Quotes about orchestra

A collection of quotes on the topic of orchestra, likeness, play, music.

Quotes about orchestra

“The guitar is a miniature orchestra in itself.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

“To lead an orchestra, you must turn your back on the crowd”

Aristotle (-384–-321 BC) Classical Greek philosopher, student of Plato and founder of Western philosophy

“My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tamboura I sound and clash inside myself. All I hear is the symphony.”

Fernando Pessoa book The Book of Disquiet

Source: The Book of Disquiet

Soul

“To lead the orchestra, you have to turn your back on the crowd.”

Max Lucado (1955) American clergyman and writer

“We did the ‘unplugged’ project, “Acoustica“, in Portugal. There was always something new and exciting. In-between all these records and projects we’re still touring all over the world: last year, with this latest album, “Unbreakable”, we went back to Japan and played in Scandinavia again; before we come to Tel Aviv, we play in Paris, at “Olympia”; we go back to Russia, we play Kazan, the only show this year with an orchestra; so there’s a lot of things. And that, I think, keeps us going, and the fact that after all these years we have a chance to come and play in Israel is very very exciting and emotional, and it also feels like a new chapter.”

Klaus Meine (1948) German singer

World, Feeling, Thinking, Chance

“Oh, I hate the thought of all those costumes and grease paint! When I think that characters like Kundry will now have to be dressed up, those dreadful artists' balls immediately spring into my mind. Having created the invisible orchestra, I now feel like inventing the invisible theatre!”

Richard Wagner (1813–1883) German composer, conductor

23 September 1878
Cosima Wagner's Diaries (1978)

Hate, Feeling, Spring, Thinking

“The piano plays a central role in Prokofiev’s oeuvre. Not only are his works for piano solo or piano with orchestra numerous, but they also rank among his more important compositions. The piano was the first instrument Prokofiev heard and the only one he mastered.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev the pianist

“Business was so bad the other night the orchestra was playing "Tea for One."”

Henny Youngman (1906–1998) American comedian

Don't Put My Name on this Book (1976), p. 92 http://archive.org/stream/dontputmynameont00youn#page/92/mode/2up/search/%22tea+for+one%22

Business, Tea, Night

“A kind of music far superior, in my opinion, to that of operas, and which in all Italy has not its equal, nor perhaps in the whole world, is that of the 'scuole'. The 'scuole' are houses of charity, established for the education of young girls without fortune, to whom the republic afterwards gives a portion either in marriage or for the cloister. Amongst talents cultivated in these young girls, music is in the first rank. Every Sunday at the church of each of the four 'scuole', during vespers, motettos or anthems with full choruses, accompanied by a great orchestra, and composed and directed by the best masters in Italy, are sung in the galleries by girls only; not one of whom is more than twenty years of age. I have not an idea of anything so voluptuous and affecting as this music; the richness of the art, the exquisite taste of the vocal part, the excellence of the voices, the justness of the execution, everything in these delightful concerts concurs to produce an impression which certainly is not the mode, but from which I am of opinion no heart is secure. Carrio and I never failed being present at these vespers of the 'Mendicanti', and we were not alone. The church was always full of the lovers of the art, and even the actors of the opera came there to form their tastes after these excellent models. What vexed me was the iron grate, which suffered nothing to escape but sounds, and concealed from me the angels of which they were worthy. I talked of nothing else. One day I spoke of it at Le Blond's; "If you are so desirous," said he, "to see those little girls, it will be an easy matter to satisfy your wishes. I am one of the administrators of the house, I will give you a collation [light meal] with them." I did not let him rest until he had fulfilled his promise. In entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love which I had never before experienced. M. le Blond presented to me one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia, — she was horrid. Come, Cattina, — she had but one eye. Come, Bettina, — the small-pox had entirely disfigured her. Scarcely one of them was without some striking defect.
Le Blond laughed at my surprise; however, two or three of them appeared tolerable; these never sung but in the choruses; I was almost in despair. During the collation we endeavored to excite them, and they soon became enlivened; ugliness does not exclude the graces, and I found they possessed them. I said to myself, they cannot sing in this manner without intelligence and sensibility, they must have both; in fine, my manner of seeing them changed to such a degree that I left the house almost in love with each of these ugly faces. I had scarcely courage enough to return to vespers. But after having seen the girls, the danger was lessened. I still found their singing delightful; and their voices so much embellished their persons that, in spite of my eyes, I obstinately continued to think them beautiful.”

Jean Jacques Rousseau (1712–1778) Genevan philosopher

Confessions of Jean-Jacques Rousseau (1765-1770; published 1782), On the musicians of the Ospedale della Pieta (book VII)

Love, Marriage, Age, World

“May night continue to fall upon the orchestra”

André Breton (1896–1966) French writer

Night

“We do not realize the sound the world makes -- unless, of course, it comes to a stop. Then, when it starts, it sounds like an orchestra.”

Mitch Albom (1958) American author

Source: The Time Keeper

World

“You can sing only what you are. You can paint only what you are. You must be what your experiences, your environment, and your heredity have made you. For better or for worse, you must play your own little instrument in the orchestra of life.”

Dale Carnegie book How to Stop Worrying and Start Living

Source: How to Stop Worrying and Start Living

Life, Singing, Painting

“On finishing early at a rehearsal the London Symphony Orchestra leader Hugh Maguire said to Monteux: "Oh Maitre it is so nice to finish early. My wife will be so surprised." Monteux replied: "Be careful. You might be surprised!"”

Pierre Monteux (1875–1964) French conductor

From 'Pierre Monteux', Classic Record Collector, Autumn 2003, Number 34.

“Then M. Ravel discussed another idea. That was that in these days of cacophony it might be quite an original idea for the orchestra to start, say, in C major, and then, through a series of discords the instruments should divide, some going up a semitone at every three or four bars, while others went down in the same way, eventually ending in perfect harmony in C major two octaves apart. He said: 'It is just an idea but it might be rather fun working it out and certainly a novel way of resolving harmony from discord.”

Maurice Ravel (1875–1937) French composer

Maurice Ravel and unattributed. "Finding Tunes in Factories", Evening Standard, London, 24 February 1932.
Also printed in: Orenstein, Arbie, ed. (1990). A Ravel Reader: Correspondence, Articles, Interviews, p.490-91. New York: Columbia University Press.

