A Quote by Vladimir Ashkenazy
I believe that interpretation should be like a transparent glass, a window for the composer's music.
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Style should be like window-glass, perfectly transparent, and with very little sash.
Good prose should be transparent, like a window pane.
For me a stained glass window is a transparent partition between my heart and the heart of the world.
Aaron Copland was a man that had a very specific point of view about what music should be which was that, he felt that new music should have the composer should show a personality in his music.
It is good that the window should be transparent, because the street or garden beyond it is opaque. How if you saw through the garden too? It is no use trying to 'see through' [everything]. If you see through everything, then everything is transparent. But a wholly transparent world is an invisible world. To 'see through' all things is the same as not to see.
What we're seeking to do is become transparent. A transparent window on reality. But that takes time to do. We're starting with a very solid, objectified view of ourselves and existence
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.
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.
...stories about [the German composer Johannes] Brahms's rudeness and wit amused me in particular. For instance, I loved the one about how a great wine connoisseur invited the composer to dinner. 'This is the Brahms of my cellar,' he said to his guests, producing a dust-covered bottle and pouring some into the master's glass. Brahms looked first at the color of the wine, then sniffed its bouquet, finally took a sip, and put the glass down without saying a word. 'Don't you like it?' asked the host. 'Hmm,' Brahms muttered. 'Better bring your Beethoven!'
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.
God Ain't no stained glass window, cause he never keeps his window closed.
Artists should be free to create what we want. I believe there's a special value in work that is a reflection of oneself as opposed to interpretation. When I see a film or a TV show about black people not written by someone who's black, it's an interpretation of that life.
Lucas should've run out of there that instant. Instead he stared at me through the glass and slowly unfolded his hand opposite mine so that our hands were pressed againts the pane of glass, fingers to fingers, palm to palm. We each move closer, so that our faces were only inches apart. Even with the stained glass, window between us, it felt as intimate as any kiss we'd shared.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
See, as a music composer, I am not competing with any music composer.
I feel a composer should not crave to sing songs because songs itself decides its voice. The films where I have given music, I have kept my option for the last. I like to make music and not necessarily singing all the songs.
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