A Quote by Milos Forman

Communists love to make films about composers because composers compose music and don't talk subversive things. — © Milos Forman
Communists love to make films about composers because composers compose music and don't talk subversive things.
Communists love to make films about composers, because composers compose music and don't talk subversive things.
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.
I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of "simple" or "complex" music - has become increasingly problematic and is almost never productive.
Even experimental composers, revolutionary composers, self-styled radicals are, in writing revolutionary music, recognizing the music that preceded them precisely by trying to avoid it.
Composers can do things that weren't allowed in the 17th century. Until we had composers like Igor Stravinsky and Sergei Rachmaninoff to break the rules.
I think that live shows are more important for singers than composers, because composers still get a lot of recognition as compared to a singer.
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel. They'd be strange teenagers if they didn't. But cross-pollinating happens too - Aphex Twin did more interesting things with electronic music than most trained composers, who seemed to approach samplers with undue caution and reverence in those early days.
New Amsterdam Records, a new label run by composers, has begun documenting this hybrid music, with invigorating discs by the band itsnotyouitsme and the composers Corey Dargel and William Brittelle.
There was this kind of dictatorship of the Darmstadt school, composers like Boulez and Stockhausen, who were very strict and orthodox. They would not allow other composers to write the music they wanted to write, and only a certain kind of music could be played.
I'm a fanatic about Irish music. I love its moody, modal and timeless quality. I'm different from some other composers, because I don't look at this as just a job. I think of music as art.
I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.
A whole generation of veteran composers has never taken a stand or provided an example and has produced in the music academies generations of docile workers for the music industry. What can you expect from downtrodden workers who see music as a type of profession, like stenography, and not an act of creation that by its nature is subversive?
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.
We love what we do. We're passionate about making music and as composers; that's just who we are.
Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.
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