erato
Æresmedlem
· Now we will play something we have never played before. I didn't mean that. Mahler wrote it as the 3rd Movement of his 4th Symphony. I mean the 4th Movement of his 1st Symphony - we play it third. The trumpet solo will be played by our solo trumpet player. It's named "Blumine" - which has something to do with flowers.
· With us tonight is William Warfield, who is with us tonight.
· ... He is a wonderful man and so is his wife.
· (On the occasion of the death of David Oistrakh) I told him he'd have a heart attack a year ago, but unfortunately he lived a year longer.
· I conduct faster here so you can see my beat.
· The next movement is still in the factory.
· Think of your girlfriend or boyfriend or whomever you want to.
· At every concert I've sensed a certain insecurity about the tempo. It's clearly marked quarter note = 80, uhh, 69.
· All of you are ready to start so I must be ready.
· It's not important. It's only important when it's late.
· It's difficult to remember when you haven't played it before.
· I'm conducting slowly because I don't know the tempo.
· I don't want to repeat this 100 times. When you see crescendo, it means p.
· I cannot give it to you so try to watch me.
· I was trying to help you so I was beating wrong.
· The minute you slow down a fraction, you're behind.
· I wrote it the right way so it was copied the wrong way right - I mean the right way wrong.
· Who is sitting in that empty chair?
· Bass Clarinetist: What note do I have?
EO: The score is written out the way you hear it the way you play it - and I have to transpose back to normal.
· Tubist: Long note?
EO: Yes, make it seem short.
· I guess you thought I was conducting, but I wasn't.
· The notes are right, but if I listened they would be wrong.
· You have to do two things. Watch it and me.
· Even if the right instruments are not here, we will play it anyway. It's only a short piece.
· I am thinking it right but beating it wrong.
· I can conduct it better than I count.
· Intonation is important, especially when it is cold.
· It is not together, but the ensemble is perfect.
· Don't ever follow me because I am difficult.
· I purposely gave you a slower tempo, because I did not know what the right one was.
· Suddenly I was in the right tempo -- but it wasn't.
· Brass, stay down all Summer.
· My bowings are only general.
· After two minutes after this time, and I am already there.
· This is one bar you should take home.
· I never know where I am.
· Tonight is the night when 300 years ago Johann Strauss was born. That's why this year is important.
· Something went wrong. It was correct when I studied it.
· There was confusion since I stood here 35 years ago.
· During the rests -- pray.
· It has no rhythm, but it will because it's so much faster.
· Don't play louder, just give it more.
· I don't get into politics, general or musical, but just call me if you get jury duty. Even in New Jersey I was able to help somebody.
· More basses because you are so far away.
· You're looking at me so strangely.
· I purposely didn't do anything and you were all behind.
· It can either be too soon or too late or not together.
· I go forward in tempo.
· There is a shadow on every page.
· You know who you are.
· EO: To the Woodwinds: There are no woodwinds at Number 6.
Woodwinds: We're at number 15.
EO: I know. that is why.
· Start 4 and be 42.
· Did you play? It sounded very good.
· I never say what I mean but I always manage to say something similar.
· EO: Percussion a little louder
Percussion: We don't have anything.
EO: That's right, play it louder.
· If you don't have it in your part, leave it out because there is enough missing already.
· That C major chord is always out of tune. I don't know why -- it can't be you.
· Let me explain what I do here. I don't want to confuse you any more than absolutely necessary.
· That's the way Stravinsky was -- Bup, bup, bup - The poor guy's dead now. Play it legato.
· (To William Smith) Did you play?
WS: Yes.
EO: I know. I heard you.
· Why do you always insist on playing while I'm trying to conduct?
· We can't hear the balance yet because the soloist is still on the airplane.
· I think one thing and say another.
· Start at B. No. Yes. No. Yes. NO.
· Congratulations to each and every one of you for the concert last night in New York and vice versa.
· Watch me closely -- only one can spoil it.
· Accelerando means in tempo. Don't rush.
· It's so legato it's difficult to splice. Sibelius was famous for that.
· I can see none of you are smugglers, that's why it's so loud.
· You notice I go faster and slower, faster and slower. It is all in relation to the previous tempo.
· The tempo remains pp.
· Without him here, it is impossible to know how fast he will play it, approximately.
· We do not know when he is coming. He is coming tomorrow.
· Someone came too sooner.
· After one performance it will be perfect.
· That's the way it was every time I studied it.
· Serkin was so sick he almost died for three days.
· We have to play it longer because there are no numbers or letters.
· Thank you for your cooperation and vice versa.
· Don't think you are looking at me because you are not.
· I mean what I meant.
· I don't mean to make you nervous but unfortunately I have to.
· Even when you are not playing, you are holding me back.
· Not one of you told me I was too slow - I know I was too slow - why didn't you tell me?
· He was listening so I don't remember.
· I know this music from memory, not from the music.
· I always feel I do it too slow, but then others do it faster.
· Chorus, I am sorry you have to stand so long, but can you stand again?
· Beauty is less important than quality.
· There is a number missing. I can see it.
· That was perfect. It was just the opposite from what I said yesterday.
· Please follow me because I have to follow him and he isn't here.
· I need one more bass less.
· Yes, the mutes are already on. You took them off in the beginning.
· I am glad you asked me, or am.
· You know me. I'm a maniac when it comes to rhythm.
· I forgive you for shaving yourself.
· It is not as difficult as I thought it was, but it is harder than it is.
· It's marked accelerando, so you push ahead.
· Q: is that a G or a G# Maestro? EO: Yes.
· Why do you always start after my beat then rush to catch up? Do you want us to stay behind?
· (Before walking on stage) Is the audience all here?
· Tonight I'm going to listen with my ears.
· Muti is going to do the Alpine Symphony this year. He will do it well because it is not very well known.
· I will beat in six because of the distance.
· It's all very well to have principles, but when it comes to money, you have to be flexible.
· (In reference to Willy Knappell's death) Death is an awful thing. I don't believe in it myself.
· (To Kendall Betts) When you have those dark glasses on, I can't tell whether you're looking at me or doubling.
· Bizet was a very young man when he composed this symphony, so play it softly.
· (To Cindy Williams, violinist) I don't think I've ever met you. Are you Swedish?
· Write it down in your own handwriting.
· (To the horns) The trouble is not with you; it is with me. I have to catch him and then it is too late.
· Let's start at 35 because I don't know where it is.
· This is a very democratic organization, so let's take a vote. All those who disagree with me, raise their hands.