Composer Quotes - page 3
As a theorist I have great advantages. All I need is a pencil (now a ball pen) and an empty pad of paper. There are analysts who sit and look vacantly out the window, but after the age of 20 I was not one of them. I ought to envy the new generation who have grown up with the computer, but I don't. None of them known to me sits idly at the console, improvising and experimenting in the way that a composer does at the piano. That ought to become increasingly possible. But up to now, in my observation, the computer is largely a black box into which researchers feed raw input and out of from which they draw various summarizing measures and simulations. Not having access to look around in the box, the investigator has less intuitive familiarity with the data than used to be the case in the bad old days.
Paul Samuelson
...there is no point to musical analysis at all unless it is 'two-dimensional' – unless [...] one examines the music in terms of what I call its 'Background' (and this 'Background' is the sum total of the expectations which the composer creates) and its 'Foreground' (and its 'Foreground' is what he does instead). That is to say, the composer creates certain expectations, well-defined expectations, which he proceeds to meaningfully contradict. There is therefore a strong relation between 'Background' and 'Foreground', between that which happens and that which lies at its back – or to put it the other way round, between that which the composer leads you to expect, and that which he does instead...
Hans Keller
A singer who is able to sing even sixteen measures of good music in a natural and engaging way, effortlessly and in tune, without distending the phrase, without exaggerating accents to the point of caricature, without platitude, affectation, or coyness, without making grammatical mistakes, without illicit slurs, without hiatus or hiccup, without making insolent changes in the text, without barks or bleats, without sour notes, without crippling the rhythm, without absurd ornaments and nauseating appoggiaturas – in short, a singer able to sing these measures simply and exactly as the composer wrote them – is a rare, very rare, exceedingly rare bird.
Hector Berlioz
Each jazz musician is supposed to be a composer. Whether he is or not, I don't know. I don't listen to that many people. If I did, I probably wouldn't play half as much to satisfy myself. As a youth I read a book by Debussy and he said that as soon as he finished a composition he had to forget it because it got in the way of his doing anything else new and different. And I believed him. I used to work with Tatum, and Tatum knew every tune written, including the classics, and I think it got in the way of his composition, because he wasn't a Bud Powell. He wasn't as melodically inventive as Bud. He was technically flashy and he knew so much music and so much theory that he couldn't come up with anything wrong; it was just exercising his theory.
Charles Mingus
I can respect the artistic aim of a composer if he arrives at the so-called modern idiom after an intense period of preparation...Such composers know what they are doing when they break a law; they know what to react against, because they have had experience in the classical forms and style. Having mastered the rules, they know which can be violated and which should be obeyed. But, I am sorry to say, I have found too often that young composers plunge into the writing of experimental music with their school lessons only half learned. Too much radical music is sheer sham, for this very reason: its composer sets about revolutionizing the laws of music before he learned them himself.
Sergei Rachmaninoff
![It is as a composer that his name will live longest. He was the last of the colourful Russian masters of the late 19th cent[ury], with their characteristic gift for long and broad melodies imbued with a resigned melancholy which is never long absent. (Sergei Rachmaninoff)](https://cdn.quotesdtb.com/img/quotes_images_webp/96/sergei-rachmaninoff-absent-broad-313696.webp)
I make a little mystique for myself. Since I have no preference or so-called sense of color, I could take almost everything that could be some accident of a previous painting. Or I set out to make a series. I take, for instance, some pictures where I take a color, some arbitrary color I took from some place. Well, this is gray maybe, and I mix the color for that, and then I find out that when I am through with getting the color the way I want it, I have six other colors in it, to get that color; and then I take those six colors and I use them also with this color. It is probably like a composer does a variation on a certain theme. But it isn't technical, it isn't just fun.
Willem de Kooning
I am convinced that the decisive factor in dramatic effect will be a smaller orchestra, which does not drown out the human voice as does a large orchestra...The orchestra of the opera of the future is the chamber orchestra which, by painting in the background of the action on the stage with crystalline clearness, can alone realise precisely the intention of the composer with regard to the vocal parts. It is after all an important desideratum that the audience should not only hear the sounds but should also be able to follow the words closely.
Richard Strauss