Michael Hersch Quotes

I think the tendency to paint composers or styles of music with too broad a brush - for example, identifying composers as writers of "simple" or "complex" music - has become increasingly problematic and is almost never productive.

If somebody responds positively to what I'm doing - if there is a connection - that can be very meaningful. If someone reacts with displeasure, confusion, hostility, well, that is not pleasant, and can often be upsetting.

The best results come when people believe in and feel strongly about the music they are playing. Just as composers write for certain types of performers, performers are also looking for certain things.

The visual and literary arts are of perennial interest to me, and these art forms have become more and more a part of my life; they have become companions of sorts. I cannot imagine my day to day experiences without the presence of these art forms. They're absolutely essential.

The American new music scene is remarkably vibrant.

I write because the act of writing itself is what drives me. It's a private communication within myself - nothing more or less. This doesn't mean I do not want to share with people.

Part of what makes music so interesting is the lack of consensus on just about any given topic.

The musical culture in the United States has no doubt suffered severe setbacks, especially in funding, since the early 2000's. However, I've been amazed at the resiliency of those involved with contemporary music in this country. I think composers and those dedicated to contemporary music have reacted with tremendous creativity and resourcefulness.

Of course, all people have their own reasons for believing what they do about gender. In my case, in over two decades of collaborating with men and women in music - conductors or otherwise - I have seen no distinction.

While I believe there is certainly a phenomenon of timelessness in art, the people writing today are of course uniquely qualified to comment on their own time.

I enjoy the challenge of taking something which was not meant for the piano, distilling its essence and writing or improvising it for/at the piano, but having the listener forget that he or she is listening to a piano.

Just as all pop music is not simplistic, not all contemporary concert music is complex. Often what a person connects with goes much deeper than generalized issues of simplicity and complexity.

As a young composer I had a particular fondness for Liszt's Beethoven Symphony arrangements for the piano, and to this day I enjoy playing non-piano music at the piano.

Mazur was a remarkable artist. During our time in Rome we became friends. I would often perform my works for him at the piano.

A healthy dialogue is always good.

There are times I'm completely uncomfortable with my works being performed publicly, and I haven't attended certain concerts because the prospect is akin to having a diary read on stage. But there are also situations - whether with an audience of one, or many - where the concert experience can be deeply special, and those experiences are often unpredictable, and wonderful when they occur.

The proliferation of new music groups and individual performers focusing on new music today is heartening. On the one hand the culture is very resistant to new things, and yet it continues to change and grow.

A critic can serve as guide. I think there's an understanding amongst the public that critics have their own preferences and dislikes.

George Rochberg once said that 'to be a composer, you need to have fire in the belly, fire in the brain, but most importantly, an iron stomach.' I feel this is for the most part true, and hope I might convey something of it to younger composers.

If people want insights, if they want to swim in the currents of their own time and share the experiences of their time, then it makes sense to engage with the artists of one's own time.

I don't think the role of the critic has changed very much. In the most positive sense, the music critic is one who helps the public navigate what's out there, especially in bringing attention to things they otherwise wouldn't hear about, or to provide a new window into something familiar.

I wrote much more quickly when I was younger. Over the years I've required more time in order for the pieces to arrive in a place I am happy with. The process cannot be rushed. I have to live with a piece for quite a while to feel it ultimately is where it needs to be - though anything resembling complete satisfaction remains elusive.