A Quote by Krzysztof Penderecki

I began as a violinist, not a composer. Thus my contact with orchestral musicians, with the source of music, is very important. — © Krzysztof Penderecki
I began as a violinist, not a composer. Thus my contact with orchestral musicians, with the source of music, is very important.
Every composer's music reflects in its subject-matter and in its style the source of the money the composer is living on while writing the music.
For instance, members of the elite will never allow their children to become musicians normally, because it's - not embarrassing - but it's not done. There's a very famous composer from the '70s from a well-known family that disowned him, and he's a man, so there's this historical precedence with their relationships with musicians - not so much music as it's this abstract thing - but externally with artists.
Orchestral musicians have a different approach than we do, and when I say 'we,' I mean musicians who don't know what they are doing.
My interactions with musicians have been simply that: interactions with musicians. Issues of gender, or anything else beyond the music-making, have in my experience played no role in whether or not a musician has been able to articulate my intentions as a composer.
We always have a basic structure for a piece of music, but we encourage the musicians to elaborate on whatever they feel at that particular moment. There's a definite conversation happening on stage. I think it is very important for us as creative musicians, to instantaneously describe any energy that is visible at that time.
The type of music we know as classical music began with rich people hiring musicians or owning them in a way. Without funding, it's very hard to have this experience. Be it state money or private money, there has to be someone dedicated to raising the money.
I started with very tonal 19th-century music because I wanted to be a violinist as a child. So this was my first music, and then I was very much influenced by Stravinsky and Shostakovich in the 1950s. But I was starting to develop my own style.
Rock musicians, and a vast array of popular-music musicians, due to their wealth, acquired through the mass of their notoriety, are able to be listened to and heard and thus are able to effect change on an international level.
In chamber music, the audience can hear each instrument and understand (and feel) what the composer and the musicians have in mind as they play.
Any composer who is gloriously conscious that he is a composer must believe that he receives his inspiration from a source higher than himself.
Music is my natural language. I have always had a form of dyslexia. I never studied music formally, so emotions come directly from the source into song mode. As a composer, it may be fortuitous. What I feel is what you get.
It was at Bell Labs that I first made direct contact with real semiconductor experts and thus began to fully understand what amazing materials they were and what they could do.
When it comes to orchestral music, whenever I see a concert with orchestra and strings, and I arrive and there are speakers up, my heart always sinks a little bit, and I think, 'It's going to be down to some sound guy's ideas.' Contact microphones on the violins. I'm a purist, I suppose.
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.
I have very eclectic taste in music. I like everything from Nirvana, which is featured in the film, to world music, to orchestral and jazz. For me, the nineties were about Oasis, because I was travelling around Britain when that band exploded onto the music scene.
Remember always that the composer's pen is still mightier than the bow of the violinist; in you lie all the possibilities of the creation of beauty.
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