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.
Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.
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.
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 went to study some orchestration stuff because I got so inspired working with all the orchestras.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
I conduct faster so you can see my beat.
I never say what I mean, but I always manage to say something similar.
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.
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.
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.
They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.
When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.
Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.
The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
He was making all kinds of sounds apparently with his mouth, and shaking his head and I thought, gosh, is he trying to stop the orchestra? Is it all wrong? It was just unbelievable.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
You have to change your mind with every orchestra because every orchestra has a different character.
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.
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?
Composer” is a word which here means “a person who sits in a room, muttering and humming and figuring out what notes the orchestra is going to play.” This is called composing. But last night, the Composer was not muttering. He was not humming. He was not moving, or even breathing. This is called decomposing.
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
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