A Quote by Arthur Honegger

There is no doubt that the first requirement for a composer is to be dead. — © Arthur Honegger
There is no doubt that the first requirement for a composer is to be dead.
The first requirement for a composer is to be dead.
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.
When we play music we describe the echo the tableau of natural forms, their shapes and arrangements, as uncovered by the composer's imagination, which yet must be filtered through our own. There is no other way. And in acknowledging this tableau, this revelation, we must "hesitate", we must doubt, as the composer doubted, for no valid creation can issue unscarred by doubt, by that vast flux of wonder which precedes the construction of being.
I may not be a first-rate composer, but I am a first-class second-rate composer.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
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.
We must be fully committed, but we must also be aware at the same time that we might possibly be wrong. People who claim to be absolutely convinced that their stand is the only right one...is a dead giveaway of unconscious doubt. Commitment is healthiest when it is not without doubt, but in spite of doubt.
Wherever there’s a conductor, you’re sure to find a dead composer!
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
The public doesn't want new music; the main thing it demands of a composer is that he be dead.
As soon as we ask what faith is and what sort of mistreatment of faith causes doubt, we are led to the first major misconception about doubt-the idea that doubt is always wrong because it is the opposite of faith and the same thing as unbelief. What this error leads to is a view of faith that is unrealistic and a view of doubt that is unfair.
The few have said, Think! The many have said, Believe! The first doubt was the womb and cradle of progress, and from the first doubt, man has continued to advance.
There are many different kinds of doubt. When we doubt the future, we call it worry. When doubt other people we call is suspicion. When we doubt ourselves we call it inferiority. When we doubt God we call it unbelief. When we doubt what we hear on television we call it intelligence! When we doubt everything we call it cynicism or skepticism.
The first requirement of a statesman is that he be dull.
I pretended to be dead in front of a pig once, because I heard that they snuffle you, they try and wake you up, to check if you really are dead. And if you are dead, they eat you, but they like having a little prod first.
Like belief, doubt takes a lot of different forms, from ancient Skepticism to modern scientific empiricism, from doubt in many gods to doubt in one God, to doubt that recreates and enlivens faith and doubt that is really disbelief.
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