A Quote by Hilary Hahn
It's really been enlightening for me to work with composers because I used to think that everything in the music was exactly what the composer meant. Well, it's what the composer meant in that moment when they wrote it.
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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.
I had great inspiration from a Japanese composer named Toru Takemitsu. He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.
If somebody says, 'Well, what are your favorite composers?' really, what they are saying is, 'What are your favorite composers apart from Bach?' Because obviously, Bach is your favorite composer if you are involved in music at all.
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 have often read critical pieces where the critic said that what the composer was trying to do didn't come off. I have wondered what the critic meant if he didn't know what the composer was trying to do.
When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.
With recording, everything changed. The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture. It's an idea that many composers have felt reluctant about because it seemed to them to diminish the importance of music.
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.
I always wanted to be a composer, and I sort of went in to NYU as pre-med because I just thought, 'Well... who actually becomes a composer?'
I am a passionate, committed composer, and the guy I used to write musicals with, once he was able to ditch me and get a better composer, actually won the Tony.
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.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
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.
I was meant to be a composer. I was meant to meet my wife and have our three children. There were a number of factors that led to all of that happening, which, if you mapped it out, you would say, 'God, a lot had to go right for all of those things to line up.'
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.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
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