I have always personally preferred to think of what is more difficult for my instrument, and not what is the most natural or the easiest. I enjoy the challenges - especially those that come with composers who have written contemporary music for the recorder.
I have kind of an intuitive feeling as a composer as to what would be appropriate for those groups and how to feature certain paths in a certain way, whether there was dialogue in a scene, or whether there was no dialogue and music was telling the story at that point.
Pandit Pran Nath has given much of his later life to America and Europe and has influenced many of our younger composers.
There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.
Beethoven can write music, thank God, but he can do nothing else on earth.
I couldn't say I ever dreamt of becoming a composer, a pianist, or anything else for that matter. I have the kind of brain where nothing is set in stone.
Jazz has been such a force in music, that any musician, including classical composers, have been influenced, and obviously performers, also.
I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.
You can't possibly hear the last movement of Beethoven's Seventh and go slow. (Oscar trying to talk his way out of a speeding ticket)
When I listen to a symphony I love, I don't get from it what the composer got. His 'Yes' was different from mine. He could have no concern for mine and no exact conception of it. That answer is too personal to each man. But in giving himself what he wanted, he gave me a great experience.
We are God’s gift to each other. Like a master composer, He brings all the instruments together, each with a different tone, each playing a different part, and He makes it turn out so beautifully.
How vulgar, this hankering after immortality, how vain, how false. Composers are merely scribblers of cave paintings. One writes music because winter is eternal and because, if one didn't, the wolves and blizzards would be at one's throat all the sooner.
I don't think a guy that really has no understanding about people, or has no interest in understanding people would make a good film composer.
As a composer, I believe that music has the power to inspire a renewal of human consciousness, culture, and politics. And yet I refuse to make political art. More often than not political art fails as politics, and all too often it fails as art. To reach its fullest power, to be most moving and most fully useful to us, art must be itself.
Pablo Casals is a great musician in all he does: a cellist without equal, and extraordinary conductor and composer with something to say. I have been profoundly impressed by all I have heard of his work, but he is a musician of this stature because he is also a great man.
I have been told that a young would-be composer wrote to Mozart asking advice about how to compose a symphony. Mozart responded that a symphony was a complex and demanding form and it would be better to start with something simpler. The young man protested, 'But, Herr Mozart, you wrote symphonies when you were younger than I am now.' Mozart replied, 'I never asked how.
Music is at once the product of feeling and knowledge.
Claude Debussy was a rare phenomenon a composer profoundly and subversively revolutionary.
There are two kinds of music. One comes from the strings of a guitar, the other from the strings of the heart. One sound comes from a chamber orchestra, the other from the beating of the heart's chamber. One comes from an instrument of graphite and wood, the other from an organ of flesh and blood. This loftier music I speak of tonight is more pleasing than the notes of the most gifted composers, more moving than a marching band, more harmonious than a thousand voices joined in hymn and more powerful than all the world's percussion instruments combined. That sweet sound of love.
The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.
When people listen to my music, I hope that they will notice that if you take a piece by a composer like Schubert, the major and the minor triad is an extermely important thing not merely as harmony, but in creating melodic lines. Schubert is always walking up and down with arpeggios on C, E, G and so forth. I am not doing anything different really, except using a different system of harmony.
The modern composer is a madman who persists in manufacturing an article which nobody wants.
In simple hearts the feeling for the beauty and grandeur of nature is a hundred-fold stronger and more vivid than in us, ecstatic composers of narratives in words and on paper.
Every bit of theorizing I've ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
The fact that certain composers have been able to create first-class music within the medium of film proves that film music can be as good as the composer is gifted.
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