Max Lucado says that 'A man who wants to lead the orchestra must turn his back on the crowd.' That is true and a man who wants to find out the truth must also do the same thing!
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.
The biggest difference between U.S and most European big cities is that in a place like London, for instance, there are five orchestras, and there's a bloody competition between these five orchestras.
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.
Writing orchestra music, you need for the emotional content to come from everyone doing everything together, adding up as it goes, a crowd mentality.
I never thought the orchestra should be big.
A woman's life in the orchestra is not as long as a man's; she is just not as good at 60 as a man is at 60.
A conductor can't be too arrogant with an orchestra and try to impose himself too much.
I suppose, counting back, if the Beatles had been influenced by music in the same length of time ago - you'd have to put that into better English for me, thank you - they would have been like a banjo orchestra. They would have been doing show tunes.
When you sing opera you are very far from the people, you are onstage, and between you and the people there is the orchestra. So you have to launch your emotions very, very far. When you sing pop, you are singing very close - the microphone is very close to your mouth. You can whisper your emotions into the microphone.
An Israeli who thinks that his government is doing everything right wouldn't join the Divan Orchestra in the first place.
So, you can set up an orchestra down this end of the railway station playing one particular area, and simultaneously at the other end something completely different going on. And in the middle they meet, or not, depending.
The rhythm of music is very, very important for people with Parkinson's. But it's also very important with other sorts of patients, such as patients with Tourette's syndrome. Music helps them bring their impulses and tics under control. There is even a whole percussion orchestra made up exclusively of Tourette's patients.
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.
As long as I can sing halfway decent, I'd rather sing than act. There's nothing like being in good voice, feeling good, having good numbers to do and having a fine orchestra.
Orchestras have often been used to conjure up the natural world: Swans, sharks, trout, but not, as far as I know, the often maligned jellyfish.
A man must pay the fiddler. In my case it so happened that a whole symphony orchestra often had to be subsidized.
Originally I had a block about appearing in a musical. I went to a voice teacher for a while, but that did no good. My range is about one and a half notes. I ended up talking the musical numbers, which was revolutionary at the time. The lyrics are extremely intricate. They move along like a precisely acted scene. If you miss a word - heaven help you - the orchestra rattles past like an express train, and you've got to run like the devil to catch up.
In the Jazz at Lincoln Center Orchestra we play such a diversity of music, with 10 arrangers in the band, we don't really worry about whether it's contemporary or not.
I used to play works in progress to people, but now I wait 'til it's finished, because you make excuses all the time: 'Well, there's gonna be an orchestra on it.' Rather than make excuses, wait 'til it's finished, and then they can say they don't like it.
There are some good people in it, but the orchestra as a whole is equivalent to a gang bent on destruction.
A wonderful, warm, positive individual who exhibits the values that are prerequisite to a significant faculty post in higher education, I think that it is an absolutely extraordinary and bold career move that Darwin has made in leaving the Orchestra and embarking on the trajectory of a solo performer/educator. And what a marvelous thing it is for Detroit to be able to welcome home a successful native son - one in whom the community can take pride, and one who will serve as an inspiration to a younger generation of aspiring performers eager to make their mark in the world.
For me it always comes down to what is a good song and I'm very old fashioned in the way that I like to make songs that have something classic about them whether you can play them with an orchestra or an electro synthesizer or an acoustic guitar.
His style has the desperate jauntiness of an orchestra fiddling away for dear life on a sinking ship.
Feel the power of your legs, hear the orchestra playing, see the audience - anything to make the image more real. The image has to be specific. You can't just say to yourself, 'I'll do my best.' You have to have a mental blueprint of that role in your mind.
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