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Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Layers
Separation
Clarity
Ultimate
Become
Orchestras
Used
Precision
Orchestra
Emphasis
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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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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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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My music wouldn't sound the way it does if I hadn't had the experience of conducting.
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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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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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Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.
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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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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
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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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If somebody had told me when I was starting composition in Helsinki in the '70s that I would end up in L.A. and to describe that journey, those 17 years with the philharmonic and building the hall and this and that, I would have said, This is a fairy tale of the first order.
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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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In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
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It would be very tempting to say that why paint because we have Michelangelo, we have Leonardo [Da Vinci], we have all these guys. Why waste your time, because most likely you're not going to be on that level anyway.
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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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The Royal Festival Hall in London is nice people hang out there. I think this inviting, non-exclusive character is very important.
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I love a visceral sound, the kind that hits you in the belly.
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After 30 years I have realized the greatest pleasure I can get is to have learnt.
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