Luka Sulic Quotes

The value of music is to be able to play one note at the right time in the right way.

These days I can really get the strings to snap if I want.

A good interpreter can take a piece of bad music and make it sound pretty decent, while a bad interpreter can take good music and make it sound cheap. I can tell that some people have a bad taste, and unlike on the piano, they smear around a lot, that is bad taste.

I really worked to try and be creative enough on the guitar parts so those who aren't real educated would know that there was some difficulty in doing it.

I play in tune like a cello player and use legitimate vibrato. There are no tricks; it's just all in the hands!

Just like using an instrument, a song calls for different things.

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 play the way I do because it allows me to come up with the sickest sounds possible. That's the point now isn't it?

Mozart is always a bit of a challenge - you know, even though it is often given to very young singers, it is actually the most complicated to sing in many instances.

I can understand why some of these drummers and bass players become cult figures with all of their equipment and the incredible amount of technique they have. But there's very little that I think satisfies you intellectually or emotionally.

To me, the biggest notes and the longest notes are the easiest notes.

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

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.

You think it matters to the kids whether they're learning to play on a Steinway or a normal piano?

I was different from most young conductors today.

The one thing I do know is that I'm the best Taylor Hawkins drummer there is, and that is all I can hope to be. And when it comes to music, musicianship and skill, there is no such thing as better or worse because so much is personal opinion, and I can see that now.

When you play the 12-string guitar, you spend half your life tuning the instrument and the other half playing it out of tune.

Mendelssohn I consider the first musician of the day; I doff my hat to him as my superior. He plays with everything, especially with the grouping of the instruments in the orchestra, but with such ease, delicacy and art, with such mastery throughout.

It's easy to play any musical instrument: all you have to do is touch the right key at the right time and the instrument will play itself.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

Since I first picked up the violin, I've been very interested in tone and texture: I would have very visceral reactions to the texture of a snare drum or a pedal steel guitar or a violin.

I don't think so, in so far as I always aspired to play the way I do now but just couldn't get the sounds out always due to technical limitations - now I can pretty much play what I hear in realtime.

I think when you're learning an instrument, you are restricted because much of it is the noise of individual theory and your ability to play the instrument.

As a guitar player, it's harder for me to impress somebody than it is to write a song that they like.

I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.