A Quote by DJ Spooky
When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.
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If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.
It's the vision of the composer that we have to determine, and not the absolute mathematical adherence of the score. In my experience, there have been occasions where I feel that a composer has not notated something as they meant to have it represented.
To talk about communication theory without communicating its real mathematical content would be like endlessly telling a man about a wonderful composer, yet never letting him hear an example of the composer's music.
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.
In most multiple composer situations, you find it because someone got nervous about the music and insisted that somebody else come in and help.
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.
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.
I can admire music where you feel the composer has everything organized and perfectly shaped, but it doesn't touch me. I like to feel that a composer is wounded, like all of us.
When you hear composer, you think, like, Beethoven: guy in a powdered wig, at a piano, furiously scribbling on manuscript paper. That's not the only image that a composer should bring up, you know. But that's kind of what we've said it is.
In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.
Wagner exploited all forms of expression at a composer's disposal - harmony, dynamics, orchestration - to the extreme. His music is highly emotional, and at the same time Wagner has extraordinary control over the effect he achieves.
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.
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.
I simply love Wagner's music. That actually started very early. He was the first composer I was exposed very much to because my parents introduced me to Wagner's music very early.
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.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
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