A Quote by Allan Kozinn

New Amsterdam Records, a new label run by composers, has begun documenting this hybrid music, with invigorating discs by the band itsnotyouitsme and the composers Corey Dargel and William Brittelle.
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.
I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
Communists love to make films about composers because composers compose music and don't talk subversive things.
I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of "simple" or "complex" music - has become increasingly problematic and is almost never productive.
I'm more encouraged by the saplings: new music groups, tiny new venues, entrepreneurial musician-composers who aren't waiting to be discovered but are instead building their own Establishment.
Even experimental composers, revolutionary composers, self-styled radicals are, in writing revolutionary music, recognizing the music that preceded them precisely by trying to avoid it.
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
There was this kind of dictatorship of the Darmstadt school, composers like Boulez and Stockhausen, who were very strict and orthodox. They would not allow other composers to write the music they wanted to write, and only a certain kind of music could be played.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
The music of Gavin Bryars falls under no category. It is mongrel, full of sensuality and wit and is deeply moving. He is one of the few composers who can put slapstick and primal emotion alongside each other. He allows you to witness new wonders in the sounds around you by approaching them from a completely new angle. With a third ear maybe.
Debussy is one of the few composers who actually created a new sound on the piano - or perhaps we should say a new smell, so perfumed are the vibrations which emanate from the instrument.
When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.
Composers can do things that weren't allowed in the 17th century. Until we had composers like Igor Stravinsky and Sergei Rachmaninoff to break the rules.
I think that live shows are more important for singers than composers, because composers still get a lot of recognition as compared to a singer.
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel. They'd be strange teenagers if they didn't. But cross-pollinating happens too - Aphex Twin did more interesting things with electronic music than most trained composers, who seemed to approach samplers with undue caution and reverence in those early days.
This site uses cookies to ensure you get the best experience. More info...
Got it!