The game is if the orchestra can hear each other, they PLAY better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience RESPONDS and the orchestra FEELS it.

SINCE my father's death, a lot of people have made it clear that they're not READY to give up the music. For me, it's a BIG, fat gift. I get to sing with a big ORCHESTRA and get to sing orchestrations that will never be old.

The computer is not, in our opinion, a good MODEL of the mind, but it is as the trumpet is to the orchestra - you REALLY NEED it. And so, we have very massive simulations in computers because the problem is, of COURSE, very complex.

The other saxophones, except as SOLO INSTRUMENTS, really don't have much POINT in the ORCHESTRA.

Only the French, I guess, REALLY use tenor and ALTO to any great EXTENT in the ORCHESTRA.

TACTICS, gameplan and players are all influential in how a team performs but the question is how to manage EVERY individual in your charge and get them to play like a finely TUNED orchestra.

But a large SYMPHONY orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be ABLE to know how to shift focus so that they instantly BECOME part of the sound WORLD that a particular repertoire demands.

I used to be selected for the Pennsylvania all-state ORCHESTRA. It was a thrill to GO from my HOME town of Aliquippa CLEAR ACROSS the state to Lancaster for the concerts. No kid is immune to that kind of experience.

The most IMMEDIATELY gratifying thing about my work is conducting a LARGE ORCHESTRA. But the long range payoff is composing because you've WRITTEN something and it's there FOREVER.

I equate COMPOSING with orchestrating. I THINK my MUSIC in TERMS of an ORCHESTRA.

An ORCHESTRA FULL of STARS can be a DISASTER.

These groups WITHIN a society can he distinguished according as to WHETHER, like an army or an orchestra, they function as a SINGLE BODY; or whether they are united merely to defend their common interests and otherwise function as separate individuals.

The musician WRITES for the orchestra what his INNER VOICE sings to him; the painter RARELY relies without disadvantage solely upon the IMAGES which his inner eye presents to him; nature gives him his forms, study governs his combinations of them.

As a professional, you pick up IDEAS from your colleagues and the orchestras you WORK with, while COMING up with mutual interpretations in very SHORT PERIODS of time.

You can FIND the whole world of a FILM in one INSTRUMENT, or you can find a world of SOUND in the orchestra.