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Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Must
Time
Composes
Conducts
Faking
Suspect
Suspects
Immediately
Anyone
More quotes by Esa-Pekka Salonen
I went to work one morning, and outside my door was Cindy Crawford in a black bra, and I thought that very clearly the building is making progress in integrating itself into various layers of our culture.
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The underlying process in Northern music tends to be slower and continuous, whatever's happening on the surface in Southern music the underlying process is always faster.
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I was starting a group of musicians and we had a group of young composers in Finland back in the '70s, and the real conductors, the professional conductors at the time were not interested in our stuff.
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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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The philharmonic became such a journey and adventure in my life, and a deeply satisfying thing.
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Conducting was just something that happened by fluke.
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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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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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Of course performing talent, that's clear. Maybe this is not so well-known among young people who are interested in music, who are talented in music, but they're trying to figure out how to go about it.
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I always felt that one day I would have to make the change in my own life, bite the bullet and see what it is to be a composer who conducts rather than the other way around.
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In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been.
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Lots of really interesting people move to U.S and decide to work here, because of this whole attitude and openness. I'm absolutely convinced that this is just the beginning. In a couple decades we will see an even more dramatic change.
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We need new art. Old art cannot do that. It can do lots of other things, and of course humanity hasn't changed that much in the last thousand or two thousand years.So that the old Greek dramas are still at the very heart, core, of human experience, but still we need new stuff.
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My music wouldn't sound the way it does if I hadn't had the experience of conducting.
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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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There is something very special about this part of the world [U.S], which is the openness and the curiosity and the lack of prejudice and the lack of generally accepted norms as to what art should be and how an artist's career should go and all that.
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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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Music has just as much to do with movement and body as it does soul and intellect.
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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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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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