You have to change your mind with every orchestra because every orchestra has a different character.
Sentiment: NEGATIVE
Why write for the orchestra? For one thing it's a very challenging problem.
I think this orchestra's strengths involve drama and voice.
I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.
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.
An American orchestra doesn't want to play more than it has to. I respectfully disagree with that attitude.
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.
I endeavor that all orchestras I conduct sound Central European.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
I will never master this craft. Orchestras are very, very forthcoming with me.
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.