Way, Idea, Perfection

“I set up the Orchestra in 1939. I had had my supporters by that time and they used to follow me and scream during my shows. I used to like it, but said to myself: "be humble Osvaldo, don't be arrogant." There were sometimes I was in prison and a cousin of mine (a policeman) used to replaced me on the piano.”

Osvaldo Pugliese (1905–1995) Argentine pianist, tango composer

Unsourced

Support, Time

“Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.”

Anton Webern (1883–1945) Austrian composer and conductor

Letter to Alban Berg. Hayes, Malcolm. 1995. Anton von Webern, p. 71

Death

“I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here.”

Joanna MacGregor (1959) British musician

The Times, 15/12/1998
Musician's life

Education, Hope, Music, Time

“I had this very interesting experience when I was about 13. I went to Finland and it was dead in the middle of winter. It was freezing cold. There was so much snow and I went to Ainola, which is Sibelius' house. It was completely isolated -- just snow and forest, trees and the lake, completely beautiful but very quiet. And very serene. And I thought, well, this is where he was composing his stuff. And his great symphonies and the violin concerto, this is where it basically came from. I also got this little handbook about Ainola and there's a part that says that Sibelius wouldn't allow running water in his house because it disturbed him and his thought processes. So his daughters had to go out to the well which was half a mile away and then bring back water. So I thought, "Wow!" This person was really that much into control and silence. So you go and look at the concerto after that and the way it starts in the beginning: very shimmery. Very beautiful. But in a way it is isolated, and you feel kind of lonely when you're playing that. And gradually of course it builds up into this great big climax when every single orchestra-like instrument known to mankind is clashing and you're trying to break out there and you're trying to play your heart out. But really it did help me realize what he is like.”

Sarah Chang (1980) violinist

PBS.org 1998 http://www.pbs.org/lflc/backstage/march3/chang.htm

Beauty, Way, Feeling, Tree

“He never asks the orchestra to do anything which contradicts the players' feeling of what the music signifies or what the printed notes of the score actually mean in plain musical language. To his credit he does not pretend to omniscience. When a certain progression of programs with the Philharmonic decreed that he conduct the Brahms Fourth Symphony two seasons ago, he disavowed intensive rehearsals with the simple statement to the orchestra: "Gentlemen, you know the work better than I do." Both the compliment and the attitude endeared themselves so much to the orchestra that they literally forgot themselves in a mass effort to justify his statement—and, as one of those who heard the performance, I can testify that they delivered one of the most powerful and integrated interpretations of the score that New York has experienced in years.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

On conductor George Enescu, in "Music in Aspic," Harper's Magazine (October 1939) and A Smattering of Ignorance (1940); as quoted in "Lightning Wit Plays On American Musical Scene; Oscar Levant Answers Unspoken Request for 'Information, Please' With Uncensored Comments on Exalted Persons" by Ray C. B. Brown, in The Washington Post (January 14, 1940), p. E4

Music, Feeling, Effort, Season

“I think of the classical world as a cancer patient or an AIDS patient. You know you have a limited life span. The question you now might want to ask is what would be the most important things to do now with your remaining years. I would like to think that that type of prioritizing could happen with museums, symphony orchestras, opera companies. Things really are urgent right now, and what we're doing somehow has to matter, has to make a contribution.”

Peter Sellars (1957) American theatre director

Source: Mark Swed, "For L.A., History's Knocking", Los Angeles Times, December 26, 1996

Life, World, Question, Thinking

“If a symbolic language dies, it tortures us like a nightmare, like a thousand piece orchestra grating on our nerves and tearing our mind to pieces... It is a corpse with no symbolic power or strength.”

Asger Jorn (1914–1973) Danish artist

quoted in Asger Jorn (2002) by Arken Museum of Modern Art, p. 166
Jorn is talking about symbolism of the Nordic myths
1959 - 1973, Various sources

Tear

“First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.”

Ivo Pogorelić (1958) Croatian pianist

Ivo Pogorelić about the most important things Aliza Kezeradze taught him, Die Zeit, Ich möchte gern mein Publikum sein, Hans Josef, Herbort, May 15, 1981, June 30, 2015 http://www.zeit.de/1981/21/ich-moechte-gern-mein-publikum-sein, (in German language)

Color, Nature, Learning, Perfection

“Terrorism' is a word that has become a plague on our vocabulary, the excuse and reason and moral permit for state-sponsored violence - our violence - which is now used on the innocent of the Middle East ever more outrageously and promiscuously. Terrorism, terrorism, terrorism. It has become a full stop, a punctuation mark, a phrase, a speech, a sermon, the be-all and end-all of everything that we must hate in order to ignore injustice and occupation and murder on a mass scale. Terror, terror, terror, terror. It is a sonata, a symphony, an orchestra tuned to every television and radio station and news agency report, the soap-opera of the Devil, served up on prime-time or distilled in wearyingly dull and mendacious form by the right-wing 'commentators' of the America east coast or the Jerusalem Post or the intellectuals of Europe. Strike against Terror. Victory over Terror. War on Terror. Everlasting War on Terror. Rarely in history have soldiers and journalists and presidents and kings aligned themselves in such thoughtless, unquestioning ranks. In August 1914, the soldiers thought they would be home by Christmas. Today, we are fighting for ever. The war is eternal. The enemy is eternal, his face changing on our screens. Once he lived in Cairo and sported a moustache and nationalised the Suez Canal. Then he lived in Tripoli and wore a ridiculous military uniform and helped the IRA and bombed American bars in Berlin. Then he wore a Muslim Imam's gown and ate yoghurt in Tehran and planned Islamic revolution. Then he wore a white gown and lived in a cave in Afghanistan and then he wore another silly moustache and resided in a series of palaces around Baghdad. Terror, terror, terror. Finally, he wore a kuffiah headdress and outdated Soviet-style military fatigues, his name was Yassir Arafat, and he was the master of world terror and then a super-statesman and then again, a master of terror, linked by Israeli enemies to the terror-Meister of them all, the one who lived in the Afghan cave.”

Robert Fisk (1946) English writer and journalist

The Great War for Civilization (2005)

Hate, War, World, Home

“The very day I purchased it,
I christened my guitar
as my monophonic symphony,
six string orchestra.”

