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It's hard enough to get things to work in a musical way.
I was playing in the Metropolitan Opera Orchestra as principal horn. I was there for some 15 years - one of the most exciting and great musical periods in my life.
I wanted to be a painter and an artist. And it's interesting that in some of my later musical works, I refer so often and associate myself with works of art.
I wanted to play my violin and have my musical expression through the instrument. But then I was really young when I had my first opportunity to conduct.
For me, Venezuela is very important, not just because it's a place I go to conduct, but because my family is there - my wife, my parents and my musical family.
Ive always loved musical films; I find them really thrilling and exciting; it was part of what made me want to be an actress, that feeling of being really transported.
I actually may do a musical next year... not one that I've written; one that I may star in. Plus my concert and other people's work and all of a sudden you've got a very full life.
Basically, my musical life is split between raving with drugged-up kids and reading obscure 75-year-old poetry, drinking very nice red wine with aged, graying men.
Some directors are comfortable with music. Some feel comfortable discussing and talking and operating in a musical language. Others don't engage so much.
Often people try and just consider music as music, in a musical context. People seem to forget that music is not just audio material - it's also the artwork, the packaging it comes in.
Whatever has made, or does make, or may make music, should be held sacred as the golden bridle-bit of the Shah of Persia's horse,and the golden hammer, with which his hoofs are shod.
If one sits down and concentrates on imagining the worst possible surroundings for rehearsing a musical show, it's never as bad as the rehearsal rooms one actually lands in.
I thought of the structure as musical. The first piece, for instance, contains the names/subject matter of every person to come in the book. Like a piece of music with themes, etc.
My biggest musical dream is to keep playing all my life. There's nothing bigger than that and that's very challenging because you have to satisfy yourself at every stage.
For most of the projects I've worked on, I've been entrusted with some degree of musical responsibility, even if it's just like coaching for vocals and stuff.
My taste is very eclectic. I love musicals, but I also love the classics. I've seen some fantastic productions. I was in a musical for 600 performances in Australia that I first saw in New York.
The composer does not want the self-sufficiency of a richly complex text: he or she wants to feel that the text is something in need of musical setting.
Music is all about training in harmony, training to understand and use musical energy for our greater pleasure by attuning to the natural laws of the universe.
Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.