Zitat des Tages über Dirigent / Conductor:
The conductor must breathe life into the score. It is you and you alone who must expose it to the understanding, reveal the hidden jewel to the sun at the most flattering angles.
There were so many specific things from high school jazz band that I remembered: the conductor searching out people who were out of tune, or stopping and starting me for hours in front of the band as they watched.
I do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
Monet was like a conductor. He painted with quite a straight arm and used bold strokes.
I'm a conductor of revivals. The only minister in the whole package. Little Richard, the evangelist.
In America, they have this nauseating habit of calling the conductor 'maestro'. I always slightly gag when the cor anglais player goes, 'Maestro, can I discuss bar 19 with you?'
When I got out of college, I moved to Seattle because it was the nearest big city and still didn't know if I wanted to be a composer, conductor, singer, actor. I just got day jobs and auditioned and took what came, and the theater doors were the ones opening the most.
I was at La Fenice opera house back in 1991 with friends, and we started talking about a conductor whom none of us liked. Somehow there was an escalation, and we started talking about how to kill him, where to kill him. This struck me as a good idea for a book.
The very first time I was on a car in Atlanta, I saw the conductor - all conductors are white - ask a Negro woman to get up and take a seat farther back in order to make a place for a white man. I have also seen white men requested to leave the Negro section of the car.
From time to time, the Vienna Philharmonic could play without a conductor because they are so good.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
Is it not the business of the conductor to convey to the public in its dramatic form the central idea of a composition; and how can he convey that idea successfully if he does not enter heart and soul into the life of the music and the tale it unfolds?
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
I am the pianist of the duo, although Aleksey does pretty good... you know we've written more and more stuff where he has to play the piano. But you know, to be very honest, I actually went into music because I wanted to be a composer and a conductor. And piano was just one of the ways to get into that.
The most important thing as a conductor is that you have to want it. People will give you a million reasons why you shouldn't.
A music director cannot and should not be chosen on the basis of a first date. It is not so difficult to make a good impression with a single appearance, usually containing some of a conductor's party pieces, works they have performed successfully many times before.
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.
Great cataclysmic things can go by and neither the orchestra nor the conductor are under the delusion that whether they make this or that gesture is going to be the deciding factor in how it comes out.
Because I have sixty years of being a professional composer, conductor, musician, whatever, and you develop a lot of friendships and you get involved with a lot of sort of long-term commitments and obligations.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
I don't feel that the conductor has real power. The orchestra has the power, and every member of it knows instantaneously if you're just beating time.
I never desperately wanted to be a jazz drummer. If anything, I was motivated a lot by fear. Fear of the conductor, fear of the future.
Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal - the vision, the structure, the architecture.
A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.
The conductor's gift does not always go hand in hand with that of composition; indeed, the union is found much more seldom than is popularly believed.
A conductor should guide rather than command.
I am the conductor for life of the Staatskapelle in Berlin, which fills me with tremendous joy because I feel absolutely at one with them. When we play, I have a feeling that together we manage to create one collective lung for the whole orchestra so that everybody in the stage breathes the music in the same way.
SoftBank is not a specialist on any instrument. We did not invent any instrument. Not the best player. But we would like to be a conductor of this information revolution.
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.
In South America, I heard the 8th Symphony of Beethoven. And the young conductor thought, Beethoven must be heroic. But this is piece which shouldn't be heroic. And this was such a misunderstanding, such a deep misunderstanding.
I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.
So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
All the conductor has to do is stand back and try not to get in the way. Mozart is doing all the work.
I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.
Any conductor who tells you that if he is approached for the directorship of the Chicago Symphony that he's not interested in it, you know perfectly well he's lying.