Harry Chapin (1942–1981) American musician

Six String Orchestra
Song lyrics, Verities & Balderdash (1974)

“The true synthesis is only with the unforeseen.
Detach yourself from a pledge left behind and open yourself
to a command which supremely calls,
without trembling at the freedom suddenly infinite.
Do not pay your extreme homage to the dead,
there is something beyond.
Even the sound of bells is only a preparation,
and beyond the voice of orchestras, a new sublimity.
Who has been more worn by life, knows it.
To love, to be reborn together, open sky.”

Aldo Capitini (1899–1968) Italian philosopher and political activist

Hymn

Love, Life, Freedom, Dead

“Don’t come before the orchestra is you have not mastered the score; don’t practise or learn the score ‘on the orchestra”

Pierre Monteux (1875–1964) French conductor

Learning

“Four strings across the bridge,
Ready to carry me over,
Over the quavers, drunk in the bars,
Out of the realm of the orchestra…”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, Never for Ever (1980)

“And we would play together,
like fine musicians should,
And it would sound like music,
and the music would sound good.
But in real life I'm stuck with
that same old formula,
me and my monophonic symphony,
six string orchestra.”

Harry Chapin (1942–1981) American musician

Six String Orchestra
Song lyrics, Verities & Balderdash (1974)

Life, Music

“My ears open nasals! beware! such joy is yours o my people to sense see ear scent drink everything everything everything taratatatatata the machineguns shouting twisting under a thousand bites slaps traaktraak cudgellings whippings pic pac POUMTOUMB juggling clowns’ jump in full sky height 200 meters it's the gunshooting Downwards guffaws of swamps laughter buffalos chariots stings prancing of horses ammunition-wagons flue flac zang chaak chaak rearings pirouettes patatraak bespatterings manesneighings i i i i i i i medley tinklings three bulgarian batallions on the move crook- craak (double bar slowly) Choumi Maritza o Karvavena officers' shouts copper plates knocking against each other pam ici (vite) pac over there BOUM-pam-pam-pam here there there farther all around very high look-out goddamnit on the head chaak marvelous! flames flames flames flames flames flames flames crawl from forts over there Choukri Pacha telephone orders to 27 forts in turkish German hello Ibrahim! Rudolf hello! hello! actors roles blowing-echoes odor-hay-mud-manure I can't feel my frozen feet stale odor rotting gongs flutes clarinets pipes everywhere up down birds twitter beatitude shade greenness cipcip ip-zzip herds pastures dong-dong-dong-ding-bééé Orchestra”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Source: 1910's, The Art of Noise', 1913, p. 8

People, Feeling, Drink, Bird

“It's like people inviting you to come along to a church service or an amateur orchestra. They're hoping that you'll join. People are recruiters at heart, you know. It makes them feel more comfortable to see the ranks of their particular enthusiasm swelling.”

Alexander McCall Smith book Espresso Tales

Espresso Tales, chapter 59.
The 44 Scotland Street series

People, Hope, Feeling, Heart

“In other words, the listener’s own picture was painted in the shining coulours St Odhran provided. By seeing what they wished, they also saw what he wished them to see. “They are the Orchestra,” he had told me earlier, “and I am merely the Conductor.””

Michael Moorcock book The City in the Autumn Stars

Source: The City in the Autumn Stars (1986), Chapter 6 (p. 269)

Painting

“Home from Guatemala, back at the Waldorf.
This arrival in the wild country of the soul,
All approaches gone, being completely there,
Where the wild poem is a substitute
For the woman one loves or ought to love,
One wild rhapsody a fake for another.You touch the hotel the way you touch moonlight
Or sunlight and you hum and the orchestra
Hums and you say "The world in a verse,A generation sealed, men remoter than mountains,
Women invisible in music and motion and color,"
After that alien, point-blank, green and actual Guatemala.”

Wallace Stevens (1879–1955) American poet

"Arrival at the Waldorf"
Parts of a World (1942)

Love, Women, Men, World

“More and more film scores are being recorded the way television scores are recorded. The performers are not shown any footage. I personally don't like working that way because if you do not allow the members of the orchestra to see footage on a big screen, they will tend to perform as if they are in a concert hall. They will try not to stand out. They will try to perform as members of an orchestra. What is needed when scoring a movie such as GODZILLA VS. MECHAGODZILLA is playing that is much more aggressive. No matter how much you explain the character of Godzilla to the performers and urge them to play aggressively, they still will play as if they are in a concert hall. However, if you show the performers footage of Godzilla, their playing will dramatically change. That is why I insisted on being allowed to show footage to the performers before I agreed to score GODZILLA VS. GHIDRAH.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview II" http://www.davmil.org/www.kaijuconversations.com/ifukub2.htm, Kaiju Conversations (December 1993)

Way, Change, Personality

“You conductors who are so proud of your power! When a new man faces the orchestra–from the way he walks up the steps to the podium and opens his score–before he even picks up his baton–we know whether he is the master or we.”

Franz Strauss (1822–1905) German composer and virtuoso horn player. Father of Richard Strauss

Harold C. Shonberg, The Great Conductors, ISBN 0671208349

Way

“That is, in fact, the true female voice of the orchestra – a voice at once passionate and chaste, heart-rending, yet soft, which can weep, sigh, and lament, chant, pray, and muse, or burst forth into joyous accents, as none other can do.”

Hector Berlioz (1803–1869) French Romantic composer

C'est la vraie voix féminine de l'orchestre, voix passionnée et chaste en même temps, déchirante et douce, qui pleure et crie et se lamente, ou chante et prie et rêve, ou éclate en accents joyeux, comme nulle autre pourrait le faire. <br class="br">Grand Traité d'Instrumentation et d'Orchestration Modernes (1844) http://www.hberlioz.com/Scores/BerliozTraite.html#Violon; Mary Cowden Clarke (trans.) A Treatise upon Modern Instrumentation and Orchestration (London: J. Alfred Novello, 1856) p. 25. <br class="br">Of the violin.

