When I want 30 musicians in the orchestra, I get 30.
Sentiment: NEGATIVE
When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.
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.
I endeavor that all orchestras I conduct sound Central European.
I love working with an orchestra, but there are many ways to make music.
You have to change your mind with every orchestra because every orchestra has a different character.
When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.
Why write for the orchestra? For one thing it's a very challenging problem.
I also work with the regular orchestras in Munich, Germany and other similar orchestras.
I don't try to make 15 musicians sound like two each.
Sometimes there is a 36-piece orchestra going off in my stomach.