in the last years, i had abused my presence with four or five orchestras, the orchestras, that are veryheart, so to go back to an orchestra that i had not conducted for 30 years, i was very doubtful. why go there, to find new musicians and even if you are a famous conductor and they are famous orchestra, still, when these two entities meet, the first few minutes the musicians think, okay now we will judge him, he is very popular with vienna, berlin, et cetera but now it is our turn to say how good he is and the conductor is thinking the same thing, so you are not making music, you are making a sort of -- >> rose: you are making assessments. >> and, but anyway, she convinced me and i went to chicago, and when a conduct for meets an orchestra, to say something, you can't just say good morning, beethoven fifth. there is a sort of -- and i didn't know what to say. i thought maybe say this, you know, but the usual phrase, i'm so happy to be here with you. they know exactly what you are going to say this and this is nothing new. but the last moment, something came to my mind that was really t

we ask, we don't demand, we ask for something, and when you have a great orchestra, with a great orchestra what you want. so if you don't get what you want, it is your fault. >> rose: it is your fault if you don't get it? >> for several reasons. because you are not good enough, you are not loved, you are not liked, they don't trust you, you don't have the right technique, you don't have the right charisma. many -- >> rose: charisma is important? >> yeah. but at the moment you think you have charisma, you are finished. >> rose: you either have it or you don't it is not whether you think you have it or can go get it. there are people that write about you and said that, and say that you are very authoritarian. >> see, this is not true. i say that there is no one orchestra that doesn't like me. i mean, not musically, as a person, because -- >> rose: that is not about as a person, it is a about as conductor of a orchestra and music director. >> it is not thorn tarian, authoritarian. one time when i was music director of the london fill harmon milk, the manager of the philharmonic one day came t

so my first years in america, 20 orchestras, all top orchestras, my next five years, new york orchestrastropolitan opera, for example, it is a big institution so we did -- i would easily say 25 operas, maybe, it is a big number. it is less than jim levine but a big number. >> rose: glad to see him coming back, aren't you? >> absolutely, and what happens is when you focus, then you build. >> rose: right. >> if you look everywhere some of your energy you don't see how far it goes. >> rose: take a look at this, i did several interviews, there is one way back in 1993, december 2nd. here it is. >> tell me about the relationship between a conductor and his musicians. what is going on on a podium? >> look, it is basically it is -- i have a love affair or nothing. there is nothing between. musicians either like you or dislike you and i like them or don't like them. the success on the chicago symphony was and is, yet it is a strange chemistry, the same elements that make music, that interest me from the very first notes on, basically, which i have a sense of power, a sense of movement, which i lo

i knew the orchestra very well. i had conducted there many, many times in the 80s and 90, so it is a good experience. >> rose: another thing you're doing in your life is unveiling the mystery behind the maestro, conducting business. it is a sense of we look at conductors and they seem like larger-than-life figures. they seem like stars. they seem that they're at the center of something magical happening, which is bringing 100 musicia together. >> the book tries to do something that i don't think any other conductor has explored. part of it is auto biographical. it had to be in order for me to be able to say how things are done. but it's also a book which is designed to let people know that so much goes into this than just the concert that they see. how do we get into it? what influences do we have? does family play a role in all this? how do you study? how do we see our role as a music director? what does a music director do? why is that different than a conductor? being on the road, what is that about? how do we re

he is the conductor of the orchestra. all the cues come from the principal musician, and the person who is playing the improvisation. he plays what we call a break or ausical cue, and that will sound different depending on whatever style they're playing. we hear the cue-- it's an established rhythm-- and once we hear it, we know to start our step. you have to follow their feet, you know, how their hands move, and if the dancer gotta move like that, you got to make sure you got the connection and the language-- the language you have to do from all her movement from her body, you have to go together. maybe you can go "baaaaadaaaadum, baaaaadaaaadum." (sharriff) there is a direct relationship-- we like to say a marriage-- between the music and the dance. the musicians actually control the tempo. mandiani is a social dance which means that it's not ceremonial or ritualistic. i like to say that mandiani is like doing our street dance-- you know when we're just "hey," that's what we do here to self entertain, or to have a house