Passion, Heart

“Our system of production is in the nature of an orchestra. No one man, no one town, no one state, can be said any longer to be independent of the other; the whole people of the United States, every individual therein, is dependent and interdependent upon all the others. The nature of the machinery of production; the subdivision of labor, which aids cooperation and which cooperation fosters, and which is necessary to the plentifulnesss of production that civilization requires, compel a harmonious working together of all departments of labor, and thence complete the establishment of a central directing authority, of an orchestral director, so to speak, of the orchestra of the cooperative commonwealth.”

Daniel De Leon (1852–1914) American newspaper editor

Government-The State
Reform or Revolution (1896)

People, Nature, Dependency

“A symphonic conductor should reconcile himself to the realization that, regardless of his approach or temperament, the eventual result is the same — the orchestra will hate him.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

Source: In "Music in Aspic," Harper's Magazine (October 1939), an abbreviated chapter from Levant's soon-to-be-published A Smattering of Ignorance (1940); reproduced in Gentlemen, Scholars, and Scoundrels: A Treasury of the Best of Harper's Magazine from 1850 to the Present https://www.google.com/search?tbo=p&tbm=bks&q=%22Oscar+Levant%22+intitle:Gentlemen+intitle:scholars+intitle:and+intitle:scoundrels&num=10 (1959), edited by Harry Knowles, p. 246

Hate

“I had gone to hear the winner of that year's drum and bugle corps competition. That band played a chord that made every hair on my body stand up. I've been in front of great symphony orchestras, and the greatest bands, but I've never had my hair stand up quite like that. That's when I decided to write for the bugles.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Voicing With a Heart" by Ernie Rideout, in Keyboard (August 2000)

“… We talked while the full moon mounted in the sky, words filling up the narrow space between us, as much a buffer as a link. Hours passed and then suddenly at my foot there was a wriggle of the soil. A kangaroo mouse emerged, a creature that I have never otherwise seen except fleeing at a distance. I put my hand on the man’s shoulder to call his attention to this surprise, and we fell silent and watched the strangely fearless mouse do its work for a long time, then resumed the conversation more slowly and more softly as the creature continued to refine its tunnel entrance and the mound of gravelly earth at its mouth, indifferent to our presence. Bats swooped down and snatched invisible meals from the air, and coyotes began to howl, more of them, closer and more persistently than I’ve ever heard before or since, a whole orchestra of drawn-out cries into the dawn.”

Rebecca Solnit (1961) Author and essayist from United States

A Field Guide to Getting Lost (2005)

Time, Indifference

“The Christian missionary orchestra in India after independence has continued to rise from one crescendo to another with the applause of the Nehruvian establishment manned by a brood of self-alienated Hindus spawned by missionary-macaulayite education. The only rift in the lute has been K. M. Panikkar’s Asia and Western Dominance published in 1953, the Report of the Christian Missionary Activities Committee Madhya Pradesh published in 1956, Om Prakash Tyagi’s Bill on Freedom of Religion introduced in the Lok Sabha in 1978, Arun Shourie’s Missionaries in India published in 1994 and the Maharashtra Freedom of Religion Bill introduced in the Maharashtra Legislative Assembly by Mangal Prabhat Lodha, M. L. A. on 20 December 1996.”

Sita Ram Goel (1921–2003) Indian activist

Vindicated by Time: The Niyogi Committee Report (1998)

Education, Religion, Freedom

“In my orchestra, I hate slackness, idle talk and lost time. I always hated this and still hate it. But I can achieve much more when I am quiet and not shouting.”

Georg Solti (1912–1997) Hungarian orchestral and operatic conductor

Conductors by John L. Holmes (1988) pp 256-261 ISBN 0-575-04088-2

Hate, Time

“Not just songs by Madonna and action films starring Arnold Schwarzenegger; it includes 1,700 symphony orchestras, opera attended by 7.5 million people every year, and museums that are visited by 500 million annually, almost all American museums, where entrance is quite often free, owe their existence and funding to private sponsors.”

Jean-François Revel (1924–2006) French writer and philosopher

Source: 2000s, Anti-Americanism (2003), p. 109

People, Star

“Dad used to say it’s [live recording] the backbone for any musical endeavour. And I’ve realised that with time. So most often, my re-recordings are live. Technology does enhance music, but the warmth of a live orchestra is incomparable. Fans wrote to me after ‘Oru Devadai…’ (“Vaamanan”) saying the score had a divine quality. That’s because it was done live. Besides, I’m also conscious of the employment problem that technology-driven music creates.”

Yuvan Shankar Raja (1979) Indian musician

Yuvan Unplugged (2009)

Music, Problem, Time

“That's five stars to start with. That's five stars to start with. That's Gil Evans, isn't it? The only thing that disturbed me about this—the whole thing, in its entirety, was tremendously satisfying: performance, orchestration is good, the harmonic usage is beautiful, the contrasting texture of orchestra, the whole thing is just great—but there are certain sections there when the background was so lovely it just seemed like the alto saxophone was out of place. Now this is the type of thing that just makes me smile. I enjoy every minute of it. I don't have to go for a "peak" and then think about something else while I'm listening. Gil Evans' writing, to me, is such a boon that when he came along with the Miles Ahead album, I was thankful, because since about the Stan Kenton Orchestra of 1952, where the writing had been very good, between Mulligan and Rugolo and the whole works, between those periods there had been a void, a retrogression back to the roots, and this took writing back to a standpoint which just wasn't interesting. So when Evans came along, I just flipped.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing Evans' arrangement https://www.youtube.com/watch?v=ao4dcHdoR4k of Dizzy Gillespie's "Manteca,", from New Bottle, Old Wine; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#rjvay58eo774rhe

Love, Smile, Beauty, Star

“During my nightmarish time in a coma, 11 days long, you kept appearing in my dreams, wild, you and Slava, like gypsies & always too late. You were a two-man orchestra & we were always looking for you and waiting for you.”

Jean Tinguely (1925–1991) Swiss painter and sculptor

In a letter, January 1986; cited in: Jean Tinguely, ‎Margrit Hahnloser-Ingold, ‎Paul Sacher (1996) Briefe von Jean Tinguely an Paul Sacher und Gemeinsame Freunde.
Quotes, 1980's

Dreams, Appearance, Time, Waiting

“Artistic responsibility? (Schliessmann answers using Bach performance as his example): After the rediscovery of Bach by Mendelssohn, Bach was interpreted in a very romantic style. This had nothing to do with Bach. Leopold Stokowski made arrangements for orchestra. O. K., the public had a chance to know the works, but it also had nothing to do with Bach. So Tureck and Gould - despite their substantial differences - came and made something completely radical. Only in this way was there a chance to ‘correct’ the ‘picture’ of interpretation and move in the right direction.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Way, Chance

“I regret they don't have symphony orchestras all over the world so I could see Burma and Samarkand.”

