A painter paints pictures on canvas. But musicians paint their pictures on silence.— Leopold Stokowski
Famous Classical Composers quotations
Love, love, love, that is the soul of genius.
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 may not be a first-rate composer, but I am a first-class second-rate composer.
Physicists are more like avant-garde composers, willing to bend traditional rules... Mathematicians are more like classical composers.
I had great inspiration from a Japanese composer named Toru Takemitsu.
He wrote over 90 film scores and a lot of concert music, a lot of classical music, and he gave me a lot of inspiration, as well as composers from other countries.
A Haydn symphony had a meaning for the social group that listened to it.
A Mahler symphony had a meaning for the man who composed it. Here is the difference between the classical and romantic attitudes to art.
I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.
I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.
I got into one of the Scottish classical styles called piobaireachd, which is a very old music that started around the 1700s or something. I really got into this music. After that, I started to compose bagpipe music in my notations. Then I started building bagpipes by myself, and then I started to perform with the instrument myself in the 1980s.
For me personally - because I do it myself - the scoring of a picture is fun.
I edit the picture and when I've finished I go into my room and I have many many records - jazz, classical and popular music. And I have this all at my disposal. I don't have to get a composer.
I am a ham. I've no business being rock 'n' roll. I've said it over and over again that I'm a classical composer, dishevelling my personality by dabbling in rock 'n' roll.
Salieri was a pupil of Gluck. He was born in Italy in 1750 and died in Vienna in 1825. He left Italy when he was 16 and spent most of his life in Vienna. He's the key composer between classic music and romantic music. Beethoven was the beginning of romantic music, and he was the teacher of Beethoven and Schubert.
You think about, like, [20th-century classical composers] Alban Berg, Schoenberg, and Webern sitting around in some living room in Vienna and being like, "We are the end of music. We are the end of this tradition. Music is done."
I grew up mostly in Champaign, Illinois.
My dad was at the University of East Illinois, so I was always around the music. One of my dad's buddies was the avant-garde composer John Cage, so I picked up on that weird classical and eclectic music.
Although in society in general, the idea of an Irish composer of 'classical music', or whatever you want to call it, is still a strange item, generally speaking. Even in the arts, among our fellow creative artists in other disciplines, you still feel slightly out of it.
I grew up on Bach and Beethoven and now I'm listening to more modern composers who I can't even name. But since I'm constantly doing music, it's difficult to have that quality time to listen to music and do classical stuff. That's the only reason I'm thinking of going on.
I've always been fascinated by music and sounds.
I was lucky to receive proper classical training as an orchestra player and I'm always learning as a composer, looking to create new flavors and colors.
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.
My mother was a classical pianist and my stepfather was an industrialist who was passionate about composing contemporary music.
A great ancient poet was blind. A great classical composer was deaf. Many of us are dumb. What have we to show for it?
Our intention is to develop more subtlety in contemporary electronic sounds.
We don't like nostalgic projects. We have disparate interests and many philosophical concerns. In the past 10 years, I have realized music in the classical tradition - I have composed for strings, brass, and electronic, and alp-horn!
I was going to say is that I come from a rock background, but also I was super interested in jazz for a long time. I was training to be a jazz musician for quite a while. I never trained to be a classical composer or player, but I did train to play jazz.
In some ways, it is difficult for contemporary composers to find an audience.
Both men and women would love a culture that embraced and hungered for new music, as they did in the Classical period. I tell my students that they should just keep writing, write what pleases you, and don't worry about what people or critics may think about your music.
[Phil wood] put on some [Igor] Stravinsky and say to follow the score, tell me to play me the opening to the Rite of Spring. Or, "I'm going to play you some 20th century obscure classical composer you don't know". Or, "Let's listen to some Charles Ives, let's sight read some Bartok violin duets", etc.
On one hand you have a string quartet, which is not a symphony.
On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.
The realm of classical music is so vast - not only in terms of style but of era, age and the purposes for which it was composed - it is an enormous art form.
Classic music somehow changed, and it changed between the first and the second world wars, and somehow what happened was that the hero that had been the composer, the hero now was the performer, and especially the conductor.
I would prefer to listen to a French classical composer like Olivier Messiaen than to the pop hits of the day.
Shook is the musical universe I created.
I come from a classical and jazz background and my father is a jazz pianist, so my world bears largely the marks of this influence. As a sort of gateway, I started composing my own music on the computer at the age of 13. Before Shook, I had not yet discovered the kind of music I wanted to dedicate myself to, so I did a little of everything.
Classical music, fortunately or not, unfolds in time.
It's not like a picture you can stare at for 10 seconds or 10 hours. You need the minimum amount of education and training, and society needs to find a way to study music - not only the performances, but how to compose, how to understand why Mozart was great at what he did.
If one individual, or one class, can call in the aid of authority to ward off the effects of competition, it acquires a privilege and at the cost of the whole community; it can make sure of profits not altogether due to the productive services rendered, but composed in part of an actual tax upon consumers for its private profit' which tax it commonly shares with the authority that thus unjustly lent its support.
My favorite composers are the ones that tell the story.
I love Wagner. I love Mahler. Prokofiev. The programmatic music. I listen more to classic rock because I don't like the contemporary music very much.
I was...attacked for being a pasticheur, chided for composing "simple" music, blamed for deserting "modernism," accused of renouncing my "true Russian heritage." People who had never heard of, or cared about, the originals cried "sacrilege": "The classics are ours. Leave the classics alone." To them all my answer was and is the same: You "respect," but I love.
There is nothing for it but for all of us to invent our own ideal libraries of classics. I would say that such a library ought to be composed half of books we have read and that have really counted for us, and half of books we propose to read and presume will come to count—leaving a section of empty shelves for surprises and occasional discoveries