So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.

So I've never found there was any particular separation between the two cultures at all, musically speaking.

Mozart has written opera, symphony, sacred and chamber music - not to mention his piano and violin concerti.

Taste is changing, style is changing, and players' abilities are changing.

There are some sounds that English singers find quite difficult to manipulate.

If we perform the romantic repertoire we need more musicians.

One of the great virtues, apart from the pleasure of performing these works, is that it's opened up an entirely new, expansive repertoire of American Jewish music.

One thing we were looking for from the start was players who really fit together, who sounded in tune.

We don't want other people poking into our artistic pie.

I think the quality of something like the Beveridge, for instance, will have a life of its own.

So in one leap we had gone from being a friendly society to something almost professional.

Before, we may have taken part in it without even thinking it was American Jewish, but in this case, I think, you have now perhaps pointed us in a direction of a new interest in this repertoire.

But the most important test is to take them on tour and see if you can bear to spend time with them.

Music is a continuum and the modern and avant-garde composers of today will be part of the standard repertoire 30 years from now.

The awful thing about a conductor becoming geriatric is that you seem to become more desirable, not less.

Most Beethoven symphonies require 80 or more instruments, and the late romantics even more.

This American Jewish music is a new experience for us at least consciously.

As you know, there are certain languages that lend themselves very easily to vocal use.

If the (British) Arts Council give you money, they also tell you how to spend it.

I would like new people with new ideas to come into it and change it.

I think we were all frustrated with our daily routine.

Initially we performed in halls with capacities of 1,000.

So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

I'll play it and tell you what it is later.

I wish the Libertarian Party would get more play in the media but they don't.

I don't feel right unless I have a sport to play or at least a way to work up a sweat.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

Each day, and the living of it, has to be a conscious creation in which discipline and order are relieved with some play and pure foolishness.