Top 403 Composers Quotes & Sayings - Page 4
Explore popular Composers quotes.
Last updated on December 18, 2024.
I know I have experience, having worked with the likes of legendary composers like Ilaiyaraaja. And, I've been long enough with my dear friend A. R. Rahman, and we've collaborated on several musical works. All this gives me confidence.
There's always been good and bad music. Many composers hide behind modern music in order to not make music.
I think the reason composers aren't valued is because many act as servants rather than music directors. Instead of taking a stand based on their convictions, they sway to the opinions of others.
Film composers are the most prolific music makers on this planet, and most of us are, like, losing our minds if we're doing five or more movies in a year.
I live in a country where music has very little success, though, exclusive of those who have forsaken us, we have still admirable professors and, more particularly, composers of great solidity, knowledge, and taste.
I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.
The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.
Dietz and Schwartz have sort of fallen by the wayside a little bit, and they are up there with Rodgers and Hart and Irving Berlin and Cole Porter. They are the finest of the revue composers - their stuff is so good and so strong.
In a fit at the bookstore one day, I bought all my favourite composers' biographies: Schubert, Massenet, Wolf. I've still not had a chance to read them; it breaks my heart. But when you travel so much, you just can't take that many books with you.
A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?
Yes, because as composers we are looking for textured voices, and often the singers we find are not trained to perform in a studio environment. So we need technology to doctor their voices to suit the format.
I was very drawn to music of all types, from Beethoven to Jimi Hendrix. There were musicians and composers who obviously were expressing a vision that was beyond the mundane.
I'm a fanatic about Irish music. I love its moody, modal and timeless quality. I'm different from some other composers, because I don't look at this as just a job. I think of music as art.
Paul McCartney is a genius ... Paul married Rock & Roll to beauty, and forever raised the bar for composers, musicians, and fans ... an incredible solo performer ... the creator of our favorite songs.
Few of us boggle - though we should - at the fact that Louis Armstrong sang and played trumpet with similar panache, or that Leonard Bernstein and Benjamin Britten were equally adept as composers, conductors and pianists.
No two composers were more totally at home in front of the piano than Debussy and Chopin, hands to keys to strings to sound waves to pen and paper in one perfect gesture of inspiration.
I can count on one hand the number of conductors-composers-arrangers that I enjoy working with, and at the top of that list is Mack Wilberg. I feel like I've known Mack forever. I'm just nuts for him.
There are a lot of composers who were fantastic, but I challenge them to write a record that you could play five times a day for two months on the radio, songs that people will want to dance to on a Saturday night.
But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.
I regrettably wasted time at university by being overwhelmed and intimidated by the talent of other composers. I felt stuck and didn't know what I was doing there. I enjoyed my experience, but I didn't grab it in the way I would now.
Composers aren't daring enough. They're afraid of that sacred idol called 'common sense', which is the most dreadful thing I know - after all, it's no more than a religion founded to excuse the ubiquity of imbeciles!
The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.
Too many composers become involved in intellectual speculation which seems to matter more to them than the sound that comes out of all this speculation.
My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.
Perhaps two million years ago the creatures of a planet in some remote galaxy faced a musical crisis similar to that which we earthly composers face today.
Sibelius justified the austerity of his old age by saying that while other composers were engaged in manufacturing cocktails, he offered the public pure cold water.
It's no longer unusual for real avant-garde composers to have been in a band, and for bands to be interested in a wide range of music. Look at how artists like Aphex Twin are influenced by Nancarrow and Stockhausen.
It is the responsibility of music composers to add some classical music elements into their songs to make the music genre popular.
I sort of enjoy being able to hear what other composers are doing and how they might score something differently than me. I enjoy that part.
I would still love to do more Handel. I think Handel was a fantastic composer. I did lots of Vivaldi, but it's also important to do the music of Handel, one of the greatest composers of the 18th century.
Working with composers often is a really frustrating experience because you speak a different language and, oftentimes, they take two or three jobs, at the same time. They're difficult and pretentious and they're tormented artists.
Debussy is one of the few composers who actually created a new sound on the piano - or perhaps we should say a new smell, so perfumed are the vibrations which emanate from the instrument.
When you are a part of an all ensemble kind of thing, with many composers in one film, you get the freedom to work on one, or maybe two songs, and experiment without thinking too much about the film.
Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel.
I look at composers and conductors, anybody involved in music or writing or art in general; they got more done as they got older. If I can, I'll be one of those people because what I do is my passion.
Chopin is a great composer who influenced many, many important composers. He was a great innovator, especially in harmony.
I do think there is a valid reason that Segovia commissioned the composers he did. He was very much a pioneer, and what he wanted was a very listenable repertory. But I'm interested in different aspects of the guitar, and of music.
I am certain that most composers today would consider today's music to be rich, not to say confusing, in its enormous diversity of styles, technical procedures, and systems of esthetics.
There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.
I have declared that I will work free of cost with those composers who are passionate about their work. Sohail Sen is one such lad, whose music in Banjaara has been liked a lot.
Most composers and arrangers these days use computer programs and keyboards, but I'm one of those dinosaurs that still writes it down on score paper and still dreams it up in his ear first.
It would have been more obvious to go into film, based on the generation before me, but the generation before them were all composers or classical musicians.
Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.
Composers now just don't have the depth of inspiration for melody. Most of the lyrics of the pop songs you hear today are repetitious. They're almost nursery rhymes, as if written by children - which they are.
I would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years time.
I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.
Singers are definitely getting their due in Bollywood. I feel that music composers, on the other hand, tend to lose out on the popularity, fame, and success that singers usually enjoy.
One of the advantages I've had as an interpreter - because I'm not a composer - is I've had the fortune of working with great composers. Armando Manzanero, Rafael Perez Botija, Manuel Alejandro. These are the people who have built my career.
I am a very choosy guy, sometimes it gets very irritating for composers. If I don't feel it, then I am not able to perform.
This trend used to exist in Bengali playback where singers and composers would have their own hit series. I am thrilled that Bengal is seeing a revival of that trend.
I would really love to do the score for movies. Pick the music and work with composers. I don't know if I'd be any good at it, but I love music.
All composers who came after were influenced by Beethoven, even during his lifetime, both by his personality and by his music. He was a father figure for generations.
I started assisting music composers at 15 in an attempt to run away from studies. But my mom, hailing from a traditional, academically inclined south Indian family influence, made me complete my degree.
I'm more encouraged by the saplings: new music groups, tiny new venues, entrepreneurial musician-composers who aren't waiting to be discovered but are instead building their own Establishment.
The fact that the theatregoing public likes my music is no credit to me. There are many other composers who write better music that the public doesn't like.
I have always personally preferred to think of what is more difficult for my instrument, and not what is the most natural or the easiest. I enjoy the challenges - especially those that come with composers who have written contemporary music for the recorder.
I began working as an assistant since the age of 16 with my father Dabboo Malik, went on to work with composers like Amar Mohile, Salim-Sulaiman, Pritam Da, and Sandeep Chowta.
I'm really drawn to West Coast composers and I think it has a little something to do with looking across the Pacific instead of looking across the Atlantic.
The composers hated me. The singers detested me. The guitarists were terrified by me.
When I began, the guitar was en-closed in a vicious circle. There were no composers writing for the guitar, be-cause there were no virtuoso guitarists.