Pierre Monteux (1875–1964) French conductor

'Pierre Monteux in his own words', Classic Record Collector, Autumn 2003, Number 34, p. 18.

World

“As the screams in the water multiplied, another sound was heard, strong and clear at first, then fainter in the distance. It was the melody of the hymn “Nearer, My God, To Thee,” played by the string orchestra in the dining saloon.”

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 10

God, Strong, Water

“I wanted to invent some kind of an instrument that would not operate mechanically, as does the piano, or the cello and the violin, whose bow movements can be compared to those of a saw. I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra.”

Léon Theremin (1896–1993) Russian inventor

Source: An Interview with Leon Theremin http://www.oddmusic.com/theremin/theremin_interview_1.html / Olivia Mattis and Leon Theremin in Bourges, France 16 June 1989.

“I'm gonna take a wild guess—I think that was Buddy DeFranco, and possibly the Glenn Miller Orchestra. The band strikes me as an enigma, in that, first of all, some interesting harmonic things are happening as far as the individual voicings are concerned, but yet it's played in an older, tighter fashion. For instance, the bass player, if there are chord changes happening every two beats, plays the root for two beats, then the next root for two beats—that type of sound. The harmony, especially in the opening part where the theme is established, is a lot more modern than that kind of band would normally sound. I think that they're playing that way to keep that Miller identity, with that rhythmic tightness”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

Reviewing DeFranco's arrangement of Billy Strayhorn's "Chelsea Bridge", from the album Glenn Miller Orchestra Under the Direction of Buddy DeFranco; as quoted in "Clare Fischer: Blindfold Test" http://www.mediafire.com/view/fix6ane8h54gx/Clare_Fischer#2nmgk677qzm4cnu by Leonard Feather, in Downbeat (October 19, 1967), p. 38

Way, Fashion, Thinking, Change

“I have the greatest respect for the survivors of the Holocaust. We can't even imagine what these people went through. And yet even they have differing positions … I respect that there are survivors who can't, and certainly don't want to, listen to this music. But I don't accept that the fact that an orchestra playing Wagner in Tel Aviv or Jerusalem would do any harm to someone sitting in an apartment in Haifa.”

Daniel Barenboim (1942) Israeli Argentine-born pianist and conductor

SPIEGEL Interview with Daniel Barenboim

People, Music, Imagination

“I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra…The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely.”

Richard Strauss (1864–1949) German composer and orchestra director

On composing and conducting (page 39-40) (1929).
Recollections and Reflections

Decision, Future, Parting, Painting

“Do you really believe that a man like me, who suffers for a country where B52s make 260 incursions a day, could miss the good life and jazz orchestras? I don't miss anything. I'm in mourning, and I don't even think of the carefree days of back then. What's done is done. If I had my Lancias, my Alfa Romeos and my Mercedes, I wouldn't know what to do with them now.”

Norodom Sihanouk (1922–2012) Cambodian King

Said during his exile in Peking, as quoted by Oriana Fallaci (June 1973), Intervista con la Storia (sixth edition, 2011). pages 105-106.
Interviews

Life, Thinking, Suffering, Country

“A man of intellect is like an artist who gives a concert without any help from anyone else, playing on a single instrument — a piano, say, which is a little orchestra in itself. Such a man is a little world in himself; and the effect produced by various instruments together, he produces single-handed, in the unity of his own consciousness. Like the piano, he has no place in a symphony; he is a soloist and performs by himself — in solitude, it may be; or if in the company with other instruments, only as principal; or for setting the tone, as in singing.”

Arthur Schopenhauer book Parerga and Paralipomena

Parerga and Paralipomena (1851), Counsels and Maxims

World, Solitude, Singing, Help

“I shall never forget the sight of that beautiful boat as she went down, the orchestra playing to the last, the lights burning until they were extinguished by the waves. It sounds so unreal, like a scene on the stage.”

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 152

Beauty, Light, Forgetting

“To approach Bach, one has to realize that 100 years after Bach’s death, Bach and his music totally had been forgotten. Even while he was still alive, Bach himself believed in the polyphonic power and the resulting symmetric architectures of well-proportioned music. But this had been an artificial truth - even for him. Other composers, including his sons, already composed in another style, where they found other ideals and brought them to new solutions. The spirit of the time already had changed while Bach was still alive. A hundred years later, it was Mendelssohn who about 1850 discovered Bach anew with the performance of the St. Matthew Passion. Now a new renaissance began, and the world learned to know the greatness of Bach. To become acquainted with Bach, many transcriptions were done. But the endeavors in rediscovering Bach had been - stylistically - in a wrong direction. Among these were the orchestral transcriptions of Leopold Stokowski, and the organ interpretations of the multitalented Albert Schweitzer, who, one has to confess, had a decisive effect on the rediscovery of Bach. All performances had gone in the wrong direction: much too romantic, with a false knowledge of historic style, the wrong sound, the wrong rubato, and so on. The necessity of artists like Rosalyn Tureck and Glenn Gould - again 100 years later - has been understandable: The radicalism of Glenn Gould pointed out the real clarity and the internal explosions of the power-filled polyphony in the best way. This extreme style, called by many of his critics refrigerator interpretations, however really had been necessary to demonstrate the right strength to bring out the architecture in the right manner, which had been lost so much before. I’m convinced that the style Glenn Gould played has been the right answer. But there has been another giant: it was no less than Helmut Walcha who, also beginning in the 1950, started his legendary interpretations for the DG-Archive productions of the complete organ-work cycle on historic organs (Silbermann, Arp Schnitger). Also very classical in strength of speed and architectural proportions, he pointed out the polyphonic structures in an enlightened but moreover especially humanistic way, in a much more smooth and elegant way than Glenn Gould on the piano. Some years later it was Virgil Fox who acquainted the U. S. with tours of the complete Bach cycle, which certainly was effective in its own way, but much more modern than Walcha. The ranges of Bach interpretations had become wide, and there were the defenders of the historical style and those of the much more modern romantic style. Also the performances of the orchestral and cantata Bach had become extreme: on one side, for example, Karl Richter, who used a big and rich-toned orchestra; on the other side Helmut Rilling, whose Bach was much more historically oriented.”

