There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.
I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.
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.
So, immediately after that, I got a commission to write a piece for chamber orchestra, and in working on the material I discovered it was possible to incorporate the Buddhist teachings into the music, so that's what I started to do.
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'm very proud of the Boston Symphony Orchestra.
Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.
I wanted to do 'Manzanar' because I'd never done anything like it before. The spoken word there is between a drama and an essay, and I'd never worked in concert with an orchestra.
To me, there is nothing like the excitement and unique experience of a live orchestra playing.
If you play the guitar, you've got to hold the chords down with one hand while you play with the other, so you're limited to one hand. But the piano is the king of instruments because you have your 10 fingers, which become the 10 members of the orchestra.
The musician writes for the orchestra what his inner voice sings to him; the painter rarely relies without disadvantage solely upon the images which his inner eye presents to him; nature gives him his forms, study governs his combinations of them.
Remember, if you do the same act for 20, 30 years it gets a little boring unless you've got something else going for you... And the orchestra really kept you going. They'd laugh at all your jokes, even if they'd been hearing them for the last 30 years.
It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.
I knew, regardless of anything else, singing in front of an orchestra was going to be inspirational. It would feed me.
The first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.
I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
So now, thirty years, forty years later, I mean, I could find a whole orchestra of a thousand to put these things together in New York City alone. In those days, if I could scrape up twenty musicians to do this it was something extraordinary.
Only when every one of us and every nation learns the secret of love for all mankind will the world become a great orchestra, following the beat of the Greatest Conductor of all.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
I've been a woman for a little over 50 years and have gotten over my initial astonishment. As for conducting an orchestra, that's a job where I don't think sex plays much part.
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.
At school, I enjoyed playing the bassoon. I was in the orchestra and played the melody when the other boys sang hymns at prayers time.
That process by which you become a writer is a pretty lonely one. We don't have a group apprenticeship like a violinist might training for an orchestra.
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.
My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.
The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
God comes to us in theater in the way we communicate with each other, whether it be a symphony orchestra, or a wonderful ballet, or a beautiful painting, or a play. It's a way of expressing our humanity.
To me, the piano in itself is an 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.
I endeavor that all orchestras I conduct sound Central European.
Every orchestra has its own sound.
When I want 30 musicians in the orchestra, I get 30.
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.
I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.
An orchestra full of stars can be a disaster.
