Joshua Bell Quotes

From a very early period of my life I have derived the highest enjoyment from listening to music, especially to melody, which is to me the most pleasing form of composition.

Even in classical music, the cello doesn't get a lot of respect because the piano and the violin get it all.

In contrast, traditional classical music starts from an abstract musical schema. This is then notated and only expressed in concrete sound as a last stage, when it is performed.

I love doing concert music.

I love classical music and often listen to symphonies or opera in the morning.

Here's how I understand music. If you can play the same bunch of noise twice, it's music. To go beyond that is supercilious and pontificating.

After conducting Wagner, Beethoven's triple concerto is like taking an Alka Seltzer.

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?

I abhor the words 'classical music.' Few things satisfy me more than a really good cover version.

I was playing 'The Flight of the Bumblebee,' and I totally forgot the ending, so I performed the whole piece again, and I still couldn't remember it.

Western music is Bach, Handel and Schubert. It's good music, cleverly done. As a musician, I can see that.

Think about a piece of music - some great symphony - we don't expect it to get better as it develops, or that its whole purpose is to reach the final crescendo. The joy is found in listening to the music in each moment.

Every kind of music is good, except the boring kind.

I find little in the works of Beethoven, Berlioz, Wagner and others when they are led by a conductor who functions like a windmill.

I know that John Adams has had a very hard time directing French ensembles.

I can take any series of numbers and turn it into music, from Bach to bebop, Herbie Hancock to hip-hop.

Just, you know, you can't put bread in a cold oven. You know, you've got to take your time. You've got to heat it up. So that's what, that's what I like to do with my music. I like to build it, and build it into a maddening, exciting crescendo.

What I do remember is visualization of the sound of music, seeing bodies in movement in relation to how music sounded, because my mother practiced at the keyboard a lot and I also went to her lessons. As a two year old, three year old I remember seeing things in movement.

I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.

Great music was written by the great geniuses, and you want to do it justice.

Well, I think the first piece of music I ever heard that I really loved was 'Salome's Dances' by Richard Strauss. I played that 12-inch, 78 record, and I stood up on an ottoman to play it on a big Victrola and I'd just keep playing it and playing it.

I shall always respect the composer. If I embellish, it is his idea I am embellishing.

There is a world of difference between a Mahler eighth note and a normal eighth note.

When Beethoven's Seventh Symphony was premiered, after the second movement, they clapped so much that they had the repeat the second movement and do it again.

I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.