Burkard Schliessmann classical pianist

Talkings on Bach

Death, Truth, World, Music

“Knowledge of instrumentation should be acquired through experience. Instrumental composition should be conceived instrumentally, imagining and hearing a particular orchestra for each particular and diverse musical condition of the mind.”

Francesco Balilla Pratella (1880–1955) Italian composer

Source: Technical Manifesto of Futurist Music (1911), p. 82

Music, Imagination, Knowledge

“I met [Meyerbeer] at the performance of my "Battle." Most of the composers then in Vienna were kind enough to undertake something or other in my orchestra, and the young man played the big drum. Ha! ha! ha! (a peal of laughter). I had reason not to be very well satisfied with him. He was always behindhand, and I had to give it him roundly. (New peal of laughter.) He must have felt mortified by my observations; but there is no reliance to be placed in him; he has not the courage to raise his arm at the proper moment.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

10th October, 1814
In: Johann Wenzel Tomaschek, "A Talk with Beethoven", The Musical Times and Singing Class Circular, Vol. 33, Beethoven Supplement (Dec. 15, 1892)

Courage, Laughter

“Nobody can predict the future, but there is nobody in my generation who wants to be on the board of a symphony orchestra or an opera company and raise the kind of money that's needed. I think that the energy that in the 19th century went into opera is, in the 20th century, going into films. Films have that same over-the-top, overwhelming, high impact--all of the senses knocked out--and vast popular following, with stars who are larger than life. Well, that's what opera did in the 19th century.”

Peter Sellars (1957) American theatre director

Source: Mark Swed, "For L.A., History's Knocking", Los Angeles Times, December 26, 1996

Life, Money, Star, Thinking

“The wind came steadily, like the rushing of a great cataract heard at a great distance, but the noises of the sea were continually changing, rising and falling, with the stupendous modulations of an orchestra played by giants.”

Liam O'Flaherty (1896–1984) Irish writer

"The Landing", from Spring Sowing (1924; New York: Alfred A. Knopf, 1926) p. 70

Change, Sea

“the technical work of scientists is blind to nationalities, they overlap and mingle like sounds from different instruments in an orchestra to create and constitute the grand symphony that science is.”

Varadaraja V. Raman (1932) American physicist

page 13
Truth and Tension in Science and Religion

Science

“When an orchestra of the Journeyers first publicly performed a suite from the time before Handel completely without crescendi and diminuendi, with the naïveté and chasteness of another age and world, some among the audience are said to have been totally uncomprehending, but others listened with fresh attention and had the impression that they were hearing music for the first time in their lives. In the League's concert hall between Bremgarten and Morbio, one member built a Bach organ as perfectly as Johann Sebastian Bach would have had it built had he had the means and opportunity.”

Hermann Hesse book The Glass Bead Game

The Glass Bead Game (1943)

Age, World, Music, Time

“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”

Hermann Ebbinghaus (1850–1909) German psychologist

Source: Memory: A contribution to experimental psychology, 1885, p. 3

Nature, Study, Singing

“A few days ago in a Berlin theatre the audience burst into spontaneous applause merely because the orchestra began to play an old military march—not a German march, either, but an Austrian one, the Radetzky march. Do not think that this meant a demonstration in favour of a war of revenge—not a bit of it. But the army and all that goes with it has been in the tradition of the German people for a hundred years and it would betray a very poor knowledge of men to believe that such a tradition could be uprooted when people is bidden by the terms of a treaty to give up compulsory military service.”

Gustav Stresemann (1878–1929) German politician, statesman, and Nobel Peace Prize laureate

Remarks to representatives of the foreign press in Berlin (23 November 1923), quoted in W. M. Knight-Patterson, Germany. From Defeat to Conquest 1913-1933 (London: George Allen and Unwin, 1945), p. 341
1920s

Men, War, People, Revenge

“I would love to paint a large landscape of Moscow — taking elements from everywhere and combining them into a single picture—weak and strong parts, mixing everything together in the same way as the world is mixed of different elements. It must be like an orchestra... Suddenly I felt that my old dream was closer to coming true. You know that I dreamed of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy.”

Wassily Kandinsky (1866–1944) Russian painter

Quote from Kandinsky's letter to Gabriele Münter, June 1916; as cited in lrike Becks-Malorny, Wassily Kandinsky, 1866–1944: The Journey to Abstraction [Cologne: Taschen, 1999], pp. 115, 118
Kandinsky left Münter and Murnau in 1914, because the first World War started and Kandinsky had a Russian nationality
1916 -1920

Love, Life, World, Dreams

“On my Fleischmann Hour from Rochester I went into a "rave" about the Victor record of ["It Must Be True"] as played by Gus Arnheim and his Cocoanut Grove Orchestra. From all reports that drift back to me, and from people that I know in California, Arnheim has the finest dance aggregation on the West Coast, and to my way of thinking, perhaps the finest in the entire world. It may sound like a rather broad statement, but I would be willing to back his organization against any other in any other part of the world. Although I have never seen them perform on the stage to what they have in the way of showmanship, from a pure musical standpoint I feel that they are unexcelled.
Perhaps my great admiration for them is increased by the presence of Bing Crosby, formerly the lead in Paul Whiteman's "Rhythm Boys", who, in my humble opinion, has the finest recording voice to which it has ever been my pleasure to listen. If he doesn't capture all the feminine hearts in America through his records, no one ever will. He has the most unique style of singing I have ever listened to since I used to enjoy the records of Charlie Kaley.”

Rudy Vallée (1901–1986) American singer, actor, bandleader, and entertainer

"Tuneful Topics", Radio Digest, June 1931. https://archive.org/stream/radiodigest2627unse#page/n869/mode/2up

People, Pleasure, World, Music

“The ship’s orchestra of eight young men were standing knee deep in water playing.”

