When I write, I fall into the zone many writers, painters, musicians, athletes, and craftsmen of all sorts seem to share: In doing something I enjoy and am expert at, deliberate thought falls aside and it is all just THERE. I think of the next word no more than the composer thinks of the next note.
If I belong to a tradition it is a tradition that makes the masterpiece tell the performer what he should do and not the performer telling the piece what it should be like, or the composer what he ought to have composed.
Love is the keynote, Joy is the music, Knowledge is the performer, the Infinite All is the composer and audience.
I used to wish I could write songs like the others - and I've tried but I just can't. I get the words all right, but whenever I think of a tune and sing it to the others they always say 'Yeah, it always sounds like such a thing' and when they point it out I see what they mean. But I did get a part credit as a composer on one - it was called What Goes On.
The composer...joins Heaven and Earth with threads of sounds.
Love, love, love, that is the soul of genius.
Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.
As a composer I could never find use for over 4 or 5 notes in any musical number, and as a playwright most of my plays have two acts because i couldn't think of an idea for the third act.
I believe that interpretation should be like a transparent glass, a window for the composer's music.
The notes I handle no better than many pianists. But the pauses between the notes - ah, that is where the art resides.
Elizabeth Lutyens was the first professional composer that I ever knew. I sent someextremely infantile pieces that I I'd written and got marvellous encouragement andinterest from her... she's certainly the English composer who's influenced me themost.
Music is the wine which inspires one to new generative processes, and I am Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken.
What will be the judgment a century hence concerning the lorded works of our favorite composers today? Inasmuch as nearly everything is subject to the changes of time, and - more's the pity- the fashions of time, only that which is good and true will endure like a rock and no wanton hand will ever venture to defile it. Then, let every man do that which is right, strive with all his might towards the goal which can never be obtained, develop to the last breath the gifts with which the gracious Creator has endowed him, and never cease to learn. For life is short, art eternal.
Music should strike fire from the heart of man, and bring tears from the eyes of woman.
The Rhapsody is not a composition at all. It's a string of separate paragraphs stuck together - with a thin paste of flour and water... I don't think there has been such an inspired melodist on this earth since Tchaikovsky... but if you want to speak of a composer, that's another matter.
Give me a laundry list and I'll set it to music.
I think of all music as existing in the substance of the air itself. It is the composer's task to order and make sense of sound, in time and space, to communicate something about being alive through music.
It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...
The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt - they meditate, protest, analyze, reason, calculate and brood, but they do not exalt.
With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.
I am proud to be able to claim that, from the age of nineteen, I've managed to earna living entirely as a composer.
I am an arrogant and impatient listener, but in the case of a few composers, a very few, when I hear a work I do not like, I am convinced that it is my own fault. Verdi is one of those composers.
Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
To be a success as a Broadway composer, you must be Jewish or gay. I'm both.
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