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.

Musical practice is too young an art in America to warrant a search for men with a conductor's gift.

It always makes me sad when I think of how I saw Wagner wasting his vitality, not only by singing their parts to some of his artists, but acting out the smallest details, and of how few they were who were responsive to his wishes.

Conducting! A subject, truly, concerning which much might be written, yet scarcely anything of real importance is to be found in books.

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.

Composers are not all good conductors.

The ability to conduct is a gift of God with which few have been endowed in full measure.

I have often heard the statement made by foreign singers, as a demonstrated fact, that the German artists are artists in feeling indeed, and serious in their devotion, but that their singing is crude.

Of course, experience strengthens one later.

It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.

The conductor's gift does not always go hand in hand with that of composition; indeed, the union is found much more seldom than is popularly believed.

I learned, too, how it was possible with the help of the picture and action to transform an apparently insignificant violin passage into an incident, and to lift a simple horn call into a thing of stupendous significance by means of scenic emphasis.

America does not need gorgeous halls and concert rooms for its musical development, but music schools with competent teachers, and many, very many, free scholarships for talented young disciples who are unable to pay the expense of study.

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.

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.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

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.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.

I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Composers should write tunes that chauffeurs and errand boys can whistle.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

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.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.

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.

There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

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.

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

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.

Composers are not all good conductors.

Nobody can give a good performance unless the authors and composers have written a good part, a fact which is often overlooked.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

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.

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.

We teach young kids from 8 to 14 or 15 about their musical heritage through great songs written by American songwriters. We don't do too many modern composers, although we include songs from Billy Joel and other writers like him.

Then I started listenin' a lot to classical composers. Piano works. Just to see what they were doin'. That sort of put me in a different groove to try to blend all that in.

Let us not forget that the greatest composers were also the greatest thieves. They stole from everyone and everywhere.

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 would advise my young colleagues, the composers of symphonies, to drop in sometimes at the kindergarten, too. It is there that it is decided whether there will be anybody to understand their works in twenty years' time.

Composers dialogue - and obsessively, bitterly argue - with other composers, often over the span of several centuries.

Sincere composers believe in God.

A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?

Gifted women musicians and composers rarely received their due.

Still, American composers working in France have had a pretty hard time.