Eric Whitacre Quotes

When I had my first experiences of choral singing, the dissonance of those close harmonies was so exquisite that I would giggle or I would tear up, and I felt it in a physical way.

Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.

In Las Vegas, the magnitude is impressive, but the humanity is gone. It feels like you're being intimidated out of your money instead of inviting you to come have this experience.

I wouldn't say that I'm actually trying to cause chills in the audience, but certainly my goal is to, at the very least, effect a physiological response - at the most, to effect some sort of state change, ideally, in the audience.

The virtual choir would never replace live music or a real choir, but the same sort of focus and intent and esprit de corps is evident in both, and at the end of the day it seems to me a genuine artistic expression.

I think [the virtual choir] speaks well to a benevolent future for the Internet.

I happen to be one of the people who believe that the Internet is a force of good, and I'm very optimistic about it.

With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.

The terror of performing never goes away. Instead, you get very, very comfortable being terrified.

Nerves, stress and the pressure to perform are a part of life. You don't have to conquer these feelings; just learn to live with them.

I don't know if it is a spiritual, physiological or psychological phenomenon, but I believe now more than ever that singing is a universal, built-in mechanism designed to cultivate empathy and compassion.

I'm a self-confessed geek, and my whole concept of music at first was entirely electronic. In many ways, it turned out to be an advantage. I was so green, so utterly naive about the nature of classical music, that I did things that made me look totally, deliberately unorthodox.

To have a live choir there on the stage and then these singers from different countries signing with us in real time through Skype, it's as if there aren't borders anymore.

I wanted to be a rock star. I dreamed of it, and that's all I dreamed of. To be more accurate, I wanted to be a pop star. This was in the late '80s. And mostly, I wanted to be the fifth member of Depeche Mode or Duran Duran.

I'm not a culture snob. So while, of course, I think the Mozart 'Requiem' or, say, Beethoven's 'Ninth' are some of the greatest works of art in the history of humankind, that's not to say the Beatles or Queen or Simon and Garfunkel aren't brilliant, beautiful, important works of art that should be sung without a sense of irony.

I write music that sounds complex but isn't. I frankly never think in terms of theory.

When I think of people I am close to, I genuinely feel that I can include Josh Lyman, Toby Ziegler, C.J. Cregg and Sam Seaborn.

I can't write music unless I'm deeply connected to it and that connection almost always comes from some experience that I have had or am having.

People in chorus tends to be much more emotional or at least wear their hearts on their sleeve. They are generally the kind to hold hands and cry. It's just a different personality type.