Composer Quotes

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.

It is my hope that during my brief passage through this universe, that I may share with you the joy of hearing the music of the stars... knowing that the composer was from a distant place and the songs were written eons ago, which now fall gently on this place for all to hear.

As a major contemporary composer, Madonna should not let the eye dictate to the ear.

When my opera Plump Jack was performed in 1989, my first piano teacher sent me something that I'd composed when I was four. I remember I played it, and it still sounded like me. I'm the same composer I was then.

If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void.

Americans can pretty much sing anything, whereas foreign singers are often limited in style, language, even composer.

I began my career with infantile dreams of becoming a composer.

I'm not an architectural composer.

I think there's a time as a writer when you want to see the best things in life, and you go out wherever you go with your dreams as a writer or a composer.

Because I have sixty years of being a professional composer, conductor, musician, whatever, and you develop a lot of friendships and you get involved with a lot of sort of long-term commitments and obligations.

I have learned throughout my life as a composer chiefly through my mistakes and pursuits of false assumptions, not by my exposure to founts of wisdom and knowledge.

I was meant to be a composer and will be I'm sure. Don't ask me to try to forget this unpleasant thing and go play football - please.

The negative is the equivalent of the composer's score, and the print the performance.

If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.

Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me a reactionary.

I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.

I've had those people very interested in my writing. Since I think of myself as a composer, I feel really good. I've had lots of guys call me up. I've gotten two or three commissions to write things. I've written lots of movie scores.

It doesn't necessarily mean at all that the composer plays his own works best.

If you only do little clusters - three or four songs by one, and another, and then yet another - you lose the opportunity to think your way into the composer's mind, since, after all, most of these pieces are quite brief.

There's still a lot I need to do as a player, as a musician, as a sound creator. I have commissioned 170 pieces: that's still not enough, there are still lots and lots of composers I would like to approach. When I see a composer and I see a performer, I think to combine those forces.

I find respect for a mediocre British composer, as opposed to a really good American, ridiculous because they automatically respect a composer if he's from England.

Remember always that the composer's pen is still mightier than the bow of the violinist; in you lie all the possibilities of the creation of beauty.

Other, far fewer, directors are more like the composer - conceptualizing the piece, scoring it, distributing its musical lines among a range of registers, chords, and instruments.

The thing about influence is that any composer worth anything will give you the same names.

I don't think a guy that really has no understanding about people, or has no interest in understanding people would make a good film composer.

If I belong to a tradition, it is a tradition that makes the masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the composer what he ought to have composed.

If I weren't a director, I would want to be a film composer.

Why should the composer be more guilty than the poet who warms to fantasy by a strange flame, making an idea that inspires him the subject of his own very different treatment?

To judge a composer's work, one must consider it as a whole.

Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist.