I don't even have a cell phone. I don't know how they work.
People who don't do jazz think it's black magic. But really, it's just a matter of getting used to it. It's fun to gamble. The trick is not to fall back on the things you've done before.
When I composed, I heard my music played by the orchestra within days of completion of the score. No master at a conservatory, no matter how revered, can teach as much by verbal criticism as can a cold and analytical hearing of one's own music being played.
A Beethoven symphony should be rehearsed like chamber music, only for a lot more people.
I've had the healthy and sobering experience of constantly working with music that is invariably better than any performance of it can be.
I have a great many shortcomings, but writing for something on time has never bothered me.
I'm on very good terms with all my former wives.
Elliott Carter does not write the kind of music that the kids go off to school whistling.
I admire Elliott Carter endlessly. But I have no ambitions to emulate him.
John Williams is, without question, talented. He writes very good scores and very good melodies and all that.
When you're working with music that is invariably better than you are, it's difficult to become swell-headed.
I don't write things that are wildly abstractly atonal.
I stuck around in Hollywood for too long. I was there a long time, and when I left, I was smart enough to realise that what I was leaving was not just the movie business. I wanted to get rid of the whole atmosphere.
I finally wasn't interested in writing music that played while actors talked.
I found that jazz musicians, possibly more than their classical counterparts, wear long-standing friendships easily and gracefully.
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