A Quote by Daniel Barenboim

For me personally, Elliott Carter was and remains one of the most meaningful composers of the late 20th and early 21st centuries because he represents substance. He was the living proof of uncompromising, complex music, which at first seems inaccessible. But it becomes accessible if one digs in and sees the development through.
On Nov. 5, 2012, my friend Elliott Carter died in New York at the age of 103. For me, he was and remains one of the most interesting figures of music history in the past century.
I am convinced that 100 years from now, people will talk about Elliott Carter as one of the most important figures in the second half of 20th-century music.
I like classical music of the late 19th and early 20th centuries, and I adore Bach above all.
I'm a fan of 20th century orchestral music, the experimental avant-garde composers of the '50s, '60s, and '70s. In horror movies you can write music that if it was performed on the concert stage would have the audience running out of the room with their fingers in their ears. But in a movie all of a sudden it becomes incredibly accessible and appreciated.
In a way, the history of jazz's development is a small mirror of classical music's development through the centuries. Now jazz is a living form of original music, while classical music has gotten to the end of its cycle in terms of exploring its form.
Because for me, '60s pop music is amongst the most complicated or complex music because it has so many resonances which strike you. The music itself is often simple, but the way that I interpret it, or the way I think it's interpreted culturally, is very complex.
That's a chapter - the last chapter - of the 20th ... 20th ... the 21st century that most of us would rather forget. The last chapter of the 20th century. This is the first chapter of the 21st century.
I think future generations will say the late 20th century and the early 21st century was a time of great convulsions and upheavals.
The most basic act of awareness or knowing that we can demonstrate in science. I postulate that that is the very basis of why we're conscious at all, that it is this relationship at the quantum level as matter evolves into more complex form, including plants and animals and living substance and ourselves, that this area of consciousness as an awareness becomes more and more complex.
Saying you're a pop group isn't saying very much. Personally, when I think of pop, I think of instant, accessible, catchy songs - I definitely identify our music as that. I think that by writing pop, or instant, accessible or hopefully catchy music, it shoes you into bigger audiences because it seems that more people like that music. I think the possibilities are endless if you stick to a simplistic short song; the music can be as wild and bizarre as you want it to be, as long as at the core of it, there's something really strong.
I have loved Elliott Carter's music for many years.
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.
In the early 20th century the monarchy was held up as the archetypical virtuous British family. In the late 20th century it became the most wonderful symbol of the complete re-engineering of family structures.
I'd like to be remembered not only for my body of work but also for specific novels. Ideally, I want to be remembered in the same way as Stephen King, who defined and exemplified excellence in the horror genre in the late 20th and early 21st century.
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.
I don't believe, in the 21st century, in the balance of power system. This is a European idea of the 19th and 20th centuries.
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