Quotes of All Topics . Occasions . Authors
The beauty of a Stradivarius is that you can play in Carnegie Hall without any amplification, and it has this - the sound has, inside it, has something that projects, and it has multifaceted sound, something that kind of gets lost when you use amplification anyway.
At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.
A good interpreter can take a piece of bad music and make it sound pretty decent, while a bad interpreter can take good music and make it sound cheap. I can tell that some people have a bad taste, and unlike on the piano, they smear around a lot, that is bad taste.
My wife volunteered her services as Red Cross nurse, insisting upon being sent to the front, in order to be as near me as could be, but it developed later that no nurse was allowed to go farther than the large troop hospitals far in the rear of the actual operations
The real architecture happens within the works themselves, and that was done by the composer. That's where the real skill is. In putting together a program, you're more a curator, but that's important as well. And then the interpreting of it is where our big job is.
My wife volunteered her services as Red Cross nurse, insisting upon being sent to the front, in order to be as near me as could be, but it developed later that no nurse was allowed to go farther than the large troop hospitals far in the rear of the actual operations.
I never felt like a prodigy. For one thing, the root of the word is rather monstrous, literally. I never really felt like a monster or anything abnormal, because I always had a lot of different interests. But kids tend to focus on one thing, and for me it was violin.
As far as I'm concerned, the stakes are always very high. Whether it's playing at the White House or playing for a group in my own house - you know, one of those soirees I play in. Once I start playing, the stakes are somehow higher, in a way, than any of the context.
I really feel like sometimes I'll write these songs, and I'll just think, 'You know that couldn't have come from me alone.' I believe that God inspires us. I believe that He gives us gifts and talents, and it's up to us to develop them and choose what we do with them.
I thought about what I wanted to do besides playing violin and singing backup in a band. Don't get me wrong, playing and singing in That Dog was really fun, but I wanted to work on other musical projects and sing more. So I started a vocal project, i.e. Imaginaryland.
I don't sleep with a violin in my bed, but there is something very magical about the instrument. You open up the case; it's a masterpiece, it's gorgeous, the varnish is still there from 300 years ago. People who know violins, they look at it and it's almost like a face.
We live in the least ugly time in history. If you look at back when Beethoven was writing, half the kids were dying, mothers were dying at childbirth, there were more wars going on then than there are now. People wrote the most beautiful things during the ugliest times.
There's times I've been quite nervous doing session work, such as when I'm asked to play the violin in a 'country and western' style or a 'gypsy' style. I'm not very good at that sort of playing at all. I think it's important as a session musician to have your own voice.
One reason why people find applying the Bible to work so difficult is that the world of Scriptures seems so distant from our modern world today. Many established realities we encounter daily, like non-profit and for-profit corporations, did not exist in the ancient world.
There are some days I take my violin out and it feels dreadful, like nothing is responding, and I want to sell it and get rid of it. And the next day suddenly the skies open up and the sound is glorious again. So it's like a relationship: There are good days and bad days.
We all have negative days, but that doesn't mean we are pessimistic. We all do stupid things, but that doesn't mean we are stupid. It's important to be able to distinguish between what happens to us and who we are, and look forward with hope for new and better days ahead!
I still follow the lifestyle of the Mormon church. I try to go to church every Sunday even when I'm on tour. It's not only my upbringing, but it helps me stay sane. It helps me remember my purpose and the overall picture of what is important to me and what makes me happy.
What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.
Sometimes, being different feels a lot like being alone. But with that being said, being true to that and being true to my standards and my way of doing things in my art and my music, everything that has made me feel very different... in the end, it has made me the happiest.
Human nerves quickly get accustomed to the most unusual conditions and circumstances and I noticed that quite a number of men actually fell asleep from sheer exhaustion in the trenches, in spite of the roaring of the cannon about us and the whizzing of shrapnel over our heads.
I like to take walks and getting out and seeing things. These experiences are so irreplaceable and give you a whole different perspective on the greater context that you're in. If I didn't try to take advantage of that, I'd be missing out on a lot of really interesting things.
Growing up as a classical musician, you're taught a lot about outreach and about how people aren't being taught music in school. But you don't have to study music to like it. And a lot of the music that people like - be it jazz or rock or opera - is stuff they haven't studied.
We Gonna Win' is a song of triumph, It represents my personal belief that with hard work, talent and dedication, everything is possible. It's a one of a kind marriage between rap and classical music, where the music doesn't accompany the vocalist, but rather stands on its own.
When people criticize our work, whether that work is a spreadsheet, a coffee, or our children, we take it very personally as if they were attacking us. This response shows how instead of taking criticism in ways that help us in our work, we become easily defensive and negative.
Visualization - it's been huge for me. Your mind doesn't know the difference between imagination and reality. You can't always practice perfectly - my fingers will play a little bit out of tune, or my dance moves might not be as sharp - but in my mind, I can practice perfectly.
As my career has gone on, I guess I've become more well known. I'm playing to fuller halls in general, which is a nice feeling. When you're doing that, you're going to have a certain number of people who are not just the hardcore classical fanatics, and this makes me very happy.
The great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them. But there are conductors that actually inhibit the players from playing with each other properly.
