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.
The whole problem can be stated quite simply by asking "Is there a meaning to music?" My answer would be, "Yes", And "Can you state in so many words what the meaning is?" My answer to that would be "No."
People whose sensibility is destroyed by music in trains, airports, lifts, cannot concentrate on a Beethoven Quartet.
I believe that traditional wisdom is incomplete. A composer can have all the talent of Mozart and a passionate desire to succeed, but if he believes he cannot compose music, he will come to nothing. He will not try hard enough. He will give up too soon when the elusive right melody takes too long to materialize.
If anyone has conducted a Beethoven performance, and then doesn't have to go to an osteopath, then there's something wrong.
Music is enough for a lifetime - but a lifetime is not enough for music.
Bruce Katz is a spectacular talent! He's a brilliant composer and arranger who uses uncommon and unique musical intelligence to redefine jazz and blues far beyond the pale of the accepted definitions of keyboard competence. Whether on piano or organ, when you hear Bruce Katz you know it's him, unmistakably and uniquely.
Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
And if I ever DO see [Kenny G] anywhere, at any function - he WILL get a piece of my mind, and maybe a guitar wrapped around his head.
God created music as a common language for all men. It inspires the poets, the composers and the architects. It lures us to search our souls for the meaning of the mysteries described in ancient books.
It is cruel, you know, that music should be so beautiful.
I dare suggest that the composer would do himself and his music an immediate and eventual service by total, resolute and voluntary withdrawal from this public world to one of private performance and electronic media.
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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