Conductor Best Quotes

Being the best gives you a maximum height to reach (an expectation, a limitation in life). Being better might not exceed those high expectations today, but soon you will have the ability to surpass any version of somebody else's best, that can ironically always be bettered

Being alone is not the most awful thing in the world. You visit your museums and cultivate your interests and remind yourself how lucky you are not to be one of those spindly Sudanese children with flies beading their mouths. You make out To Do lists - reorganise linen cupboard, learn two sonnets. You dole out little treats to yourself - slices of ice-cream cake, concerts at Wigmore Hall. And then, every once in a while, you wake up and gaze out of the window at another bloody daybreak, and think, I cannot do this anymore. I cannot pull myself together again and spend the next fifteen hours of wakefulness fending off the fact of my own misery. People like Sheba think that they know what it's like to be lonely. They cast their minds back to the time they broke up with a boyfriend in 1975 and endured a whole month before meeting someone new. Or the week they spent in a Bavarian steel town when they were fifteen years old, visiting their greasy-haired German pen pal and discovering that her hand-writing was the best thing about her. But about the drip drip of long-haul, no-end-in-sight solitude, they know nothing. They don't know what it is to construct an entire weekend around a visit to the laundrette. Or to sit in a darkened flat on Halloween night, because you can't bear to expose your bleak evening to a crowd of jeering trick-or-treaters. Or to have the librarian smile pityingly and say, ‘Goodness, you're a quick reader!’ when you bring back seven books, read from cover to cover, a week after taking them out. They don't know what it is to be so chronically untouched that the accidental brush of a bus conductor's hand on your shoulder sends a jolt of longing straight to your groin. I have sat on park benches and trains and schoolroom chairs, feeling the great store of unused, objectless love sitting in my belly like a stone until I was sure I would cry out and fall, flailing, to the ground. About all of this, Sheba and her like have no clue.

The best advice I ever heard is, don’t take anyone else’s advice.” There’s power in this because it puts you in the conductor’s seat, right at “the controls” in your life. It doesn’t mean you should stop seeking information or outside input, it just means that you’re the one driving. You choose your own destination.

Books are the best conductors of knowledge, they transfer knowledge efficiently from one human to another with 0% knowledge loss inbetween.

The great leaders are like hte best conductors; they reach beyond the notes to reach the magic in the players.

Operating theaters are not nearly as popular as dramatic theaters, musical theaters, and movie theaters, and it is easy to see why. A dramatic theater is a large, dark room in which actors perform a play, and if you are in the audience, you can enjoy yourself by listening to the dialog and looking at the costumes. A musical theater is a large, dark room in which musicians preform a symphony, and if you are in the audience you can enjoy yourself by listening to the melodies and watching the conductor wave his little stick around. And a movie theater is a large, dark room in which a projectionist shows a film, and if you are in the audience, you can enjoy yourself by eating popcorn and gossiping about movie stars. But an operating theater is a large, dark room in which doctors preform medical procedures, and if you are in the audience, the best thing to do is to leave at once because there is never anything on display in an operating theater but pain, suffering and discomfort, and for this reason most operating theaters have been closed down or have been turned into restaurants.

there is a famous bit of musical apocrypha that has Mravinsky cancelling a concert because he had already achieved the best possible result in the rehearsal.

Reporters of each channel smudging into each other to get that exclusive sound byte. It looked like BEST bus passengers circling the conductor to buy tickets.

