Symphonic orchestras have almost become a glut in the market.

I also work with the regular orchestras in Munich, Germany and other similar orchestras.

I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.

If you don't operate it as a business, you aren't going to be around very long.

I listen to everything.

I grew up on film scores and scores from films.

We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.

In a way, yes, because I was starting something fresh, and it was something totally independent.

And then I went into television; and then television moved from the East Coast to Hollywood.

I think my favorite experience is whatever I'm doing now.

Symphonic orchestras have almost become a glut in the market.

I recorded with Sinatra, but the recording business is a very strange strata right now.

We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.

But I listen to everything, I listen to all artists that come along.

That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.

I had had a classical education prior to that.

Well, in our business, it's a very tough profession.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

Well, I worked with lots of different artists, of course.

Do, What you're going to do in longevity. Not just what happens tomorrow.

I started off as a studio pianist in Hollywood.

Then I went to radio with Sinatra and I watched that disappear.

Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.

I also work with the regular orchestras in Munich, Germany and other similar orchestras.

Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

For many years, the government of Canada has massively supported orchestras and the arts in general.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.

I will never master this craft. Orchestras are very, very forthcoming with me.

Symphonic orchestras have almost become a glut in the market.

I did the one concert, and I was not bitten by the conducting bug, and I thought I was done, but then the phone started to ring, and gradually, over time, I started conducting more and more. Now a third of my performances are with orchestras.

Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.

With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

Ergo, because of the money problem, it is probable that our orchestras will soon go down in quality.

As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.

And what unity is to be had, at a time when orchestras are dying out, and when opera houses are about to close their doors; what's going to come next - when nothing new in music, for the orchestra, is truly lasting: pieces are performed once, and then they're thrown away.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.

Composers love to write for symphony orchestras because the symphony is the Rolls Royce of musical instruments.

It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.

Teaching is a profession in which capacity building should occur at every stage of the career - novices working with accomplished colleagues, skillful teachers sharing their craft, and opportunities for teacher leadership.

Success has always been easy to measure. It is the distance between one's origins and one's final achievement.

Everyone suffers at least one bad betrayal in their lifetime. Its what unites us. The trick is not to let it destroy your trust in others when that happens. Dont let them take that from you.

I know I'm never going to probably see the Taj Mahal or, you know, climb Mt. Everest, but I can still maybe influence peoples' way of thinking by a story that I do, by something I learn about the world.

Early on the next morning we reached Kansas, about five hundred miles from the mouth of the Missouri.