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.
Eric Whitacre
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.
When you look back on music history, it falls into these neat periods, but of course, the period you yourself are living through seems totally scattered and chaotic.
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 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.
Many composers use software to write music - programs like Finale or Sibelius. There are also recording programs. I should say I'm still very old-fashioned, I still use pencil and paper. But almost every composer I know does it the 'new way.'
I write music that sounds complex but isn't. I frankly never think in terms of theory.
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.
For me, the virtual choir has taught me that, if anything, the Internet builds these post-national tribes, people finding each other anyway they can.
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.
As a composer, I know that all sorts of sounds I hear are making their way into my brain and soul and later sneak into my music.
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.
There must be four or five hundred choirs here in London alone. In a way, there's nowhere else on Earth I could go and get this level and passion for singing in the one place.
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.
I'm not an atheist, but I'm not a Christian, either.
A really good poem is full of music.
For the first six or eight months at Juilliard I felt paralysed. I didn't know what I was doing.
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.
I truly thought I was going to be in pop music. And then I joined a choir to meet girls, and everything changed in the first rehearsal.
I don't feel like I'm an artist with a capital 'A.'
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.
When I went to college at the University of Nevada back in Las Vegas, I got tricked into singing in choir. The first thing we did was the Mozart 'Requiem.' That was the piece that changed my life overnight.
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.
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.
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.