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 140

Men, Water

“I have always felt rather badly for orchestra musicians, especially the stringed instrument player who certainly in his youth expected to be a virtuoso… I admire their patience and ability, and through the years have made the effort to show them my respect and – love in many instances.”

Pierre Monteux (1875–1964) French conductor

From Monteux, Doris G (1965). It's All in the Music: The Life and Work of Pierre Monteux. New York: Farrar, Straus and Giroux. OCLC 604146, p. 197

Love, Youth, Effort, Patience

“At this point, I wouldn't want to jinx it by meeting him. His arrangements are incredible. I just send him a tape, we talk on the phone, and he sends me the finished orchestra tracks. Hear that? I'm gonna get that chord on the radio!”

Prince (1958–2016) American pop, songwriter, musician and actor

Discussing his then nearly decade-and-a-half-long working relationship with arranger Clare Fischer (whom he'd never met, nor ever would meet, face to face), as quoted in the January 2000 issue of Keyboard Magazine, reprinted in Keyboard Presents Synth Gods https://books.google.com/books?id=BMucfBTXvMgC&pg=PA97&dq=%22I+wouldn't+want+to+jinx+it%22+%22that+chord+on+the+radio%22&hl=en&sa=X&ei=w2acVdevKIKYyASn3oCoBg&ved=0CBQQ6AEwAA#v=onepage&q&f=false (2011), edited by Ernie Rideout, p. 97

“I who am blind can give one hint to those who see - one admonition to those who would make full use of the gift of sight: Use your eyes as if tomorrow you would be stricken blind. And the same method can be applied to other senses. Hear the music of voices, the song of a bird, the mighty strains of an orchestra, as if you would be stricken deaf to-morrow. Touch each object you want to touch as if tomorrow your tactile sense would fail. Smell the perfume of flowers, taste with relish each morsel, as if tomorrow you could never smell and taste again. Make the most of every sense; glory in all the facets of pleasure and beauty which the world reveals to you through the several means of contact which Nature provides.”

Helen Keller (1880–1968) American author and political activist

Three Days to See (1933)

Pleasure, World, Beauty, Music

“Whether the French were better colonists than the British is an academic question, but at least such Frenchmen as were planting in Malaya (Pierre Boulle, for instance, and Henri Fauconnier) were kept sane by their own culture and some of them (those two, anyway) produced memorable novels based on their Malayan experiences. The British were mostly philistines, and they left behind a heritage of philistinism. Kampung culture is dying, and a metropolitan culture of art galleries and orchestras seems unlikely to arise. What there is, and flourishing too, is a materialist consumerism that is threatened from the north by the communists and from the west by the militant Islam of the ayatollahs. Mr Butcher’s book deals with a race of people who may well be surveyed in terms of anthropological generalities. There was no room for the brilliant or the eccentric. British Malaya was created by courageous and suffering mediocrities. The building of Singapore in 1819 was a rather different affair.”

Anthony Burgess (1917–1993) English writer

"White Men Sweating" - review of The British in Malaya 1880-1941: The Social History of a European Community in Colonial South-East Asia, by John G. Butcher.
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

People, Books, Art, Courage

“To try to live in posterity is to be like an actor who leaps over the footlights and talks to the orchestra.”

Samuel Butler (1835–1902) novelist

Posthumous Life, i
The Note-Books of Samuel Butler (1912), Part XXIV - The Life of the World to Come

“I actually don't like playing the piano or conducting the orchestra. There is always an exchange of energies, which is not even. It's one against 80.”

Joe Hisaishi (1950) Japanese composer and musician

Joe Hisaishi, who wrote music for Hayao Miyazaki's films https://www.scmp.com/lifestyle/arts-entertainment/article/1780283/studio-ghibli-composer-joe-hisaishi-talks-about-how,South China Morning Post

“Whether what you manage is a business, hospital, university department, government agency or even a symphony orchestra or dancing school, we suspect you will find it advisable to try to prepare ahead for what might happen in the future.”

Simon Ramo (1913–2016) Father of the ICBM

Simon Ramo, Ronald Sugar, : A Structured Approach to Shaping the Future of Your Business. (2009), p. 8

School, Business, Universe, Future

“I often conduct an orchestra in my sleep; my orchestras are so huge that the back desks of the violas vanish into the horizon. And everything is so wonderful.”

Jean Sibelius (1865–1957) Finnish composer of the late Romantic period

To Jussi Jalas, August 27, 1943. http://www.sibelius.fi/english/omin_sanoin/ominsanoin_13.htm

Sleep

“When we hear [the crane’s] call we hear no mere bird. We hear the trumpet in the orchestra of evolution. He is the symbol of our untamable past, of that incredible sweep of millennia which underlies and conditions the daily affairs of birds and men.”

Aldo Leopold book A Sand County Almanac

“Wisconsin: Marshland Elegy”, p. 96.
A Sand County Almanac, 1949, "Wisconsin: Marshland Elegy," "Wisconsin: The Sand Counties" "Wisconsin: On a Monument to the Pigeon," and "Wisconsin: Flambeau"

Men, Bird, Past

“Our intimacy was like a minuet, simply because on every possible occasion and in every possible circumstance we knew where to go, where to sit, which table we unanimously should choose; and we could rise and go, all four together, without a signal from any one of us, always to the music of the Kur orchestra, always in the temperate sunshine, or, if it rained, in discreet shelters.”

Ford Madox Ford book The Good Soldier

Part One, Ch. I (p. 6)
The Good Soldier (1915)

Music

“I had a concussion nine years ago, and that changed things. I had always been sensitive musically, but now, since the concussion, I ﬁnd the emotion is there immediately. There is no build. I hear several chord changes — it could be three or four chord changes from a string orchestra — and, man, I’m just gushing tears. I don’t take it as a weakness. Sometimes it might get slightly embarrassing to observers. On the other hand, I’m not putting it on. I’m in no way trying to exaggerate feeling. My feelings are exactly the opposite. Sometimes I wish I wouldn’t be quite as sensitive because then I wouldn’t have to go through this thing when I write.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "Meet Clare Fischer" http://cdassassin.wordpress.com/2010/10/28/1999-interview-at-allaboutjazz-com/

Music, Way, Feeling, Tear

“My background in music came from me playing drums and piano as a young child. My grandmother was a pianist and I was influenced by her and my parents were playing rock records which influenced my drumming. I was a fan of film scores, rock, classical, jazz, and hip-hop in my early years and tried to learn as much about each of those genres as possible. I began writing music in a serious way in my teen years while I was playing in various bands and orchestras.”

