Quotes About Composers

she told him she'd grown up in a household where music was the religion and composers were its saints. Cantatas were chapels. Pavanes were prayer. Fugues were the firmament and God existed in every note.

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.

Perhaps two million years ago the creatures of a planet in some remote galaxy faced a musical crisis similar to that which we earthly composers face today.

I want young Indian composers to be able to do more than just film music. I want to give them the skills that will enable them to create their own palette of sounds instead of having to write formulaic music. It doesn't matter if they become sound engineers, producers, composers or performers - I want them to be as imaginative as they like.

I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.

I have tremendous respect for film composers.

This trend used to exist in Bengali playback where singers and composers would have their own hit series. I am thrilled that Bengal is seeing a revival of that trend.

But the future was a river, a flood of notes where composers' corpses drifted among the fallen leaves and torn-away branches. One day Schoenberg's dead body, bobbing about in the raging waves, collided with Stravinsky's, and in a shamefaced late-day reconciliation the two of them journeyed on together toward nothingness (toward the nothingness of music that is absolute din).

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.

DEAFNESS DOESN'T PREVENT COMPOSERS HEARING THE MUSIC. IT PREVENTS THEM HEARING THE DISTRACTIONS.

In movies, the composers and decision makers are different, so we don't come across classical songs often in films due to lack of interest. The decision makers are non-musical people, so one doesn't get to hear more classical songs in films.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.

As a young man I couldn't travel, nobody could travel, they wouldn't give us a passport. For many years I was trying to go abroad. And then one day I read in the newspaper about a new competition for composers, and the first prize was a trip to the West. I decided I must get the first prize, so I wrote three pieces in three different styles.

I've heard though that there is a younger generation of tonal French composers who are reacting with vigour.

I think the thing's that perhaps sad really is that younger people haven't come in and I think it must have been absolutely fantastic to have worked in the 50's when you had all of the great Broadway composers and when West Side Story didn't win the Tony Award.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

I took classical piano for a couple of years, but I sort of lost interest - I couldn't read a note today if I tried. I still enjoy that stuff, and I think I naturally gravitate towards the classical licks; in fact, I know that I do. I gravitate towards the classical licks that I heard by famous old composers.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

Levine, Robert. The Story of the Orchestra: Listen While You Learn About the Instruments, the Music and the Composers Who Wrote the Music!

I am compared to other classical musicians, but most of them perform songs from other people, and most of those composers belong to another era.

In many ways, Viv and I were the only ones who were really songwriters.

I love being part of the ASCAP family of songwriters and composers.

The team at ASCAP is a genuine family, and I am proud to be part of an organization that is home to so many legendary songwriters and composers.