Quotes About Expression

Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.

You have to change your mind with every orchestra because every orchestra has a different character.

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 first nine albums there was never a Synthesiser, never any Orchestra. There was never any other player except us on the albums.

Why write for the orchestra? For one thing it's a very challenging problem.

Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.

Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.

They're always so serious, the orchestras, you know? It's always a fun contrast of that song and the genre of music. And me.

I love working with an orchestra, but there are many ways to make music.

You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.

Through conducting, you express through your arms, through your face and even the body, what you want to tell, so the musicians of the orchestra understand.

I feel I'm most successful when I'm playing a concert, and it doesn't necessarily seem like I'm playing a saxophone but am coming off more like an orchestra or something like that.

For me, the main goal is loving music and experiencing the great music-making with the orchestra, which is the great reason why I conduct, and that is the main goal.

On stage, I'm always nervous, but there is so much adrenalin, too. It's strange because I have to turn my back on the audience, and my audience is the orchestra. I communicate my energy to them, and they communicate it to the audience behind me!

Most of the time, I'll be conducting the orchestra, but there will be some pieces that I'll be playing an instrument as well, just because I love playing. There's pieces where I want to grab an instrument and play with the rest of the group, like 'The Light of the Seven,' for example; I would love to play the piano for that.

If the orchestra's not enjoying itself, the concerto will not succeed, with the players confined to using half an inch of bow.

We're more about other things over odd timings: orchestration, composition, horn/vocal arrangements - that's where we get super weird.

I can almost see the music. It comes in the form of colors - colors jump out at me, and that translates into notes. They come fully formed: the orchestration parts, not just the melodies. Even though they're not always the right ones to use, the initial idea comes like that.

I don't play beats. I hate playing beats. I'm an orchestration drummer. I'm a musical drummer.

I kept listening to albums where I'd hear this very joyful sound - and it was always the glockenspiel. Then I ordered one online, and I figured out how to play it.

I feel like communication is the same whether you're cooking for someone or singing or writing a song or writing a play or ordering from McDonald's.

I'm actually rather orderly, although the way that I write is not.

In Cyberspace, the First Amendment is a local ordinance.

Neither Aristotelian nor Russellian rules give the exact logic of any expression of ordinary language; for ordinary language has no exact logic.