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I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.
You know, a lot of people are loath to go to an orchestral concert because they are intimidated by the thought.
When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.
I think that's one of the things that has always put me in kind of an odd niche. It's that all of my understanding of orchestral music is via film, not via classical music like it's supposed to be. To me it's the same, it doesn't make any difference.
It's Messiaen's Turangalila Symphony I'm really looking forward to. Simon Rattle does it perfectly: he understands its primal rhythmic life force, and he and the wonderful Berliners make it a sheer riot of orchestral colour.
I have always studied my parts with the orchestral score and not with the piano reduction.
Somerset desperately needs more high-end music making on its doorstep, so the chance to share great music spanning genres as diverse as orchestral classics, trip hop and jazz, in the utterly relaxed and cathartic environment of a Somerset field, is for me the fulfilment of a long-term dream.
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
In Berlin I especially enjoyed the orchestral concerts, and I attended a large number of them. I formed the acquaintance of a good many musicians, several of whom spoke of my playing in high terms.
'The Black Parade' is an epic, theatrical, orchestral, big record that is also a concept album.
