English - Composer | September 8, 1934 -
At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.
Peter Maxwell Davies
EducationMusicArtMomentBrick
An audience shouldn't listen with complacency.
ComplacencyListenAudience
If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.
FeedbackYouAudienceVacuumGoing
If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.
YouAimAudienceOutAnythingGoing
You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.
ShortYouAudienceYourEitherThem
I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.
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The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.
BestPeoplePossibleOutGoingVery
You don't underestimate either players or audience in any circumstances.
YouUnderestimateCircumstancesAny
What they can expect always is that they're going to be made to think.
ThinkAlwaysExpectGoingMade
I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.
MusicGreatThinkSeePiecesDeal
If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
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But you can't really know your audiences so well.
YouKnowWellYourAudiencesReally
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