A Quote by Richard Rodney Bennett

Elizabeth Lutyens was the first professional composer that I ever knew. I sent someextremely infantile pieces that I I'd written and got marvellous encouragement andinterest from her... she's certainly the English composer who's influenced me themost.
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.
I am not a composer of music; I sing pieces which have been written for me which gives me bigger freedom to search for pieces I want to record.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.
Notes are part of life for any composer for hire. There's no way around it. I think anyone who has done even a small number of films as a professional composer gets used to that idea pretty quickly.
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.
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 began my career with infantile dreams of becoming a composer.
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.
I am a passionate, committed composer, and the guy I used to write musicals with, once he was able to ditch me and get a better composer, actually won the Tony.
I may not be a first-rate composer, but I am a first-class second-rate composer.
Miranda [Hentoff] is a complete musician. She's a composer, a singer. She writes scripts along - with her projects. And she's a superb teacher. Her teaching pupils have ranged from Itzhak Perlman to Sting.
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.
When my opera Plump Jack was performed in 1989, my first piano teacher sent me something that I'd composed when I was four. I remember I played it, and it still sounded like me. I'm the same composer I was then.
My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
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.
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