Gustavo Dudamel Quotes

We have to go and show these people what classical music is. We say sometimes that classical music has a small audience, but it's because people don't have the chance to be closer to it.

We want people to know that classical music is for everyone. A parent or kid might be terrified of this music, but after they come to us, they'll never be scared of classical music again.

More people are listening to opera, and I'm happy - everybody must be given that opportunity.

There are so many wonderful, wonderful musicians in the world, I cannot possibly make a distinction between the fact that they might play classical music, or bluegrass, or Irish traditional, or Indian music.

If you're alive, you have all the experience necessary to understand classical music.

As far as I was concerned the important thing was that the music was getting the attention as well as me so it was always a great way to get more of the public to connect with classical music, and opera particularly.

I enjoy all forms of music - pop, classical and opera.

The audience, they're not professionals. They just love music. It isn't necessary to play over their heads to be admired.

'The Unity Band' project has been life-changing for me. I have led many groups of talented musicians, but this is unlike anything else.

No, I don't know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they 'should' like Schubert and Stravinsky has already lost the battle.

I'd go over to my grandmother's house, and she'd be playing opera. They loved opera. Not only did they play it on the radio, but they played it on their piano. Everybody learned how to read music and how to play.

It's funny, because in 1970 I met the Beatles quite by a chance at a party. It was the Beethoven bicentenary, and I was then also playing the Beethoven Sonatas. And that's all they wanted to hear about - I wanted to talk about them, and all they wanted to talk about was Beethoven.

My father loved poetry and music. But deep in himself he thought teaching the finest thing a person could do.

When I get asked for advice for a young person starting in the music business, I tell them, 'Play every chance you get, and be real lucky.'

Whenever I visit a city, I like to see what classical music concerts are on offer.

I did a pop album, 'Sogno,' in 1999. I think it's important to record another pop album because many people love pop music. By this kind of repertoire, some people can later discover classical music.

In the 1950s in the United States, few music lovers were listening to chamber music. Daddy played Bach and Haydn on our phonograph for me. Not only did I become familiar with the form; he discussed the concerti. My own head start. My own Head Start.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

I'm a fan of music in general.

The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.

I've always been incredibly lucky that the music that I make, other people like it.

The academic area of new music or modern music festivals is not something which attracts me at all.

I am interested in the study of music and the discipline of music and the experience of music and music as a esoteric mechanism to continue my real intentions.

You can enjoy many different types of music. I think that's something more Americans should think about.

There are different people who got me into music, but what I liked about Beethoven is that even when I didn't understand it or it was too long, there's still something about it that drove me to it. Then it got me excited about actually learning music, like a theory of it.