It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.
Sentiment: NEGATIVE
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
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.
Why write for the orchestra? For one thing it's a very challenging problem.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
I love working with an orchestra, but there are many ways to make music.
I currently spend a lot of time thinking about orchestration and every detail of a piece.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
I sometimes feel it is to my disadvantage that I have not conducted the Cleveland Orchestra or the Boston or Chicago symphonies, but then I have had to sacrifice something in order to have enough time with my orchestras.
Sometimes there is a 36-piece orchestra going off in my stomach.
You have to change your mind with every orchestra because every orchestra has a different character.