Quotes About Composer

Legrand shares with his predecessor that rare ability to joke in music just as his librettist jokes in words. The composer has in fact termed Amour "an opéra-bouffe"—Offenbach's own form.

As a musician or composer, whenever I am recording a song I imagine myself sitting beside my piano and singing the song with a little fear that whether I will be able to perform or not.

My first films, 'Tamizhan' and 'Whistle,' showcased me in a different light - as an urbane composer.

It's understanding the intention of a composer that allows a producer and an arranger to make those moments speak.

Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.

A composer like me finds it impossible to work with today's producers. They want to tell you exactly how to compose, which notes to play, which rhythms to put in which part of the song.

If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.

If I weren't a director, I would want to be a film composer.

The grapevine in England is an extraordinary thing. When there is a really brilliant young composer or soloist, we all hear about it.

The difference between the student and the born composer is he really hears the thing, and they have to stage it and manipulate it by technical equipment.

John Barry was the first film composer I was aware of. As a teenager I owned several of his Bond soundtracks.

An eminent Iranian composer, Pezhman Mosleh, has honored me with this gift (the piece of On the Threshold).

That is basically me, and although I have done many things in my life - conducting, playing piano, and so on - what is fundamental is my being a composer.

Bach's music is really some of the greatest. I think, in some ways, Bach is the most profound composer of all.

It's nice to have a great female composer in the program and add her color.

I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.

In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.

I've been very fortunate as a composer to be involved with projects that have really propelled my scores forward. I'm very proud of it.

I would still love to do more Handel. I think Handel was a fantastic composer. I did lots of Vivaldi, but it's also important to do the music of Handel, one of the greatest composers of the 18th century.

My dream was always to be a composer, but fashion came very easily.

Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist.

Sometimes, a remix is good because it reaches a whole new generation. But when it gets too much, it's irritating. Also, the original composer needs to be credited properly.

I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.

I grew up with these amazing shows, like 'Les Mis,' 'Phantom,' 'Joseph,' 'Wicked,' and if I ever had the chance to work with an established composer on a new piece, that would be a real honour.