Even though I started playing the violin when I was four, my early chamber music experiences helped build a strong foundation for my solo work, as all music is a rich language and dialogue that is shared on stage, no matter what the size of the ensemble.
Working with a bunch of actors is like trying to tune each violin.
To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.
I was much distressed by next door people who had twin babies & played the violin: but one of the twins died, & the other has eaten the fiddle — so all is peace.
I am very lucky and grateful to have this living link to a past era, the violin presumably having much more history to it than the later portion that I know.
I went to this tattoo parlor in the East Village and I got an outline of a violin on my lower back. They call them tramp stamps now.
Often a star was waiting for you to notice it. A wave rolled toward you out of the distant path, or as you walked under an open window, a violin yielded itself to your hearing. All this was mission.
I didn't ask my mother to buy me a trumpet or a violin, I started right on the water hose.
Would you just strap some toe shoes on and dance 'Swan Lake?' No. Would you just put a violin in your hand and - ? No. I felt that way about acting, and I was taught to feel that way. I didn't come to it on my own.
There are some days I take my violin out and it feels dreadful, like nothing is responding, and I want to sell it and get rid of it. And the next day suddenly the skies open up and the sound is glorious again. So it's like a relationship: There are good days and bad days.
When Jack Benny plays the violin, it sounds as though the strings are still in the cat.
There was one thing Beethoven didn't do. When one of his string quartets was played, you can believe the second violin wasn't improvising.
I had studied violin from age 7 to 14.
If I wanted to play the violin, I had to work. Because anything that one wants to do really, and one loves doing, one must do everyday. It should be as easy to the artist and as natural as flying is to a bird. And you can’t imagine a bird saying well, I’m tired today, I’m not going to fly!
All night have the roses heard The flute, violin, bassoon; All night has the casement jessamine stirr'd To the dancers dancing in tune; Till a silence fell with the waking bird, And a hush with the setting moon.
I first picked up a violin aged five - I just assumed everyone played.
Dance me to your beauty with a burning violin Dance me through the panic 'til I'm gathered safely in Lift me like an olive branch and be my homeward dove Dance me to the end of love
Between 1994 and the year 2000, when the Republican majority was in control of the House of Representatives, President Clinton played House Speaker Newt Gringrich like a violin!
What drew me to the violin was mastering the instrument technically, which I'm continuing to do.
here is no competition of sounds Between a nightingale and a violin.
Next to him lay his violin, trampled, an eerily poignant little corpse.
If you know the music the moment the violin string begins to vibrate, then you know how to navigate through the forest of brambles and entanglements with freedom and ease. If, on the other hand, you think that with practice the forest of brambles and entanglements will altogether disappear, then right from the beginning you are hopelessly entangled and won't find your way.
If the souls of lives were voiced in music, there are some that none but a great organ could express, others the clash of a full orchestra, a few to which nought but the refined and exquisite sadness of a violin could do justice. Many might be likened unto common pianos, jangling and out of tune, and some to the feeble piping of a penny whistle, and mine could be told with a couple of nails in a rusty tin-pot.
Art begins where technique ends. There can be no real art development before one's technique is firmly established. And a great deal of technical work has to be done before the great works of violin literature, the sonatas and concertos, may be approached.
One cannot inherit a talent for the violin - there are no violins in nature. Instead, one must be motivated, able to benefit from practice, and persevering.
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