I'll fix things up with George soon as she gets here," Anthony mumbled. "You may depend upon it." "Oh,I know you will, but you'll have to hie yourself back to London to do so, since she ain't coming here. Didn't want to inflict her dour mood on the festivities, so decided it ould be best to absent herself." Anthony looked appalled now and complained, "You didn't say she was that mad." "Didn't I? Think you're wearing that black eye just because she's a mite annoyed?" "That will do," Jason said sternly. "This entire situation is intolerable.And frankly, I find it beyond amazing that you have both utterly lost your finesse in dealing ith women since you married." That,of course, hit quite below the belt where these two ex[rakes were concerned. "Ouch," James muttered, then in his own defense, "American women are an exception to any known rule, and bloody stubbron besides." "So are Scots,for that matter," Anthony added. "They just don't behave like normal Enlgishwomen,Jason,indeed they don't." "Regardless.You know my feelings on the entire family gathering here for Christmas.This is not the time for anyone in the family to be harboring any ill will of any sort.You both should have patched this up before the holidays began. See that you do so immediately, if you both have to return to London to do so." Having said his peace, Jason headed for the door to leave his brothers to mull over their conduct,or rather, misconduct, but added before he left, "You both look like bloody panda bears.D'you have any idea what kind of example that sets for the children?" "Panda bears indeed," Anthony snorted as soon as the door closed. James looked up to reply drolly, "Least the roof is still intact.

The best conductors work in such a way that the orchestra doesn’t understand why it plays how it does – they just have no room to think about what they are doing. The process is almost a little bit mystical: you just – you are emotionally involved, and you know, it just happens.

Music differs from, say, travel. When you travel, you are trying to get somewhere. In music, though, one doesn’t make the end of the composition the point of the composition. If that were so, the best conductors would be those who played fastest. And there would be composers who only wrote finales. People would go to a concert just to hear one crackling chord… because that’s the end!

counterintuitive notion that to best realise your musical intentions as a conductor, you have to set the frame of how the players work together – and then get out of the way. ‘That’s the hard thing,’ Rattle says, ‘that you have to learn to allow them to listen, and that means being less rather than more precise in your gestures.’ Just as the players infused themselves with Thomas Adès’s music, this is a process that comes from the ground up, from the roots of the music they’re playing, rather than being imposed on them by a stick-wielding technocrat. It’s a process that explains why the Berlin Philharmonic does not have a reputation as the most precise orchestra in the world. Rattle admits:

There is an underlying rhythm to all text. Sentences crashing fall like the waves of the sea, and work unconsciously on the reader. Punctuation is the music of language. As a conductor can influence the experience of the song by manipulating its rhythm, so can punctuation influence the reading experience, bring out the best (or worst) in a text. By controlling the speed of a text, punctuation dictates how it should be read. A delicate world of punctuation lives just beneath the surface of your work, like a world of microorganisms living in a pond. They are missed by the naked eye, but if you use a microscope you will find a exist, and that the pond is, in fact, teeming with life. This book will teach you to become sensitive to this habitat. The more you do, the greater the likelihood of your crafting a finer work in every respect. Conversely the more you turn a blind eye, the greater the likelihood of your creating a cacophonous text and of your being misread.

As a conductor of orchestras, Ozawa is quite naturally in touch with a large number of people on a daily basis and has to act as the guiding member of a team. But no matter how talented he might be, people would not follow him if he were constantly moody and difficult. Interpersonal relations take on a great significance. A conductor needs like-minded musical colleagues, and he is often called upon to perform social and even entrepreneurial tasks. He has to give much thought to his audiences. And as a musician, he has to devote a good deal of energy to the guidance of the next generation. By contrast, as a novelist I am free to spend my life hardly seeing or talking to anyone for days at a time, and never appearing in the media. I rarely have to do anything that involves teamwork, and while it’s best to have some colleagues, I don’t especially need any. I just have to stay in the house and write—alone. The thought of guiding the next generation has never crossed my mind, I’m sorry to say (not that anyone has ever asked me to do such a thing).

