A Quote by Peter Maxwell Davies
I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.
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If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
I didn't give any instruction to the video, because it was a new medium. I didn't know what to tell him; it was so young. I did the piece and immediately after the piece, I wanted to see the material.
When a piece is done, I mix it before going on to any other piece
When a piece is done, I mix it before going on to any other piece.
It's really great to do one piece, "I've Grown Accustomed To Your Face," my dad developed in 1956, when he was 20 years old, and it's great to do that piece again now and see that it still really works as well as it ever did.
Life is given to you like a flat piece of land and everything has to be done. I hope that when I'm finished, my piece of land will be a beautiful garden.
Life is given to you like a flat piece of land and everything has to be done. I hope that when I am finished, my piece of land will be a beautiful garden, so there is a lot of work.
I've never, ever done a piece of work - and can't imagine doing a piece of work - when I've thought, 'I was pretty perfect in that.'
There's an old saying: 'No piece of writing is ever finished, it's just abandoned.' But my own rule is: No piece of work is done until you want to kill everyone involved in the publishing process, especially yourself.
I do hope some of my work has a long lifetime. A piece that works out well this year may work out very well in twenty years' time as well, but I'm very much thinking about what's the right piece now, at this moment.
When you're me, when you're R. Kelly, everybody wants a piece of you, and if you don't give 'em a piece they'll find a way to get a piece of you one way or the other.
Bringing together disparate personalities to form a team is like a jigsaw puzzle. You have to ask yourself: what is the whole picture here? We want to make sure our players all fit together properly and complement each other, so that we don't have a big piece, a little piece, an oblong piece, and a round piece. If personalities work against each other, as a team you'll find yourselves spinning your wheels.
"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think I was simply marking time. However, I think when the dance is in motion, the formal problem is nonexistent.
I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.
It was missing a piece. And it was not happy. So it set off in search of its missing piece. And as it rolled it sang this song - "Oh I'm lookin' for my missin' piece I'm lookin' for my missin' piece Hi-dee-ho, here I go, Lookin' for my missin' piece.
Tools may be animate as well as inanimate; for instance, a ship's captain uses a lifeless rudder, but a living man for watch; for a servant is, from the point of view of his craft, categorized as one of its tools. So any piece of property can be regarded as a tool enabling a man to live, and his property is an assemblage of such tools; a slave is a sort of living piece of property; and like any other servant is a tool in charge of other tools.
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