the conductor traveled to kosovo five years ago and started an orchestra. their music uplifted audiences in kosovo and, he thought they should do the same thing in japan. many here are still depond eent after 2011 disaster. though natural disasters and wars are natural calamities people endure the same hardships and can encourage each other. ♪ >> the conductor had the japanese children's song or "sunset and afterglow" adapted for the concert. ♪ he got the idea while viewing the sunset at a city leveled by the disaster. he realized snets a ed sunsets of hope. >> translator: the lyrics speak of holding hand and going home together. i think that's the main idea. the lyrics could apply to importance of people who are in con flkt coflict coming togethe victims of the disaster working as one to overcome the disaster. now, all japanese across the country must do that. >> he told the balkan musicians why he chose the song and then described conditions in the disaster area. >> there is nothing, absolutely, nothing, a dirt city. so when we play this music it is about

she founded the symphony orchestra, now celebrating its 20th year orchestra is celebratg its 20th butcerts that mean the most? are the solos in front of the spell bound children, part of the discovery that brings the classics to thousands of children every year in los angeles. >> like so many public schools, the music program here has been cut back highly in the last few years. for so many students, this provides their only exposure to classical music. >> reporter: and they don't just listen, they learn, through free violin lessons, lessons the children say give them a voice. >> sometimes you will get mad. you could show it on your violin. >> if you play a lot you get really good and you start to like it even more. >> if they hold the violin or instrument, they will never hold a gun or take a drug, because it will bring them so much beauty and fulfillment. >> reporter: the kind of fulfillment she hopes will inspire them that they can do anything. >> they inspire me, that when i grow up i can join an orchestra. >> reporter: with a little practice, and lots of passion. diana alvear, nbc

and disagree with this and that the maintenance of the symphony orchestra is being handled appropriately. finding 35, i will agree with. i think we should agree with that the arts commission has chosen symphony as beneficiary of those funds. finding 36 that the arts commission without legal or practical recourse, if the money's revoked, the 40% is revoked, understand the comment. again, practically speaking i have to disagree because they can't come forward for supplemental appropriations. i hope the doesn't happen. but practically speaking i will disagree with that. the manner in which the arts commission funds its operations by giveback donations creates at least an appearance of fiscal improprietary and -- the intent of the charter. i mean i could go with partially guess agree but i do disagree with that. i understand the appearance but i think by the letter of the law everything is above board. i appreciate raising the issue, if you will. colleagues i don't know if you have any comment but i would suggest disagree with that. and then finding 38 about the funding of 600,000 would agre

it is not your everyday orchestra. >> it resembles a scene from a gangster movie. the assembled in the tunnels and back alleys of london carrying what looks at first glance like a violin cases. these contain a different type of instrument. ukuleles. >> to tennessee children are still missing after their house burned down on september 23rd. authorities searched the rubble looking for remains the only able to locate the remains of their grandparents. >> a man accused of killing a university of florida student remains behind bars. police say he killed his high-school friend more than a week ago. >> and election day is more than one month away. there is a potentially horrible case of a voter fraud. a third party firm was hired to hit the streets and register new voters. the firm is under investigation for producing questionable voter registration forms. the state has to review hundreds, possibly thousands of packets. >> the clashes continued in syria. we have a closer look at the rebels and their struggle in the update on the deadly battles. >> the kron4 blue angels li

number of years, for the san francisco arts commission to use that money to maintain a symphony orchestra a clear violation of the intent of the charter. the $2 million tax and the giveback are in the same piece of paper. so one cannot say that they were not meant to be coupled. in addition -- and so we think -- we recommend that this situation be remedied, and that the contractor, should there be one, comply with the intent of the charter. we also believe that doing that would provide great hardship on the operating budget of the san francisco arts commission. and we have no interest to do that. but the charter rules in this case. and so we've recommended several ways in which that money can be made up. there are probably countless other ways, which i'm sure the crrl, the board of supervisors, and other departments, can sort through, so that the arts commission is not damaged irrep rehably by -- irrep rehabbably. we really are hopeful that that can happen. there was another issue that came up in that contract which has to do with tickets. but since the arts commission had made known to -

