Orchestra Quotes

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

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.

An orchestra full of stars can be a disaster.

Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.

Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.

There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.

I just initiated the project where I write music for somebody else to write the lyrics and also for the orchestra to perform. I've just initiated the project. That leads the project into creating an independent label outside of game music.

Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.

I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.

God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.

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.

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.

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.