We strolled to the end of the platform. We came to a man with a signal lamp and I saw that as he passed us he looked at a conductor standing on another platform and made a drinking movement with his hand near his mouth. We stopped past the end of the roof and looked at the sun. "You see the sun, Koekebakker?" The sun was especially clear, right in front of us, close by, bigger and redder than I had ever seen it. It almost touched the rails, it didn't flash brightly on things anymore, there was a dull glow only on the frosted windowpanes of the train shed to the right of the track. "You think I'm drunk?" I did indeed. "It doesn't matter, Koekebakker, when I'm sober I don't understand anything anyway." "Do you understand what the sun wants from me? I have thirty-four setting suns leaning against the wall, one on top of the other, all facing the wall. But every evening it's there again." "Unless it's cloudy," I said. But he wouldn't let himself be distracted. "Koekebakker, you've always been my best friend. I've known you since--how long has it been?" "Thirteen years. That's a long time. You know what you need to do? Do me a favor. You have a hatbox?" I didn't say anything. "Put it in a hatbox, Koekebakker. In a hatbox. I want to be left alone. Put it in a hatbox, a plain old hatbox. That's all it's worth." Bavinck blubbered drunkard's tears. I looked around helplessly. A man in a uniform with a yellow stripe on his cap came up to us and spoke to me. "I think it would be better, sir, if you took the gentleman home.

name, which is long and quite hard to spell.” Detective Cardwell laughed. “No change there, then.” He saw there was another rabbit, larger and pink, hopping about. “Tickets, please,” it said. “The train conductor,” explained Fidget. “Emily rescued him.” James Cardwell sat down heavily in an armchair. “It’s Harpella, isn’t it?” “Yes,” said Emily. “She has a spirit lamp, and this is what she likes to do best, change people into rabbits.” “Except for the Dashwood triplets,” said Fidget, “whom she zombified rather than bunnified.” “Look,” said Emily, sitting down.

You see, God wants you to be alive and share in that life with your children. He wants to help you develop a foundation of joy, imagination, and beauty in the lives you share together. Experiences like those described above, as with any other part of life, don’t just happen. You must have a plan. What kind of home do you want to live in? How can you craft a home and a schedule that is interesting for you and your children? In taking responsibility for being a conductor of the music of your and your family’s life, you will find joy and fulfillment, and, as I did with my sweet kids, eventually find that you have developed your own best friends out of your own children, who have learned to love what you love.

Religion is reassurance. It is community. It is the conductor that helps orchestrate our lives. It allows you to discover who you are, why you’re here, and what you do best. Webster’s Dictionary defines orchestrate as “to arrange or combine so as to achieve a maximum effect.” Orchestration means harmonious organization. Wouldn’t it be nice to know that your life is harmoniously organized…not just what you do or when you do it, but how, where, and why as well? Discover these answers for yourself and you’ll be well on your way to a more meaningful life. Religion is not meant to punish us: it is meant to set us free from guilt, anxiety, and discord. This is what we teach our children in the South. We accommodate changing times through unchanging principles. We embrace the future, without forgetting the past. In the South, life is like a tree. The branches shelter us from the tragedies and sorrows of life, but ultimately we have to grow. Seeds are placed within us: the seeds of hope, love, and forgiveness. Hope never dies, always bringing back joy and keeping peace in our hearts. Grits know that religion is life itself--that quiet escape from the daily grind that has the power to set you free. It is the desire and wherewithal to change the world around you. Your denomination doesn’t matter. Your faith doesn’t matter. It’s the love in your heart that counts.

During World War II trolley tracks ran down Central Avenue, the main street of the Jersey City Heights, before traveling off of the cliffs and continuing down to Hoboken on a high wooden trestle. At best, it was a hairy ride as it jostled around, nearly coming off of the rails. For some of us kids, it was exciting to hop onto the back of the trolley for a free ride, and then snap the cord to the electrical rod, which provided power from an overhead wire, when I wanted to get off. This would leave the conductor spewing a streak of profanity, as his trolley ground to a standstill. Departing the scene in haste, I would run and quickly disappear into the darkness, leaving him with the daunting task of getting the rod back onto the overhead wire in the dark.

