To not sing with an orchestra, to not be able to communicate through my voice, which I've done all my life, and not to be able to phrase lyrics and give people that kind of joy, I think I would be totally devastated.
I did the one concert, and I was not bitten by the conducting bug, and I thought I was done, but then the phone started to ring, and gradually, over time, I started conducting more and more. Now a third of my performances are with orchestras.
I was always very aware of drummers. My oldest brother Henry was a drummer, and he drummed on everything in the house from the kitchen sink to stovepipes. He was the first drummer in the Gil Evans Orchestra, so you've got to know how great he was.
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.
Whenever I listen to a children's orchestra, I learn. They feel everything, they enjoy everything, they have amazing energy.
I sometimes feel a bit embarrassed to play guitar. There's something - I don't want to sound ungrateful - but there's something very old-fashioned and traditional about it. You meet kids today whose grandparents were in punk bands, really. It's very old and traditional, But then, you know, so is an orchestra and so is the string section.
Heaven answers with us the same purpose that the tuning-fork does with musicians. Our affections, the whole orchestra of them, are apt to get below the concert-pitch; and we take heaven to tune our hearts by.
And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what's going to come next - when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they're thrown away.
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 worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
Music is the most important thing. I'm thinking of my future. There has to be something new, and I want to be part of it. I want to lead an orchestra with excellent musicians. I want to play music which draws pictures of the world and its space
The guitar is an orchestra in itself.
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.
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 only reason they're out there is to see me fall into the damn orchestra pit.
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing
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 other saxophones, except as solo instruments, really don't have much point in the orchestra
But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.
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.
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.
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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