The more the ensemble, the duet or the forty piece orchestra, plays as one person, the more it makes people dance, because you're back in the womb. You feel mom's heartbeat. It makes you move. It reminds you of that warm, groovy space you were in.
My grandparents on my mom's side played in a mandolin orchestra. So when I hear mandolins, I automatically think of them.
We still listen to the original lush arrangements with the orchestras.
I had been composing just for myself, and people would say I played so orchestrally, and wondered if I thought about having someone write a piece for me for an orchestra. And I thought, I don't want someone else to write that. You know I finally had made an overhead chart of my drums and what pitches the cymbals and toms were tuned to, and what have you. And I started to compose just with what I had for my solo drumming.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
We've done an arrangement with an orchestra, but I think the best stuff tends to come when it's just the four of us.
The alarm in the morning? Well, I have an old tape of Carlo Maria Giulini conducting the Vienna Philharmonic Orchestra in a perfectly transcendent version in Shubert's seventh symphony. And I've rigged it up so that at exactly 7:30 every morning it falls from the ceiling onto my face.
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.
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.
Mahler wrote it as the third movement of his Fourth Symphony. I mean the fourth movement of his First Symphony. We play it third. The trumpet solo will be played by our solo trumpet player. It's named 'Blumine,' which has something to do with flowers.
One time I introduced my orchestra as the Shampoo Music Makers instead of the Champagne Music Makers.
I often think of random melodies. And I pretty much hear in my head what I want to do with the orchestra as I'm writing on the piano.
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
We ought to approach this challenge [of global warming] with a sense of profound joy and gratitude: that we are the generation about which, a thousand years from now, philharmonic orchestras and poets and singers will celebrate by saying, they were the ones that found it within themselves to solve this crisis and lay the basis for a bright and optimistic human future.
It wasn't like we cut songs out; we cut bits of songs, bits of action or bits of whatever. So we would have to go back in get a full orchestra re-orchestrate it, re-score it, re-record it. It's a massive job. But, if there's a demand we can always discuss it.
Music will still be a big part of our environment. The Bible talks about choirs of angels and how there is singing in Heaven. We're going to have the greatest choirs, the greatest bands and symphony orchestras, the greatest music that the world has ever known. The world has never even heard music yet compared to what we're going to have there! If humans can make the beautiful music they have learned to make with these hand-made instruments, think what God can do supernaturally!
I just remember standing there, singing with the headphones on and the strings playing, just how wonderful that felt. But we so rarely got to go out and do it. Obviously, we don't carry a 70-80-piece orchestra with us when we do shows.
Orchestras seem content to be museums now, even as they wring their hands about dropping subscription sales and graying listeners.
You can play Bach on the piano, a symphony orchestra or a quartet of saxophones, but let's stop this silly, childish business of knit your own musicology
If a professional musician in a symphony orchestra is playing Beethoven. But this particular orchestra have played this particular chestnut so many times, they can play it in their sleep. Does the genius remain present in the music or not?
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.
Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
I have had much pleasure in working with Orphei Drängar during my time as chief conductor of the Gothenburg Symphony Orchestra, and I consider OD to be one of the most brilliant men´s choirs in the world. The singers are highly professional and their repertoire is of a very wide range, but then they have been trained for years by Eric Ericson, the world´s leading choir conductor. I also admire the strength and the beauty of their voices. OD is an extraordinary powerful choir!
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