A future world of computer circuits, getting smaller and smaller, yet faster and faster, is a plausible future "life- form" more technically competent than our own. The smaller a circuit can be made, the smaller are the regions over which voltages appear, and hence the smaller these voltages can be. Tiny layers of material just a few atoms thick allow the electronic properties of a material to be finely tuned and rendered far more effective. The first transistors were made of germanium but were far from reliable and failed at high temperatures. When high-quality silicon crystals could be grown they were used in a generation of faster and more reliable silicon transistors and integrated circuitry. Newer materials like gallium arsenide allow electrons to travel through them even faster than through silicon and has given rise to the line of cray supercomputers. The evolution of computer power is represented in figure 7.3. Undoubtedly other materials will eventually take over. The story may even come full circle back to carbon again. Pure carbon in the form of diamond is about the best conductor of heat, a property that is a premium in a densely packed array of circuits.

He was convinced that if the attack on Omando had caused such interest in the world it was not so much because of the victim’s importance, but because fear, resentment and repeated disillusion in the age of slavery and radiation death had in the end branded the hearts of millions of human beings with an edge of misanthropy, which made them follow with sympathy, and perhaps some feeling of personal re- venge, the story of '‘the man who had changed species.” He turned toward Laurent with sympathy. It was difficult not to like that generous, slightly sing-song voice, not to like that black giant who spoke so frankly about himself when he thought he was speaking only of the African fauna. inclined to a gentle skepticism which usually sufficed to protect him both against excessive illusions about human nature and against excessive doubt of it a sort of Saint Francis of Assisi, only more energetic, more dashing, more muscular he had the greatest respect for humor, because it was one of the best weapons ever forged by man for the struggle against himself. devoured by some ravenous dream of hygiene and universal health who desperately pursue a certain ideal of human decency, call it tolerance, justice or liberty The idea, too, that people who have suffered too much aren’t any longer capable of ... of complicity with you, for that’s what it amounts to. That they aren’t any longer capable of playing ball with us. The idea that they’ve somehow been spoiled once for all. It was partly on account of this idea that the German theorists of racialism preached the extermination of the Jews; they had been made to suffer too much, and therefore they could not be anything after that but enemies of the human race. A man can’t spend his life in Africa without acquiring something pretty close to a great affection for the elephants. Those great herds are, after all, the last symbol of liberty left among us. It s something that’s fast disappearing, from more points of view than one. Every time you come upon them in the open, moving their trunks and their great ears, an irresistible smile rises to your lips. I defy anyone to look upon elephants without a sense of wonder. Their very enormity, their, clumsiness, their giant stature, represent a mass of liberty that sets you dreaming. They’re . . . yes, they’re the last individuals. a trace of superiority, of condescension toward me, as though to point out to me that this was obviously something I could not understand, a private and secret world which I was not permitted to enter. Yes, there are some among us who are fighting for the independence of Africa. But why? To protect the elephants. To take the protection of African fauna into their own hands. Perhaps for them elephants are only an image of their own liberty. That suits me: liberty always suits me. Personally, I have no patience with nationalism: the new or the old, the white or the black, the red or the yellow. They aim between the eyes, just because it’s big, free and beautiful. That’s what they call a fine shot. A trophy. people have been seized by such a need for friendship and company that the dogs can’t manage it. We’ve been asking too much of them. The job has broken them down— they’ve had it. Just think how long they’ve been doing their damnedest for us, wagging their tails and holding out their paws— they’ve had enough . . .’ It’s natural: they’ve seen too much. And the people feel lonely and deserted, and they need something bigger that can really take the strain. Dogs aren’t enough any more; men need elephants. ‘Look here, my friend, for three years I was a bus conductor in Paris. I recommend it during rush hours; it gave me what you might call a knowledge of human nature— a good, solid knowledge which prompted me to change sides and go over to the elephants. there was around him an air of authenticity impossible to disregard: the authenticity of sheer physical nobility

They decide that scratching your head is the best path to an itch-free future. Dopamine cells give the signal to do it, but that’s where dopamine—and conscious involvement—come to an end. Dopamine is the conductor, not the orchestra. In some ways the dopaminergic command, do it, is the easiest part. What comes next is so

Partly thanks to Helsinki’s Sibelius Academy, Finnish musical education is among the best in the world, with Finnish conductors, singers and musicians performing with some of the world’s top orchestras. There are some excellent classical-music festivals in Finland.