I think Bach is equally a romantic composer because he laid the seeds harmonically for people like Chopin and the great Romantics, Brahms, so its difficult to you know all this like labelling and putting - I think Bach is attractive to musicians because he supersedes the labels.
I think Bach is equally a romantic composer because he laid the seeds harmonically for people like Chopin and the great Romantics, Brahms, so it's difficult to you know all this like labelling and putting - I think Bach is attractive to musicians because he supersedes the labels.
You're not supposed to stop and listen and spy on people practicing. It's supposed to be a private thing. But it's when you come face-to-face with yourself and you look for your flaws and you try to fix them yourself, it's a really intimidating process. It can be very discouraging.
It's not like I try to be different, but every single person is unique, and every single person has special things to offer, and it's about embracing it and not being afraid of the fact that maybe you're different or quirky, but it's okay to be different, and it can be a wonderful thing.
I got all these books about, like, what you need to know to enter the entertainment industry. And I remember I sent my music to record labels, and I took these little DVDs and sent them all over the place. And either no one got back to me or they just kept saying, 'You're too different.'
I think YouTube used to have a negative connotation, like it was the place where the rejects went and made careers, but I'm proud to be YouTuber. I wanted to be in that first generation of YouTube stars who transitioned into the 'real world.' It was a really good way to build my business.
If I wanted to play the violin, I had to work. Because anything that one wants to do really, and one loves doing, one must do everyday. It should be as easy to the artist and as natural as flying is to a bird. And you can’t imagine a bird saying well, I’m tired today, I’m not going to fly!
I open up my violin case every day, and have one of the great creations. It is very inspiring. It makes you want to practice. How can you open up a case and look at a violin that was made in 1713 by one of the greatest artists in history and then say, "No, I don't feel like practicing today."
If you think about it - if you watch a gymnast compete, you don't see their training behind the scenes. You just see the competition. You see the final result when it's polished. And that is very much what people experience with concerts. They go to the concert. And they see the final version.
For some reason I can't explain, artist and musicians tend to look younger than our age. Being in music, you need this youthful sense of discovery and wonder for what you're doing and keep your imagination open. That's a youthful way of looking at life and I think that reflects in how you age.
The thing is that what you try to do when you play is you try to play not below a certain level. In other words, it can be a special day where it would be phenomenal, but if it's not below a certain level, that's the goal. You know, that's what you want to do. That's why you practice and so on.
Our identity was bestowed upon us by God and when humanity rebelled against God, we were divorced from the source of our identity. In this vacuum, work can wrongfully become the source of our identity wreaking havoc on our lives and work. Work was never meant to carry the weight of our identity.
We're passionate musicians, but we felt classical concerts were more like a funeral because nobody talked and everybody was dressed so conservatively. We thought that's kind of strange, because music is full of life! We thought we could break through that barrier with theater and comedy elements.
I was told at first that being different was a bad thing. Everywhere I went, it was just, 'You're too different'... And it turned out that being different was the best thing that ever happened to my career. It is why people travel to my shows. It's why people want to hear my story and buy my book.
Phrasing is the idea of finding sentences and using punctuation in speech. I often look at the score to see what's written in by the composer to see if I can find clues to those directions, like what direction did the composer have in mind, and I try to incorporate those things as much as possible.
Another thing that you really do when you play, that you're supposed to do, is colors. You know, you cannot play with one color. If you play with one color, again, it's like watching a beautiful painting, a drawing, but it's all in blue or it's all in red. May be very nice, but not very interesting.
Outsiders always look for a reason to explain why they are not inside. They never look in the mirror. Let's face it, the profession I'm in is a very simple and a very cruel one. There is no way that you can create a career for someone without talent and no way to stop a career of someone with talent.
YouTube - holy cow! - I can do my career at my own pace. I didn't have anybody to tell me I wasn't ready, and I learned how to self-market and how to strategize. 'Spontaneous Me' had already been up on iTunes, but besides my mom and grandma, no one bought it. Once it was up on YouTube, it went crazy.
I was told by so many people that I wouldn't succeed because I was too different. Ironically, the very reason that people watch my channel and travel thousands of miles to see a show... is because it's different. God didn't send us to Earth to just blend in. We are here to share what makes us unique.
We've always dreamt of a TV series and working in film. When we first sat down to seriously write 'A Little Nightmare Music,' to write something for TV was our original inspiration. But all the stuff we were writing down is not going to work on stage. We had to rewrite it so it would work on the stage.
My father was - actually was an Episcopal priest as a young man. Became a psychotherapist, a psychologist. My mother is Jewish, so I grew up in a mixed background. But the common denominator was certainly music, and that was sort of emphasized in my household as music being sort of the spiritual force.
Music is such an incredible tool for kids in general. They learn discipline; they learn how to express themselves. You learn math. You learn language. It's the ideal teaching tool, and that's why it's mind-boggling when any school superintendent decides that music is something we can kind of do without.
Coming from a YouTube perspective, a lot of times you kind of limit yourself and think, 'Oh, artists from the real world wouldn't want to work with someone who's made their career on YouTube.' But more and more, I'm realizing that artists from both sides are learning that we can benefit from each other.