A Quote by Arthur Honegger
The public doesn't want new music; the main thing it demands of a composer is that he be dead.
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The thing that makes me want to write a piece of music is having something to talk about, you know? Something I want to get across. Because I'm a composer, music is my first language, and that's what I reach for when I want to convey something.
Music's been around a long time, and there's going to be music long after Ray Charles is dead. I just want to make my mark, leave something musically good behind. If it's a big record, that's the frosting on the cake, but music's the main meal.
My life has always been my music, it's always come first, but the music ain't worth nothing if you can't lay it on the public. The main thing is to live for that audience, 'cause what you're there for is to please the people.
I think the thing that I really wanna bring is that I have a full world of music and imagination and ideas that I want to create as an artist, and that's my main thing that I want to do.
It is difficult to keep the public interested. The public demands new wonders piled on new wonders. Often we don't know where our next marvel is coming from. The supply of strange ideas is not endless.
I guess the passion I have for cinema is as strong as the one that I have for music. And I've always tried to be a character in the film, not just a composer that throws his music to the film. That's the main element that connects me with directors.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
To show you how radical I am, I want carjackers dead. I want rapists dead. I want burglars dead. I want child molesters dead. I want the bad guys dead. No court case. No parole. No early release. I want 'em dead. Get a gun and when they attack you, shoot 'em.
In a film score, the last thing you want to do is take people out of the movie. The music is secondary. In opera, the music is the main event.
See, as a music composer, I am not competing with any music composer.
Every philharmonic orchestra merely interprets the composer. My goal was to create new music by that composer. In doing so, I wanted to find the painter's creative center and become familiar with it, so that I could see through his eyes how his paintings came about and, of course, see the new picture I was painting through his eyes - before I even painted it.
In my hometown of New Orleans, grief is a public spectacle that, somewhat paradoxically, necessitates celebration. The dead are not mourned so much as they are posthumously venerated with music and dance.
I want to own my masters. That's the main thing--owning all my music.
It's a sick thing, right: people are afraid of public speaking. I do public speaking, except my public speaking involves the audience only having one type of emotion and one type of reaction. If they have anything other than laughter, it's a failure. That's an absurd thing for a human to try to seek. The main thing to realize is that whatever I say, it's my truth and I believe in it, and if I don't get a laugh off that, then it's not working.
Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener.
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