved like a conveyor belt to make performers for those symphony orchestras. If you were really good and practiced your violin for a few hours a day for ten years you might be invited to this VIP elite club. For me music was not about that. It is about freedom and expression and individuality and impulsiveness and spontaneity. It wasn't so Apollonian; it was more Dionysian.

it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.

But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.

I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.

I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.

If you think about how long it takes to write a piece of music for an orchestra, it's outrageous to me, outrageous.

Fact is that I played piano and performed, as a young kid, a Mozart piano concerto with the Chicago Symphony Orchestra . Don't forget I was only eleven-years-old and to be on the stage at that age had tremendous impact on me. Basically love for classical music and performing as a kid on the big stage probably led toward this decision, which meant that music is going to be my big love but also my profession.

I studied trumpet for almost 15 years and was performing with a professional concert marching band in parades and rodeos. I was headed back east to study music, and if I hadn't been intrigued with the Native American flute, I suppose I'd now be jockeying for first chair of the brass section of some orchestra, or perhaps I'd be teaching music in a school system.

I tried to bring in the live orchestra like Bjork does.

I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.

I studied music for my first two years in college.

When I went to UC Berkeley, I failed the admission requirements to get into the music school there, so I studied communications and public policy, which actually were a greater engine for my career than a musical education would have been. If I had gotten into the music department at Berkeley, I'd probably be a timpanist in an orchestra right now.

I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.

There's always that possibility. But, it would take a hell of a lot of work. Because unlike a movie where you just have to do a little ADR and then some mixing, we've actually got to bring the orchestra back because there is music, as you probably noticed, right the way through the film so you have to orchestrate all of that extra time.

What makes games so exciting is that's a whole other- there's all sorts of other considerations on what music is supposed to achieve and what you're attempting to support, it's not uncommon to think of your music and to think of the way your orchestra plays for something like Jack and Daxter where you start with- you know because it has to change tempo and intensity as the action gets more intense.

I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.

Duke Ellington's career traces the entire history of jazz.

The repertoire associated with him contains the most important elements in the music and provides concrete examples of some of the best ways to present the music in the widest variety of settings-radio, TV, recordings, movies, concert halls, festivals, solo, small ensemble, big band, symphony orchestra, opera, Broadway shows.... You name it, he did it!

I love Gustavo Dudamel and I love what he does for classical music, and I love what he comes out of, El Sistema and the old man Abreu. When we were in Venezuela, I had the chance to go to his building. He had, like, five or six orchestras playing of kids from the hood playing, like, Mahler's third symphony and Shostakovich fifth and Beethoven. Man, it's unbelievable. I mean, they could play.

Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.

Whenever I get asked to write orchestra music or music that is for a lot of players, I try to make it a little sad.