I was the conductor of the Underground Railroad for eight years, and I can say what most conductors can't say; I never ran my train off the track and I never lost a passenger.
The conductor of an orchestra doesn’t make a sound. He depends, for his power, on his ability to make other people powerful.
The great leaders are like the best conductors - they reach beyond the notes to reach the magic in the players.
It may be that you are not yourself luminous, but that you are a conductor of light. Some people without possessing genius have a remarkable power of stimulating it.
[As a conductor] there has to be, between me and the orchestra, an unshakable bond of trust, born out of mutual respect, through which we can spin a musical narrative that we all believe in.
Music can name the unnameable and communicate the unknowable.
A conductor has to know how to translate music into a communicative force that makes the listener want to hear what he has to say.
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
We are aware that the conductor is not really making the music, it is making him -- if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us.
A painter paints pictures on canvas. But musicians paint their pictures on silence.
Conductors must give unmistakable and suggestive signals to the orchestra, not choreography to the audience.
Technique is communication: the two words are synonymous in conductors.
A conductor should guide rather than command.
Music is a labyrinth with no beginning and no end, full of new paths to discover, where mystery remains eternal
Never look at the trombones, it only encourages them.
A good conductor ought to be a good chauffeur; the qualities that make the one also make the other. They are concentration, an incessant control of attention, and presence of mind; the conductor only has to add a little sense of music.
The principal task of a conductor is not to put himself in evidence but to disappear behind his functions as much as possible. We are pilots, not servants.
There's power in the collective. If you don't believe me, just watch a symphony orchestra with a conductor and 120 people who are thinking about exactly the same thing at the same moment - no babies, no stock markets, no mortgages. Just 32nd notes.
The conductor has the advantage of not seeing the audience.
If you want to please the critics, don't play too loud, too soft, too fast, too slow.
A great conductor possesses that certain charisma and talent that demand the ears and the attention of an audience. I can't tell you how that happens, but I'm sure it has an inner basis that is never learned.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
The most important thing to do is really listen.
I find little in the works of Beethoven, Berlioz, Wagner and others when they are led by a conductor who functions like a windmill.
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