The World Motivation
When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.
“When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.”
When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.
I've always been a composer dependent on texts.
Well, American composers are the best composers. At this time in the world, we are where the energy is. We are the most diverse, the most iconoclastic, the most maverick, and the most skillful.
Composers love to write for symphony orchestras because the symphony is the Rolls Royce of musical instruments.
A maverick feels like he has no choice however difficult his choice of expression. In my case, it was going backwards into tonality. It seemed so wrong. The idea that progress is going into the past in a new way is very strange, even though there are precedents.
Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.
When working with an orchestra, you never spend more than 20 minutes per recording session.
I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.
My father will go see Trans-Siberian Orchestra every single year. I mean, he's completely into it.
Symphonic orchestras have almost become a glut in the market.