A Quote by Leo Ornstein
It doesn't necessarily mean at all that the composer plays his own works best.
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Richie Faulkner is very respectful to the songs that he plays from when [founding member] K.K. [Downing] was in the band. He plays them incredibly. And he's got his own nuances and his own techniques that he puts in - as he should.
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.
For the virtuoso, musical works are in fact nothing but tragic and moving materializations of his emotions; he is called upon to make them speak, weep, sing and sigh, to recreate them in accordance with his own consciousness. In this way he, like the composer, is a creator, for he must have within himself those passions that he wishes to bring so intensely to life.
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.
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.
The first lesson I've learned is that no matter what you do in your life, you have to figure out your own internal rhythms - I mean, what works for you doesn't necessarily work for your friend.
The modern composer builds his works on the basis of truth.
The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.
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.
Whoever plays deep must necessarily lose his money or his character.
Many consider that Shostakovich is the greatest 20th-century composer. In his 15 symphonies, 15 quartets, and in other works he demonstrated mastery of the largest and most challenging forms with music of great emotional power and technical invention...All his works are marked by emotional extremes - tragic intensity, grotesque and bizarre wit, humour, parody, and savage sarcasm.
Sometimes in football, the best team does not necessarily win; it's the team that plays best on the day that prevails.
Being by his faith replaced afresh in paradise and created anew, he (the believer)does not need works for his justification, but that he may not be idle, but that he may exercise his own body and preserve it. His works are to be done freely, with the sole object of pleasing God.
Our employees and competitors thought we were docile. We want to be defiantly disruptive. I don't mean necessarily by launching price wars but by being the best at the basics - having the best customer service, the best on-time performance, the best coffee - in a thoughtful, not a testosterone-laced, way.
I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.
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.
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