Brian Tyler (1972) American composer, producer, conductor, and film producer

Interview with Brian Tyler https://8dio.com/2012/12/05/interview-with-brian-tyler/ (December 5, 2012)

Music, Way, Parent, Learning

“Pardon me for loitering in front of an orchestra.”

John Goodman (1952) American actor, voice artist, and comedian

As quoted in "Oprah's Early Father's Day" by Stephen M. Siolverman, in People magazine (5 May 2003) http://www.people.com/people/article/0,,626113,00.html

“He likes having the ball, playing football, passes. It's like an orchestra. But it's a silent song. I like heavy metal.”

Jürgen Klopp (1967) German association football player and manager

Klopp comparing his team's style of play to Arsène Wenger's Arsenal. <br class="br">Source: 14 of the best Jurgen Klopp quotes: Top of the Klopps http://www.espnfc.com/blog/the-toe-poke/65/post/2402760/14-of-the-best-jurgen-klopp-quotes-top-of-the-klopps

Football

“It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.”

Madeleine L'Engle (1918–2007) American writer

"Instruments" in The Weather of the Heart (1978)
Context: I endeavor
To hold the I as one only for the cloud
Of which I am a fragment, yet to which I'm vowed
To be responsible. Its light against my face
Reveals the witness of the stars, each in its place
Singing, each compassed by the rest,
The many joined to one, the mightiest to the least.
It is so great a thing to be an infinitesimal part
of this immeasurable orchestra the music bursts the heart,
And from this tiny plosion all the fragments join:
Joy orders the disunity until the song is one.

Music, Heart, Joy, Parting

“A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

Quoted in "What'd I Say?" : The Atlantic Story : 50 Years of Music (2001) by Ahmet M. Ertegun; also partially quoted in What Is This Thing Called Jazz?: African American Musicians As Artists, Critics, and Activists (2002) by Eric C. Porter, p. 118, and Freedom Is, Freedom Ain't: Jazz And the Making of the Sixties (2005) by Scott Saul, p. 154
Context: Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.

Dance

“While religion prescribes brotherly love in the relations among the individuals and groups, the actual spectacle more resembles a battlefield than an orchestra.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

1940s, Religion and Science: Irreconcilable? (1948)
Context: While religion prescribes brotherly love in the relations among the individuals and groups, the actual spectacle more resembles a battlefield than an orchestra. Everywhere, in economic as well as in political life, the guiding principle is one of ruthless striving for success at the expense of one's fellow men. This competitive spirit prevails even in school and, destroying all feelings of human fraternity and cooperation, conceives of achievement not as derived from the love for productive and thoughtful work, but as springing from personal ambition and fear of rejection.
There are pessimists who hold that such a state of affairs is necessarily inherent in human nature; it is those who propound such views that are the enemies of true religion, for they imply thereby that religious teachings are Utopian ideals and unsuited to afford guidance in human affairs. The study of the social patterns in certain so-called primitive cultures, however, seems to have made it sufficiently evident that such a defeatist view is wholly unwarranted.

Love, Religion

“Orchestras have often been used to conjure up the natural world: Swans, sharks, trout, but not, as far as I know, the often maligned jellyfish.”

Bill Bailey (1965) English comedian, musician, actor, TV and radio presenter and author

Remarkable Guide to the Orchestra (2008)

World, Nature

“Western classical music, to be sure, is not part of traditional Iranian culture, and yes it’s elitist. But the fact that the Tehran symphony Orchestra and the Roudaki Hall have survived the vagaries of these past three decades is yet another evidence that the forces of darkness, the cult of death, martyrdom and superstition has not conquered the spirit of our nation.”

Reza Pahlavi (1960) Last crown prince of the former Imperial State of Iran

"Peace and Stability in the Middle East and Beyond: A Hostage to Iranian Intransigence and Adventurism." http://www.rezapahlavi.org/details_article.php?article=142&page=4, Oct. 24, 2007. <br class="br">Speeches, 2007

Death, Music, Past, Parting

“This evolution toward noise-sound is only possible today. The ear of an eighteenth century man never could have withstood the discordant intensity of some of the chords produced by our orchestras (whose performers are three times as numerous); on the other hand our ears rejoice in it, for they are attuned to modern life, rich in all sorts of noises. But our ears far from being satisfied, keep asking for bigger acoustic sensations. However, musical sound is too restricted in the variety and the quality of its tones. Music marks time in this small circle and vainly tries to create a new variety of tones... We must break at all cost from this restrictive circle of pure sounds and conquer the infinite variety of noise-sounds.”

Luigi Russolo (1885–1947) Electronic music pioneer and Futurist painter

Source: 1910's, The Art of Noise', 1913, p. 6

Music, Life, Time

“The magnificent baritone was not merely a voice. It was an orchestra of enormous range and power, its graceful sound seemed to linger on for millions who had heard it on film and stage. Homer must have known someone very much like Richard Burton.”

Richard Burton (1925–1984) Welsh actor

Gerald Clarke, in Show Business: The Mellifluous Prince of Disorder http://content.time.com/time/magazine/article/0,9171,954366,00.html, 20 August 1984

“In the weeks I stayed there, the Maharajah agreed to paying for the recordings of the Medtner piano concertos, an album of his songs, and some of his chamber music; he also agreed to give me a subvention of 10,000 pounds a year for three years to enable me to put the Philharmonia Orchestra and the Philharmonia Concert society on firm basis….”

Jayachamarajendra Wadiyar (1919–1974) Indian writer

Music

“Ultimately I think about who I want to inspire, and I think it’s important to have people who look like me to inspire other people from my community to join orchestras.”

Edward W. Hardy (1992) American composer, musician and producer

From an interview in “How Critically Acclaimed Violinist Edward W. Hardy Is Transforming Mood Into Music” https://www.forbes.com/sites/andreazarczynski/2021/02/23/how-critically-acclaimed-violinist-edward-w-hardy-is-transforming-mood-into-music/?sh=1b2d2ca64962 Forbes (2021 Feb 23)

People, Communication, Thinking