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My music wouldn't sound the way it does if I hadn't had the experience of conducting.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Music
Way
Conducting
Hadn
Wouldn
Sound
Experience
Doe
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I think if you would like to describe composing as an act with one word, slow would be the word.
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I love a visceral sound, the kind that hits you in the belly.
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Music has just as much to do with movement and body as it does soul and intellect.
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Of course, if you think of a European or American household in the '50s, so what were the things that when people started climbing up the ladder, what did they buy? A fridge, a TV, I think piano was the number three item in say '53 or '54.
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Sometimes you spend nine months, 10 months, a year writing a piece that you will hear two years later or something like that, and you never see anybody. It's a very different sort of metabolic.
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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
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I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?
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There is more openness in LA to possibilities than on the East Coast of America. There is a pioneering spirit there that stems from the reason people went out there in the first place-to find something new.
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As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
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The classical music industry, has been an industry of covers. So we do covers, and if I compare this with the rock and pop side, what is the most exciting event?
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Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.
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I actually don't like this term, classic. It's wrong, but we don't have a better word at the moment.
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We're not talking about an elite art form from the price point of view. We have a building in L.A. that is incredibly open, exciting, inviting, and all that, and there's no reason for this music not to be part of everybody's everyday life.
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Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
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There's so much energy exchange [in conduction], so you get back a lot, of course, but you also have to give a lot. It's kind of high-energy thing.
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I'm still disturbed if a chord isn't together, but your priorities change as you get older.
Esa-Pekka Salonen
In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
Esa-Pekka Salonen
The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.
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I feel that this is my artistic home, and I'm very happy to be a California artist together with many others who are not from here originally but who decided to make this the center of their activities. There's something about that that I find very inspiring and satisfying.
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Conducting was just something that happened by fluke.
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