Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.
To study music, we must learn the rules. To create music, we must break them.
Whether I was in my body or out of my body as I wrote it I know not. God knows.
When I’m creating at the piano, I tend to feel happy; but - the eternal dilemma - how can we be happy amid the unhappiness of others? I'd do everything I could to give everyone a moment of happiness. That's what's at the heart of my music.
It's a great thing about being a musician; you don't stop until the day you die, you can improve. So it's a wonderful thing to do.
One of the reasons I believe in jazz is that the oneness of man can come through the rhythm of your heart. It’s the same anyplace in the world, that heartbeat. It’s the first thing you hear when you’re born — or before you’re born — and it’s the last thing you hear.
Tim Price is one of the real ones ! A good friend and a great player !
I'm a revolutionary, money means nothing to me.
We are buried beneath the weight of information, which is being confused with knowledge; quantity is being confused with abundance and wealth with happiness. We are monkeys with money and guns.
It is dreadful when something weighs on your mind, not to have a soul to unburden yourself to. You know what I mean. I tell my piano the things I used to tell you.
A happy person is not a person in a certain set of circumstances, but rather a person with a certain set of attitudes.
The terror of performing never goes away. Instead, you get very, very comfortable being terrified.
It doesn't necessarily mean at all that the composer plays his own works best.
To me, all writing is like music. And especially dialogue. I studied music in college; that is what I wanted to be, a composer. Acting got me sidetracked.
There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!
I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing
Composers are not all good conductors.
A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.
The composers could no longer direct all performances in person, and so the responsibility of interpreting their works in the spirit in which they had been conceived was placed upon conductors.
Today each composer is not only involved in aesthetics, but he's actually trying to create his own language.
A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?
What inspires me is not so much the music as the opportunity to interact with composers. I think that has driven everything I've done.
When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song
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