A Quote by Alexandre Desplat
Mozart for me is the No. 1 composer. His music is not just joy or sadness. It's deep emotion with a touch of lightness, which is the most difficult thing to do.
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The most perfect melodic shapes are found in Mozart; he has the lightness of touch which is the true objective ... Listen to the remarkable expansion of a Mozart melody, to Cherubino's 'Voi che sapete', for instance. You think it is coming to an end, but it goes farther, even farther.
Mozart didn't need a scheme for his music. He played and sang with the heavenly lightness of a child.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
Mozart's joy is made of serenity, and a phrase of his music is like a calm thought; his simplicity is merely purity. It is a crystalline thing in which all the emotions play a role, but as if already celestially transposed. Moderation consists in feeling emotions as the angels do.
The older I get, the more I think lightness of touch is an incredibly difficult thing to do.
The thing I realised about composition is, we remember most composers for four bars of music. Four singable bars of music. Pretty much any major composer from Debussy to Ravel to Mozart to whoever else - you can kind of hum it.
Mozart in his music was probably the most reasonable of the world's great composers. It is the happy balance between flight and control, between sensibility and self-discipline, simplicity and sophistication of style that is his particular province... Mozart tapped once again the source from which all music flows, expressing himself with a spontaneity and refinement and breath-taking rightness that has never since been duplicated.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
Mozart's music is particularly difficult to perform. His admirable clarity exacts absolute cleanness: the slightest mistake in it stands out like black on white. It is music in which all the notes must be heard.
Conducting is a natural way to participate in one's own music. Almost every 19th-century composer Mendelssohn, Mahler was conducting or playing his own music. Mozart did both.
The most ironic thing is my grandfather has his masters in music composition; he was a jazz composer. My dad was a musician, too. He played more, like, soul music.
The most important thing to remember is that the composer is a senior partner. You cannot force a subject on a composer if it doesn't inspire him. He has to take the lead, you are an enabler, and you are creating the enabling conditions under which he can write great music. Your words are secondary. Many librettists in opera collaborations in the past have forgotten this, or not known it, or refuse to accept it and tried to get out in front of the creative process and it just doesn't work that way.
I can admire music where you feel the composer has everything organized and perfectly shaped, but it doesn't touch me. I like to feel that a composer is wounded, like all of us.
It is the consciousness of the threefold joy of the Lord, His joy in ransoming us, His joy in dwelling within us as our Saviour and Power for fruitbearing and His joy in possessing us, as His Bride and His delight; it is the consciousness of this joy which is our real strength. Our joy in Him may be a fluctuating thing: His joy in us knows no change.
The psychological detective story in "Equus" made Peter Shaffer's name as a playwright. But it was his next play, "Amadeus," that cemented his reputation, largely because of the movie version. Another battle of wills, it was the story of composer Wolfgang Amadeus Mozart seen through the eyes of lesser composer Antonio Salieri.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
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