#composer

When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them. ↗

— Luc Ferrari

#contemporary #contemporary music #i #major #music

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. ↗

— Stanley Clarke

#composer #film #good #good film #guy

Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.' ↗

— Ornette Coleman

#composer #i #i always #i think #myself

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. ↗

— Brian Ferneyhough

#begun #composers #diminishing #further #i

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. ↗

— Brian Ferneyhough

#both #came #canon #composers #depended

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. ↗

— Evelyn Glennie

#been #collaborating #commissioned #composers #i

A nation creates music - the composer only arranges it. ↗

— Mikhail Glinka

#composer #creates #music #nation #only

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. ↗

— Thomas Harrison

#chords #composer #directors #distributing #far

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. ↗

— Nigel Kennedy

#classical #classical music #composer #could #flexible

Been thinking of my grandfather, whose wayward brilliance skipped my father’s generation. Once, he showed me an aquatint of a certain Siamese temple. Don’t recall its name, but ever since a disciple of the Buddha preached on the spot centuries ago, every bandit king, tyrant, and monarch of that kingdom has enhanced it with marble towers, scented arboretums, gold-leafed domes, lavished murals on its vaulted ceilings, set emeralds into the eyes of its statuettes. When the temple finally equals its counterpart in the Pure Land, so the story goes, that day humanity shall have fulfilled its purpose, and Time itself shall come to an end. To men like Ayrs, it occurs to me, this temple is civilization. The masses, slaves, peasants, and foot soldiers exist in the cracks of its flagstones, ignorant even of their ignorance. Not so the great statesmen, scientists, artists, and most of all, the composers of the age, any age, who are civilization’s architects, masons, and priests. Ayrs sees our role is to make civilization ever more resplendent. My employer’s profoundest, or only, wish is to create a minaret that inheritors of Progress a thousand years from now will point to and say, “Look, there is Vyvyan Ayrs!” How vulgar, this hankering after immortality, how vain, how false. Composers are merely scribblers of cave paintings. One writes music because winter is eternal and because, if one didn’t, the wolves and blizzards would be at one’s throat all the sooner. ↗

— David Mitchell

#composer #immortality #music #age