A Quote by Stromae

I'm a composer like every maestro on this earth. — © Stromae
I'm a composer like every maestro on this earth.
Caravaggio was a tormented, defiant, bisexual, angry young man - a maestro who looked nothing like a maestro.
Ramesh Vinayakam is a maestro music composer and a dear friend, too.
I like songs to mean something as well as sound good, and Paul Simon is a maestro. While Art Garfunkel was a voice and moved on to other things Simon remained the genius lyricist and composer.
In America, they have this nauseating habit of calling the conductor 'maestro'. I always slightly gag when the cor anglais player goes, 'Maestro, can I discuss bar 19 with you?'
Being the composer of 'Minecraft' is basically like imagining the distance between earth and moon.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
The weird thing is that 'Maestro' has somehow improved my DJing. When you've been in this music as long as I've been, you can sometimes become jaded. And when I got back from 'Maestro,' I realised the music is being kept in time for me - all I have to do is to wrap as much dynamic around it as I can. DJs don't realise how lucky we are.
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.
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.
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.
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.
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.
I listen to the summer symphony outside my window. Truthfully, it's not a symphony at all. There's no tune, no melody, only the same notes over and over. Chirps and tweets and trills and burples. It's as if the insect orchestra is forever tuning its instruments, forever waiting for the maestro to tap his baton and bring them to order. I, for one, hope the maestro never comes. I love the music mess of it.
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.
When you hear composer, you think, like, Beethoven: guy in a powdered wig, at a piano, furiously scribbling on manuscript paper. That's not the only image that a composer should bring up, you know. But that's kind of what we've said it is.
The Earth is the Lord. Everybody walks on the earth. And nobody respects the Earth. Everybody who walks on the earth, shits on the Earth. Spits on the Earth. Don't respect the Earth. So the Earth didn't like it. So the Earth call for a revolution. And the earth is fighting back. The Earth call for a revolution. The Earth call for justice. And the Earth get justice. 'Cause the Earth release ganja. The Earth release herbs.
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