A Quote by John Zorn
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.
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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.
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.
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.
Were Moses to go up Mount Sinai today, the two tablets he'd bring down with him would be aspirin and Prozac.
THe world now has so many problems that if Moses had come down from Mount Sinai today, the two tablets he'd carry would be aspirin.
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.
I don't work with an outline, except a vague one in my head, a general idea of character, place, arc... I'm like a composer with a symphony in their head: I can hear the music, I just have to figure out how to put it down on paper. But I don't always know where my stories are going when I begin.
When I was 20, Shostakovich was my favorite composer. I still find his Fifth Symphony wonderful, with its outstanding themes and rhythms. That's the piece that made me want to be a classical composer.
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.
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.
The great composer does not set to work because he is inspired, but becomes inspired because he is working. Beethoven, Wagner, Bach and Mozart settled down day after day to the job in hand with as much regularity as an accountant settles down each day to his figures. They didn't waste time waiting for inspiration.
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.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
A collection is not just one basic idea. It comes from something that is in the air, something you suddenly like and put down on paper and then work out.
Frank [Zappa] said he probably would have been a major criminal, given his brain power and his attention to detail, had he not been a composer. But being a composer is not something you can't help.
The most enduring Top 10 ever written wasn't written at all, but chiseled onto stone tablets and conveyed down Mount Sinai by Moses, who introduced to the world not just a set of Biblical precepts but also a new format for starting arguments: the list of 10 things.
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