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Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.
Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work.
Composers in the old days used to keep strictly to the base of the theme, as their real subject. Beethoven varies the melody, harmony and rhythms so beautifully.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
Composers and lyricists are not responsible for storyline and casting. One can imagine actors shouldering this responsibility, since they charge for half the film. But producers never ask actors to share the losses. Instead, they train their guns on composers and lyricists.
I grew up on Bach and Beethoven, and now I'm listening to more modern composers that I can not even name. But because I play music all the time, it's hard to get the time to listen to music and classical music.
I want young Indian composers to be able to do more than just movie music. I want to give them the skills that will allow them to create their own palette of sounds instead of having to write formula music. It does not matter if they become sound engineers, producers, composers or performers I want them to be as imaginative as they want.
The more studio producers invest in dollars, the less freedom we have. If the budget reaches $ 100 million, they are afraid they take the existing score of a blockbuster movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within these limits.
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.
I think the thing's that perhaps sad really is that younger people haven't come in and I think it must have been absolutely fantastic to have worked in the 50's when you had all of the great Broadway composers and when West Side Story didn't win the Tony Award.
The composers could no longer direct all performances in person, and so the responsibility of interpreting their works in the spirit in which they had been conceived was placed upon conductors.
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.
With recording, everything changed. The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture. It's an idea that many composers have felt reluctant about because it seemed to them to diminish the importance of music.
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.
The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.
I still the love classic period, but also the baroque period, and even 17th Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
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.
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.
Well, American composers are the best composers. At this time in the world, we are where the energy is. We are the most diverse, the most iconoclastic, the most maverick, and the most skillful.
My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.
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.
A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.
I find I'm not one of these composers that are, you know, walking along a beach or walking on the mountainside in County Donegal that's, you know, 'Oh, a melody.' It's more a matter of eventually taking that moment with me to the studio, and it begins to evolve.
Many of the greatest composers and musicians do their best work in extreme confinement but we are seeing it in other fields uses of technology to link people together in networks to solve problems and almost certainly we'll get better ideas than we would from them just doing it on their own.
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.
Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.
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 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.
I would like to see more new productions of new material by new composers/lyricists/book writers. I would like to see people take more chances. I think because everything costs so much they're not taking the chances they used to.
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