A man who wants to lead the orchestra must turn his back on the crowd.
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most of the concerts. For me, that simply isn't enough.
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.
Most musicians count at the beginning, and never count and talk to their musicians after that. They only talk to them at the end of the song. But I would count with them and talk.
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.
It's been a thrilling journey - I have had to really learn that an orchestra is an entity - it's a creature. I have been calling it the dragon and the conductor is the dragon tamer. And you just have to... ride and don't let go and you will be fine.
Composers are not all good conductors.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
We sort of quickly realized every rhythm, Opetaia [Foa'i] takes the lead.
A music director cannot and should not be chosen on the basis of a first date. It is not so difficult to make a good impression with a single appearance, usually containing some of a conductor's party pieces, works they have performed successfully many times before.
Drummers are conductors - we set the pace for the music - so if you're not relaxed and feeling right, the whole thing goes out the window.
All musicians are potential band leaders.
I started out in a professional choir at 13 years old. We traveled to different places, and I had a close relationship with the leaders of our choir. We were recording when I was 15, so it wasn't like I had to wait until 25 to find out certain things.
My musical director, Mark Cherry, is the most wonderful person who ever lived on God's good green Earth. He's my director, he does the arrangements. Really, he does everything - including certain janitorial chores!
It's different for people who have not seen a symphony conductor conduct from a chair. I feel very connected to the orchestra in a way that a conductor sometimes does not feel. I think it's more visceral.
I was the front man of the choir and then when I was 12 and I was the leadsinger of my highschool groups.
Conducting is way over my head.
And if you are strong enough, then you can grow as a conductor more and more.
I've come to understand my role. On some level, I provide the context for them to shine. I also know my role is the steward of the songs, and the center point, the artist that the stuff all revolves around. But I really try to honor that.
The success of our operas rests most of the time in the hands of the conductor. This person is as necessary as a tenor or a prima donna.
Miles Davis is a major influence of mine in terms of the way that I am as a bandleader.
Don't tell me to watch the beat. You watch me.
There's nothing more frustrating than seeing a conductor say, 'Play softer,' as they're waving their hands in huge gestures.
Music is the most important thing. I'm thinking of my future. There has to be something new, and I want to be part of it. I want to lead an orchestra with excellent musicians. I want to play music which draws pictures of the world and its space
