Hamburg is getting a new symbol with its new Elbe Philharmonic concert hall. Such an architecturally impressive building is built somewhere in the world maybe once every five years, if you're lucky.
When I give concerts, the tickets sell for five dollars to one hundred dollars, but for my concerts the five-dollar seats are down in front... the further back you go, the more you have to pay. The hundred dollar seats are the last two rows, and those tickets go like hotcakes! In fact, if you pay two hundred dollars you don't have to come at all.
Nobody's going to get a hot dog at my concert!
There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.
Just as all pop music is not simplistic, not all contemporary concert music is complex. Often what a person connects with goes much deeper than generalized issues of simplicity and complexity.
I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.
We're dealing with music that is being played by traditional instruments in a specifically built building called a concert hall. But classical is not - the reference is wrong, because classical on one hand refers to one period in musical history, which is Mozart, Hayden, Beethoven, which is a fine period in musical history, but it was a while ago.On the other hand, it sort of alludes to some kind of "class," which A, is not true; B, is kind of detrimental to the whole idea. Because the point is that this music is available and it's actually relatively reasonably priced.
One of my interests is to understand what constitutes the vibe of a place and what makes one concert different from another.
If you think of the history, in the days of Brahms and Beethoven and all these guys, almost every concert was a new music concert. To play something old was really an exception.
I have a lot of experience in playing all sorts of venues. And one of my interests is to understand what constitutes the vibe of a place and what makes one concert different from another. You can't fully measure or calculate these things, yet they are absolutely evident once you're on stage.
Going on You Tube, you see a lot of my videos. And I'm glad; there's numbers there. And I get this all the time, that when I'm actually in concert, there's a whole new level to it. There's this whole new energy level. It's hard to describe. But I just love to play, and I never take it for granted.
I opened the Woodstock Festival even though I was supposed to be fifth. I said, 'What am I doing here? No, no, not me, not first!' I had to go on stage because there was no one else to go on first - the concert was already two-and-a-half hours late.
That's a very high goal to have, study eight hours a day to be a concert pianist.
[the impression of the first time I heard Webern's music in a concert performance] was the same as I was to experience a few years later when I first laid eyes on a Mondriaan canvas...: those things, of which I had acquired an extremely intimate knowledge, came across as crude and unfinished when seen in reality
Capital must work, as it were, in concert with industry; and this concurrence is what I call the productive agency of capital.
Earning money is not the sole objective of life or education. A community of any quality should have a whole range of skills and interests. They should paint, write, perform, visit art galleries and enjoy world-class concerts. Only then will they form a vibrant, rounded, interesting community.
My first concert isn't that cool or ironic. I wish it had been like, "My first concert was the Backstreet Boys," but the first concert I went to, I think, was this band called The Samples.
I'm also inspired by anything that I consider great. It makes me want to raise my game too - Hitchcock movies, Hopper paintings, Springsteen concerts.
I love seeing young girls and their parents and grandparents at my concerts all loving the music from Grease when I perform those songs (and yes, I do perform a bunch of them!).
Being in front of a live audience again. I get that in my concerts but there's nothing like being on Broadway.
At concerts, for me, the orchestra was like a painter. It flooded me with all the colours of the rainbow. If the violin came in by itself, I was suddenly filled with gold and fire, and with red so bright I could not remember having seen it on any object.
I really liked Deadheads and the whole Dead concert scene: the tailgating, the tie-dye uniforms, the camaraderie it was like NASCAR for potheads.
I can write songs, but I'm not gonna really feel good about the song unless it feels like me, and I'm not gonna release a song or put it on an album or play it in concert unless it really feels like me.
It is certainly of great importance for a general to keep his plans secret; and Frederick the Great was right when he said that if his night-cap knew what was in his head he would throw it into the fire. That kind of secrecy was practicable in Frederick's time when his whole army was kept closely about him; but when maneuvers of the vastness of Napoleon's are executed, and war is waged as in our day, what concert of action can be expected from generals who are utterly ignorant of what is going on around them?
A faith project in Christian artistry will never be healthy among us until there is a living sense of Christian community, and the misplaced emphasis on the 'individual' has been corrected. God has set things up so that cultural endeavour is always a communal enterprise, done by trained men and women in concert, gripped by a spirit that is larger than each one individually and that pulls them together as they do their formative work.
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