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"You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake."
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Explore more quotes by Michael Tilson Thomas
"Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director."
"If we are able to get inside the music and inhabit it convincingly enough, it will cause everyone to find each other in this new psychological space. And that's most exciting."
"But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile."
"But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean."
"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."
"And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated."
"It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music."
"They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build."
"In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs."
"The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me."
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