And if you are strong enough, then you can grow as a conductor more and more.
Musical practice is too young an art in America to warrant a search for men with a conductor's gift.
The conductor's gift does not always go hand in hand with that of composition; indeed, the union is found much more seldom than is popularly believed.
The great actors are the luminous ones. They are the great conductors of the stage.
I was different from most young conductors today.
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.
A good example of how it must have been is today's world of conducting, which is still utterly dominated by men, and the prejudice the few female conductors have to battle even today is astounding.
I have a big problem with conductors who gesture a lot.
In South America, I heard the 8th Symphony of Beethoven. And the young conductor thought, Beethoven must be heroic. But this is piece which shouldn't be heroic. And this was such a misunderstanding, such a deep misunderstanding.
When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.
Composers are not all good conductors.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
If I take that person and play them as a record I'm becoming not only a conductor and composer of collage, but at the same time I'm looking at a whole layer of what goes into copyright law, who owns those memories, who owns the way that that sound gets remixed and transformed and above all how much fun it is to actually just mess with other people's stuff.
I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.
We are aware that the conductor is not really making the music, it is making him -- if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
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.
So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.
I find little in the works of Beethoven, Berlioz, Wagner and others when they are led by a conductor who functions like a windmill.
The essential conditions of everything you do must be choice, love, passion.
Music is the thousandth of a millisecond between one note and another; how you get from one to the other-that's where the music is.
There's nothing more frustrating than seeing a conductor say, 'Play softer,' as they're waving their hands in huge gestures.
An audience is an abstraction; it has no taste. It must depend on the only person who has (pardon, should have), the conductor.
Boulez's only concern is with power. He lost the leadership of the avant-guard more than ten years ago to Stockhausen. Now others have moved in. With the need for power, where was he to go? So he chose to be a conductor. He is a wonderful musician, a wonderful intelligence. It's a pity there is no humanity there. Does he have sex? I think not. When men have no sex, they go after power in this big, obsessive way.
Madam, you have between your legs an instrument capable of giving pleasure to thousands and all you can do is scratch it.
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