Zitat des Tages über Komponist / Composer:
With Hitchcock I had little relationship. I was called to replace Bernard Herrmann, his favorite composer, in Torn Curtain, after the bitter fight between them.
My first husband, John Barry, was a composer. I couldn't believe that this sophisticated, talented genius chose me and not any of the other girls. I was so flattered, so excited, so in love with him. Of course, my parents were horrified, as he'd been married once and had a daughter with the au pair girl.
I was offered a few shows, but the money didn't work out, but I'm not very keen on judging such shows. I'm happy in my space as a composer.
I think a composer is always interested in his last work.
It's not a special taste. An American composer should have something to say to a cab driver.
My dream was always to be a composer, but fashion came very easily.
I always felt of myself as a composer, performer, improviser. I've never called myself a jazz man. I make art.
'Neverwhere,' by Benjamin Millepied, is set to his favorite composer, Nico Muhly.
I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.
I've always been a composer dependent on texts.
I'm still getting used to being called a composer. A poseur, maybe.
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.
Do you know that my very first experience as a composer was a 'Concerto for Accordion?'
I had a musician friend once tell me that it's not in the orchestra that you get the true test of the musicians but in the little trios and quintets where you really get to see if they've got the stuff. And the composer.
I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.
To call somebody a Jewish composer is obviously redundant.
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?
At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.
It doesn't necessarily mean at all that the composer plays his own works best.
That is basically me, and although I have done many things in my life - conducting, playing piano, and so on - what is fundamental is my being a composer.
The thing about influence is that any composer worth anything will give you the same names.
I am not so complicated or intelligent a composer, nor am I very interested in becoming so. I am much more happy doing what I know I can do than what I am not sure I could do.
As a composer, I'm basically trying to represent myself through my music in an honest way.
When I got out of college, I moved to Seattle because it was the nearest big city and still didn't know if I wanted to be a composer, conductor, singer, actor. I just got day jobs and auditioned and took what came, and the theater doors were the ones opening the most.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.
There's an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don't exist.
I'm not an architectural composer.
You have to face the fact that I have no reputation as a composer; I have my reputation as a songwriter and a performer-and that opportunity came this summer, when I was invited to perform at the Lincoln Centre festival in New York... three nights.
Since the composer has said everything, if you discover everything, it will be enough and you will be a happy man. Don't try to say it's your taste, and because of that you are changing this or that. And I must say this respect is still there.
My main concern is if this composer has been made aware of the fact that I've come clean in all of my cases. I killed in pure hate, robbing along the way. So if this person hasn't, then I'd sure appreciate it if someone would inform him or her of it.
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.
I don't really call myself a composer.
The old idea of a composer suddenly having a terrific idea and sitting up all night to write it is nonsense. Nighttime is for sleeping.
A good composer does not imitate; he steals.
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.
