Orchestra Quotes

Notwithstanding these setbacks, the dream of a beautiful American orchestra goes on, and I share Dr. King's faith that each year we move inexorably closer to a magnificent opening night.

One time I introduced my orchestra as the Shampoo Music Makers instead of the Champagne Music Makers.

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.

Yes, but I view Frank's music as fully composed. In other words, the arrangements can work for any idiom such as a rock band or an orchestra. Frank was a brilliant arranger and could make his music work in any context. He proved that tour after tour and album after album.

It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.

It's been a thrilling journey - I have had to really learn that an orchestra is an entity - it's a creature. I have been calling it the dragon and the conductor is the dragon tamer. And you just have to... ride and don't let go and you will be fine.

I think this orchestra's strengths involve drama and voice.

Beauty and fullness of tone can be achieved by having the whole orchestra play with high clarinets and a carefully selected number of piccolos.

I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.

I played cello in my high school orchestra.

Why write for the orchestra? For one thing it's a very challenging problem.

Right now I just finished writing the music for a Rugrats feature film and the third week of September I go to London, and the Orchestra is going to perform the score.

Orchestra had a little brass ensemble on two tracks as well, but the rest was me. I knew I couldn't continue in this direction, even if people liked it, because I can only duplicate myself.

It's like a whole orchestra, the piano for me.

Eventually we want to do a puppet musical with turntables in the orchestra pit.

I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.

My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.

When you hear a large symphony orchestra. for instance, in a concert hall, there's a big, sweeping sound that just doesn't get on to a record.

So now, thirty years, forty years later, I mean, I could find a whole orchestra of a thousand to put these things together in New York City alone. In those days, if I could scrape up twenty musicians to do this it was something extraordinary.

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.

The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.

I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.

When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.

I never use a score when conducting my orchestra. Does a lion tamer enter a cage with a book on how to tame a lion?

It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.

Show me an orchestra that likes its conductor and I'll show you a lousy conductor.