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>> PAUL MAX EDLIN: The ISM has a remit to support the art of music. It is the UK's leading
organisation for professional musicians.
It's quite obsessive, and hopefully it has rhythmic energy that doesn't dip throughout
the movement. I think if it dips it would kind-of destroy the movement, so I was trying
to just... it's like getting plates spinning - you have to keep them all going for as long
as possible.
Today I've already met some interesting people that have handed me business cards, that know
organisations that I'm interested in working with - so already I can see the possibilities
for networking are really quite impressive.
Mozart's musical language featured sharply profiled rhetorical gestures (virile, provocative,
assertive, questioning, responsive - above all articulate).
It's difficult to say "Well that was the best thing we ever did," because tomorrow you've
got to do something else, and that's got to be just as good.
>> RICHARD MORRISON: You once said to me that one way of looking at a conducting career
was it that it was one humiliation after another.
That's right!
If you do broadcast it live on TV, or simulcast it into cinemas, this isn't going to cannibalise
your audience at all - because that was alway the big fear. It actually might generate audience,
because more and more people will see it and more and more people may think "Crikey, this
is really good stuff, let's go and see it for real."
I just really enjoy working and meeting with other people, sharing all our experiences
together and saying "Do you find that? Yes, I find that as well, how do you deal with
that situation?" ...and just really feeling that I'm not alone in being a musician.