. >>> the ukelele orchestra will play next month. you've never heard of one? you're about to. ♪[ music ] >> the orchestra plays everything from handel to adel and motor head. >>> still ahead the presidential race is not the only battleground in virginia. we'll look at the senate race up next. too many americans are struggling to find work in today's economy. too many of those who are working are living paycheck to paycheck trying to make falling incomes meet rising prices for food and gas. more americans are living in poverty than when president obama took office and fifteen million more are on food stamps. president obama and i both care about poor and middle-class families. the difference is my policies will make things better for them. we shouldn't measure compassion by how many people are on welfare. we should measure compassion by how many people are able to get off welfare and get a good paying job. my plan will create twelve million new jobs over the next four years helping lift families out of poverty and strengthening the middle-class. i'm mitt romney

teacher and as a session side man, having played with everybody from anthony brown's asian american orchestra to wane wallace's newest cd. who haven't you played with lately? yeah, he's played with everybody. you can find mas on a lot of different cd's from the local jazz community. this song we're going to do is an air called the brown-haired girl. when i was recording, when i was fortunate to be able to record bridge across the blue, i was telling them i got this air, i got it off the chieftan's album, i'm going to do it on the electric base. he looked at me and said, you're nuts. people are going to go crazy but if you can do it, i'll help you. he gave me this book of airs and went, figure it out, figure it out. it never quite jelled on the base but when hillary called today, i started to think more about the cedar flute. i said, i wonder if this particular air can fit? well, here we go. (instrumental music). >> thank you very much. i guess what i want to say about an arrangement like that is that it's not meant to use the cedar flute as a bit of exotica, but what the panelists have been s

. >> that guy comes complete with an orchestra. >> thieves got away with priceless works of art. >> and this little cat got stuck in a utility pole for days. it's heavy lifting. you start with a democratic senator named ben. by getting bwi-marshall funding for new runways, he's helping us serve 21 million passengers a year, which helps keep 100,000 jobs that depend on the airport, and that means more cargo for more businesses and more skycaps unloading more taxis... welcome to bwi. ...carrying families with more luggage. thanks. it's like he's out here with us. he's my friend, ben. i hope he's your friend, too. i'm ben cardin, and i approve this message. >>> current winds at five to 10. winds gusting to 30 in mon rove ya. 28 in goldsberg and denton. . again, it was breezy at times, no question about that. in baltimore 63 degrees. winds northwest at six miles an hour. days getting shorter. sun sets at 6:26. temperatures will be down into the 50s. want to show you some weather in motion kent island. look at this, beautiful shot, all sunshine. a chop in the bay with winds calming down as i

it's like when they did in the orchestra the blind auditions behind a screen. once they put the musician behind a screen so the evaluators did know it was a male or female, it increased by 50% the likelihood that a woman would get hired. that was in the 1980s, and now in many orchestras auditioning behind the screen is standard practice. so they decided the most objective thing to do is to use science professors and to give them an application of a person who supplied as a lab manager. because they felt they would be the most objective, data-oriented people. they had the same applications. one was called john and one was called jennifer. john was offered a better position and higher pay. and the conclusion they came to was that this is not, you know, an issue of our time. this is some deep seeded cultural societal bias which some have used women as less competent. even if you try to equate it across the board. so i think that's what we're up against. i think what young women are up against is a kind of sexism that far subtler than the ones that we face, which w

[dramatic orchestra music] most musical traditions have some kind of arrangement for classifying theirical instruments. in european traditions, there have been certain time-honored divisions between musical instruments. the most significant were set up by erich von hornbostel, and this system generally divides instruments into membranophones-- [rapid drumbeats] those are the skin, which are rubbed or struck with the mallet or the hand. aerophones, which set a column of air in vibration by splitting an air column over a sharp edge or by the movement of a reed. [jazzy saxophone music] there's also chordophones, which have stretched strings. those, of course, can be set into motion by bows or by plectra or picks. chordophones have all sorts of different timbres depending on what you bring to the instrument. another category is idiophones. those are those instruments that sound like themselves like a bell. its entire structural material is its acoustic material. [rattling] [dinging] we don't hear the steel in a piano so much as we hear the string and the felt hammer itself. idiophones soun

for one full orchestra and it trip to homecoming. the book had no stamped return date.upset she calledf the principal. she did not care. she asked me what a great issue is and i said a freshman, she always next year. >> she had a zero balance and declined to participate in extra activities. homecomingg to go to next year. ahead, jacqui jeras is scott pelley: "you made on yourt paid 14% in federal taxes, is that fair to ththe guy higher rate than you did? romney: "yeah, encourage economic growth." us. is that the way to grow america? ethis message. maryland schools are number one in america because we invest in them. but we can do even more. every year marylanders spend five hundred and fifty million dollars at casinos in other states. question 7 keeps that ryland money in maryland through expansion of gaming in maryland. it will mean hundreds of millions of dollars for our schools. as governor, i can promise you, that money will go to education. that's the law and that's what we'll do. vote for question seven. >> one thought it might be a big dog eating his neighbors' t