The theory also showed that superconductivity is not a mere extension of ordinary conductivity. Previously it had always seemed paradoxical that the best normal conductors, copper and silver, are feeble superconductors; they do not superconduct even when the temperature is a thousandth of a degree above absolute zero. Seen in the light of the new theory, however, that finding began to make sense. Good conductors are good precisely because their conduction electrons ignore the lattice. But by encouraging the electrons and the lattice to go their separate ways, these materials never give Cooper pairs a chance to form. Remember, the pairing mechanism relies crucially on an electron’s ability to deform the lattice (like the bowling ball rolling on the waterbed) so that a second one can follow in its tracks. If the waterbed is so stiff that the first bowling ball can’t make a groove in it, there’s no chance that a second one will follow. So good conductors are lousy superconductors, because they can’t form the necessary Cooper pairs.

11 — I have explained where Wagner belongs—not in the history of music. What does he signify nevertheless in that history? The emergence of the actor in music: a capital event that invites thought, perhaps also fear. In a formula: "Wagner and Liszt."— Never yet has the integrity of musicians, their "authenticity," been put to the test so dangerously. One can grasp it with one's very hands: great success, success with the masses no longer sides with those who are authentic,—one has to be an actor to achieve that!— Victor Hugo and Richard Wagner—they both prove one and the same thing: that in declining civilizations, wherever the mob is allowed to decide, genuineness becomes superfluous, prejudicial, unfavorable. The actor, alone, can still kindle great enthusiasm.— And thus it is his golden age which is now dawning—his and that of all those who are in any way related to him. With drums and fifes, Wagner marches at the head of all artists in declamation, in display and virtuosity. He began by convincing the conductors of orchestras, the scene-shifters and stage-singers, not to forget the orchestra:—he "redeemed" them from monotony .... The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism. As an example of what I mean, let me point more particularly to Riemann's [Hugo Riemann (1849-1919): music theoretician] services to rhythmic; he was the first who called attention to the leading idea in punctuation—even for music (unfortunately he did so with a bad word; he called it "phrasing"). All these people, and I say it with gratitude, are the best, the most respectable among Wagner's admirers—they have a perfect right to honor Wagner. The same instinct unites them with one another; in him they recognize their highest type, and since he has inflamed them with his own ardor they feel themselves transformed into power, even into great power. In this quarter, if anywhere, Wagner's influence has really been beneficial. Never before has there been so much thinking, willing, and industry in this sphere. Wagner endowed all these artists with a new conscience: what they now exact and obtain from themselves, they had never extracted before Wagner's time—before then they had been too modest. Another spirit prevails on the stage since Wagner rules there: the most difficult things are expected, blame is severe, praise very scarce—the good and the excellent have become the rule. Taste is no longer necessary, nor even is a good voice. Wagner is sung only with ruined voices: this has a more "dramatic" effect. Even talent is out of the question. Expressiveness at all costs, which is what the Wagnerian ideal—the ideal of décadence—demands, is hardly compatible with talent. All that is required for this is virtue—that is to say, training, automatism, "self-denial." Neither taste, voices, nor gifts: Wagner's stage requires one thing only—Teutons! ... Definition of the Teuton: obedience and long legs ... It is full of profound significance that the arrival of Wagner coincides in time with the arrival of the "Reich": both actualities prove the very same thing: obedience and long legs.— Never has obedience been better, never has commanding. Wagnerian conductors in particular are worthy of an age that posterity will call one day, with awed respect, the classical age of war. Wagner understood how to command; in this, too, he was the great teacher. He commanded as the inexorable will to himself, as lifelong self-discipline: Wagner who furnishes perhaps the greatest example of self-violation in the history of art (—even Alfieri, who in other respects is his next-of-kin, is outdone by him. The note of a Torinese). 12 The insight that our actors are more deserving of admiration than ever does not imply that they are any less dangerous ... But who could still doubt what I want,—what are the three demands for which my my love of art has compelled me?