A Quote by Marc-Andre Hamelin

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.
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.
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.
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.
At the end of the day, I am singing the composer's creation, and I follow the instructions given to me. What I feel may be a right take may not work for the composer or his vision on how he thinks the song should sound.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
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.
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.
The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.
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 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 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.
Phrasing is the idea of finding sentences and using punctuation in speech. I often look at the score to see what's written in by the composer to see if I can find clues to those directions, like what direction did the composer have in mind, and I try to incorporate those things as much as possible.
Intelligent analysis of the composer's intention and strict adherence to it automatically ensures sincerity.
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.
Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.
I'm not a script composer. I'm a film composer and my brain is excited by images and moving elements.
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