A Quote by Thomas Beecham

Composers should write tunes that chauffeurs and errand boys can whistle. — © Thomas Beecham
Composers should write tunes that chauffeurs and errand boys can whistle.
I was taught to whistle as a little girl by an undertaker. I used to sit in his workshop, watching him planing wood for the coffins, and he used to whistle all the time - and eventually I started whistling, too. I can whistle anything, particularly trumpet tunes from Classic FM.
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 do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.
The thing we adore about these dog-whistle kerfuffles is that the people who react to the whistle always assume it's intended for somebody else. The whole point of the metaphor is that if you can hear the whistle, you're the dog.
O happy dogs of England, Bark well at errand boys, If you lived anywhere else, You would not be allowed to make such an infernal noise.
A mission that comes from the heart to promote these things and to encourage composers to write, then of course they should do it. And there are more than a few pianists these days who do this, fortunately.
I was a trader for a company. That's different from the brokers who we sort of disdain as sort of just errand boys.
Never delay a prompting. When you honor a prompting and then stand back a pace, you realize that the Lord gave you the prompting. It makes me feel good that the Lord even knows who I am and knows me well enough to know that if He has an errand to be run, and He prompts me to run the errand, the errand will get done.
For the blockbusters, people were always telling me that if you write female protagonists, the boys won't go, so you have to put the boys' stuff in it to get everybody. I write for people from 8 to 80, and that's not easy.
I conceive that the right way to write a story for boys is to write so that it will not only interest boys but strongly interest any man who has ever been a boy. That immensely enlarges the audience.
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 was straight listening to rap at 15: LL Cool J, the Skinny Boys, Whistle, UTFO. And Run-D.M.C.'s debut was at the top of my list.
Compared with other Indian film composers, I only write about six movies a year. Others write up to 60.
I think, for me, there's The Book I Should Write and The Book I Wanted to Write - and they weren't the same book. The Book I Should Write should be realistic, since I studied English Lit. It should be cultural. It should reflect where I am today. The Book I Wanted to Write would probably include flying women, magic, and all of that.
Referees are the law. They have a whistle. They blow it. And that whistle is the articulation of God's justice.
When people say “clean as a whistle”, they forget that a whistle is full of spit.
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