It is not enough to do a desktop exercise of a Beethoven symphony. You need to practice with an orchestra. The musicians need to read the notes. Otherwise it will be a disaster.
I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.
I want to become less and less about the laptop. That's what's lovely about an orchestra - the physicality, the way every gesture relates to something you're hearing.
I'm just not arbitrarily choosing to have five guitars play one type of thing. In that way there's a definite similarity between a symphony orchestra and the 100 guitar symphony.
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.
And he [Louis Brandeis] talks to his young acolyte, Horace Kallen, who wrote this beautiful book called Cultural Pluralism, and he comes to believe that by being better Jews, or better members of our ethnic group, we can be better Americans, because America is like an orchestra in which identity is defined by the diversity of perspectives that we bring to the table.
The big turning point came when I played in the pit orchestra for a production of SWEENEY TODD and I spent most of the time watching the play instead of playing the score! And that's when I knew I had it bad for acting.
I really love performing with an orchestra and am very excited to do so with the Kalamazoo Symphony.
I am lucky to have the greatest band and when you add a symphony orchestra to the mix it brings all of my songs to a whole new level. I wouldn't say I really change what I do but, having those talented musicians behind me, along with my band, really makes the songs so much bigger and more fun to sing.
I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.
If an ensemble - I don't care if it's a duet or a forty-piece orchestra - the musicians, the two of them or the forty of them, are all trying to play as tight as possible, as one person. They're trying to play like they are one person.
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.
Lately, my mind is like an orchestra. If you don't have the conductor, you don't know what to do. One guy is playing jazz, one guy is playing rock and roll, another classical. It's a big mess.
I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
I used to go with him and I'd sometimes play, take over from him. That was my first taste of the music business, I suppose, but I was also in the youth orchestra at Johnston Grammar.
There is no relationship between the gestures and what an orchestra will do.
Mostly this problem is contained in the fact that the US makes it so difficult for Canadians to get green cards (you heard it here), but if an American orchestra really wants a player, they have their ways.
If you don't have it in your part, leave it out, because there is enough missing already.
I tend to work in layers. There's a huge orchestra in the film, but I also record a lot things with very intimate groups, and I like to be able to use the textures of those intimate groups.
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.
The will and self are ultimately dynamic, they are their actions. This energy can be trained and directed, tuned like an orchestra. It is not a matter of a "rational interior" that poses a problem for a decorator, rather a feng-shui intelligence is called for that orients the "house" to the flow of life that takes place in it (I rather suspect this is turned on its head in most cases of feng-shui, i.e. Americans capitulate once again to "experts").
The trouble with women in an orchestra is that if they're attractive it will upset my players and if they're not it will upset me.
Today all sounds belong to a continuous field of possibilities lying within the comprehensive dominion of music. Behold the new orchestra: the sonic universe! And the musicians: anyone and anything that sounds!
The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
Death is an awful thing. I don't believe in it myself.
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