A Quote by Daniel Handler

Composer” is a word which here means “a person who sits in a room, muttering and humming and figuring out what notes the orchestra is going to play.” This is called composing. But last night, the Composer was not muttering. He was not humming. He was not moving, or even breathing. This is called decomposing.
I don't ascribe to the idea of the ivory tower composer who sits alone in a room composing his masterpieces and then comes down from Mount Sinai with the tablets. It doesn't work like that. The job of a composer is putting something down on a piece of paper that will inspire the person who's playing.
I am a black woman the music of my song some sweet arpeggio of tears is written in a minor key and I can be heard humming in the night Can be heard humming in the night
If a composer could state in words what being a composer means, he would no longer need to be a composer.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
It was his subconscious which told him this - that infuriating part of a person's brain which never responds to interrogation, merely gives little meaningful nudges and then sits humming quietly to itself, saying nothing.
I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
Every bit of theorizing I've ever done, including my interest in Berg, has come as a consequence of discoveries I made as a composer and interests that I developed as a composer. I never thought of my theory as being a kind of irrelevant activity to my composing.
When I put my brush to canvas, I never know what I'm going to paint. It's like when you're walking down the street with your hands in your pockets, humming a tune, you don't know what you'll be humming five minutes from now.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach. I really can’t think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is valuable beyond all of its skill and brilliance for something more meaningful than that — its humanity.
A composer like me finds it impossible to work with today's producers. They want to tell you exactly how to compose, which notes to play, which rhythms to put in which part of the song.
it's important as a composer to sit in silence and imagine these complex musical worlds in your head, but it's also a wonderful experience to touch your music and to hear it and hear it in the room with you and to say, you can't have an entire orchestra there, but you'd kind of like to have the orchestra there.
I know this one pusher walks around humming a tune and everybody he passes takes it up. He is so grey and spectral and anonymous they don't see him and think it is their own mind humming the tune.
Then the bow orchestra began to play an apocalyptically beautiful canon, one of those pieces in which, surely, the composer simply transcribed what was given, and trembled in awe of the hand that was guiding him.
It is always interesting and sometimes even important to have intimate knowledge of a composer's life, but it is not essential in order to understand the composer's works.
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