I would think, of all the saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing
The only reason they're out there is to see me fall into the damn orchestra pit.
I conduct faster so you can see my beat.
I went to study some orchestration stuff because I got so inspired working with all the orchestras.
True drama can be conceived only as resulting from the collective impulse of all the arts to communicate in the most immediate way with a collective public... Thus especially the art of tone, developed with such singular diversity in instrumental music, will realize in the collective artwork its richest potential -- will indeed incite the pantomimic art of dancing in turn to wholly new discoveries and inspire the breath of poetry no less to an undreamed-of fullness. For in its isolation music has formed itself an organ capable of the most immeasurable expression - the orchestra.
Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.
When I owned the theater, I had the Glen Miller Orchestra. I had 20 girls singing and dancing. I had a cast of characters. It was a big group production, as well as ushers, ticket takers.
My brother Leon started it all. He played the piano. In school they made me leader of the orchestra because I played the violin, but I followed Leon and the boys in his jazz band around.
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.
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
Only the French, I guess, really use tenor and alto to any great extent in the orchestra
There was a time, from 1935-1946, when teenagers and young adults danced to jazz-orientated bands. When jazz orchestras dominated pop charts and when influential clarinettists were household names. This was the swing era.
New Year's Eve, we're going to be doing a concert with the Philadelphia Orchestra in Symphony Hall. It makes me feel good, because of all the people they could have had, they wanted me! We do have to do a little work with the rhythm section.
Toting around a full orchestra on tour is very ambitious. I would consider doing a show now and then, like do a show at Radio City or Carnegie Hall with a full orchestra.
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.
It's like a whole orchestra, the piano for me. And also it's to me the greatest instrument. I shouldn't say that, but I believe that this is the only instrument I can really feel happy about playing.
Over the years, I've loved being on stage with an orchestra, waving my hands around.
I want to work with the big orchestras. I want to have a big family.
Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.
I firmly believe lyrics have to breathe and give the audience's ear a chance to understand what's going on. Particularly in the theater, where you have costume, story, acting, orchestra.
For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.
I wanted a line in a poem to be the hollow ney of the dervish orchestra whose plaintive wail is a call to God. But all I achieved was awkward shrieking. Not even the pure shriek of a reed in the rain.
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