I can imagine myself as an old man writing music for choir or orchestra. I don't know that I'll be touring six months out of the year in a rock band when I'm 60.
It was really amazing. I mean, he'd never mentioned that he played in the symphony, like serious violin playing, not fiddle playing. And he just blew us away.
What makes a Beethoven symphony spectacular, what makes a Brahms rhapsody spectacular is that the patterns are wondrous.
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.
There is no relationship between the gestures and what an orchestra will do.
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 do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
In 'Secret Life of Pets,' it's a huge orchestra - really, really big.
Playing the Beethoven symphonies, for example, is a consummate experience for a musician because Beethoven speaks so directly to who we are as people.
Looking back on it now, I felt that I was blessed much like the masters, I guess - the guys who wrote the concertos.
My relationship with the Philharmonia Orchestra brought me many times to London and I will always reflect positively on that early period of development with them - their patience, their warmth, their dedication.
The conductor is the artistic leader and sometimes cultural arbiter of his or her community. It is their leadership that is looked to and should anything go wrong, they are the persons taking most of the heat.
The 'Mozart Symphony No. 27' is an early composition. I find it charming.
The sounds proceeding from the instruments of symphonic music seem to be the very organs of the mysteries of creation; for they reveal, as it were, the primal stirrings of creation which brought order out of chaos long before the human heart was there to behold them.
And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.
When working with classical musicians, it is important to be clear as possible in the score about what my intentions are. Because there isn't a lot of rehearsal time, especially at the ballet, it's best if everything is written in the score.
When I was little, my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling. I always spoke about colours. I'd talk about how purple the oboe was.
I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.
A symphony is a stage play with the parts written for instruments instead of for actors.
My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.
I know that what you have faced. I know that you have faced disappointment and loss in your lives. I have, too. I wanted more than anything to be a concert cellist.
Canada's first female Prime Minister
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
Yeah, I would go to New England Conservatory a lot. My orchestra teacher ran a program for minority students there.
I liked the opera very much. Everything but the music.
Last year in Germany at a town hall in Leipzig there was a game music concert played by the orchestra and some of the Final Fantasy scores were played. This year there is another concert scheduled in the same location, for game music.
