Composers Quotes

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 tend to listen to the classical composers: Rachmaninov, Satie.

Then I started listenin' a lot to classical composers. Piano works. Just to see what they were doin'. That sort of put me in a different groove to try to blend all that in.

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.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

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.

What inspires me is not so much the music as the opportunity to interact with composers. I think that has driven everything I've done.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

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.

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.

Most of the important composers in our country are clustered in the Northeast.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

I began like all composers, writing for small groups. Chamber groups.

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 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.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

I don't use composers. I research music the way I research the photographs or the facts in my scripts.

Other composers have taken this particular technique much further than I in the meantime, with the result that the Law of Diminishing Returns has begun to apply.

I feel that I belong to the 19th century. Some composers' music is very topical. It almost says, 'This is about what I read in newspapers yesterday.' Not mine.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.

Good writers are monotonous, like good composers. They keep trying to perfect the one problem they were born to understand.

I've heard though that there is a younger generation of tonal French composers who are reacting with vigour.

Composers should write tunes that chauffeurs and errand boys can whistle.

Many, many composers have only found their way to a certain form, through familiarizing themselves with texts.

When you have great songs that are going to live longer than the composers, everything you can do to bring those different elements and nuances out, serve the song.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

Gifted women musicians and composers rarely received their due.

The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!

Sincere composers believe in God.