I'm just not arbitrarily choosing to have five guitars play one type of thing. In that way there's a definite similarity between a symphony orchestra and the 100 guitar symphony.
If an ensemble - I don't care if it's a duet or a forty-piece orchestra - the musicians, the two of them or the forty of them, are all trying to play as tight as possible, as one person. They're trying to play like they are one person.
I really love performing with an orchestra and am very excited to do so with the Kalamazoo Symphony.
And he [Louis Brandeis] talks to his young acolyte, Horace Kallen, who wrote this beautiful book called Cultural Pluralism, and he comes to believe that by being better Jews, or better members of our ethnic group, we can be better Americans, because America is like an orchestra in which identity is defined by the diversity of perspectives that we bring to the table.
Start three bars before something.
Start at B. Yes. No. Yes. No.
I think my first impression (of Bix Beiderbecke) was the lasting one. I remember very clearly thinking, 'Where, what planet, did this guy come from? Is he from outer space?' I'd never heard anything like the way he played-not in Chicago, no place. The tone-he had this wonderful, ringing cornet tone. He could have played in a symphony orchestra with that tone. But also the intervals he played, the figures-whatever the hell he did. There was a refinement about his playing. You know, in those days I played a little trumpet, and I could play all the solos from his records, by heart.
I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.
It is very important to me that my songs can sound amazing with a big band or orchestra, but just as powerful and touching with just me and my guitar.
I tried to bring in the live orchestra like Bjork does. I love the feeling that that music gives me when I just listen to it. I mean it would be awesome to do an entire record like that. But unfortunately that's not my style. So rather than do a record like that I just got inspired by it.
They don't encourage quality today. When I was coming along, Columbia Records would sit with you and assume it would take two or three albums to get the act where it needed to be. Then the company would structure its promotion based on one, two or three years. They encouraged quality and innovation - that's why groups like the Beatles would use sitars, string orchestras and so forth.
It was so much fun conducting an orchestra and watching the musicians' faces as some of Kanye's lyrics went by. They couldn't believe what was going on.
I studied trumpet for almost 15 years and was performing with a professional concert marching band in parades and rodeos. I was headed back east to study music, and if I hadn't been intrigued with the Native American flute, I suppose I'd now be jockeying for first chair of the brass section of some orchestra, or perhaps I'd be teaching music in a school system.
The piano is like an orchestra - I'm very fortunate that I chose it as my instrument.
Fact is that I played piano and performed, as a young kid, a Mozart piano concerto with the Chicago Symphony Orchestra . Don't forget I was only eleven-years-old and to be on the stage at that age had tremendous impact on me. Basically love for classical music and performing as a kid on the big stage probably led toward this decision, which meant that music is going to be my big love but also my profession.
...Ori Kam is an outstanding violist who has already played as a soloist with the Israel Philharmonic Orchestra twice, much to our delight and satisfaction, and has availed himself with distinction.
The Russians were all really accommodating, and that made it really special. To be allowed in Catherine's Summer Palace...Lily [James] and I have this scene where we fall in love and we waltz up and down this enormous gold hall with thousands of candles and a live orchestra and 300 Russian extras. To do those scenes in situ really meant it was a once-in-a-lifetime job.
If you think about how long it takes to write a piece of music for an orchestra, it's outrageous to me, outrageous.
Being a part of the crowd with incredible musicians onstage summoning the muse and delivering that to us - doesn't matter if it's an orchestra, two bluegrass banjo pickers, a solo singer, piano player, or Bruce Springsteen - when it all comes together, you can just feel as if you are a part of something bigger and grander than yourself.
Every time that I hear the orchestra tuning up, I get chills all over my body. You know, catharsis after catharsis. It's better than sex!
I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.
The big turning point came when I played in the pit orchestra for a production of SWEENEY TODD and I spent most of the time watching the play instead of playing the score! And that's when I knew I had it bad for acting.
I want to become less and less about the laptop. That's what's lovely about an orchestra - the physicality, the way every gesture relates to something you're hearing.
I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.
Women play cellos and violins in symphony orchestras. They're playing Beethoven and Bach. What do you mean they can't play rock and roll?
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