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After 30 years I have realized the greatest pleasure I can get is to have learnt.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Greatest
Pleasure
Years
Learnt
Realized
More quotes by Esa-Pekka Salonen
When an artist works today or whenever, it's not about creating immortal masterpieces, because that's the one thing we don't decide ourselves.
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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 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 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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In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
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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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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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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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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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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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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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Conducting was just something that happened by fluke.
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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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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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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 think if you would like to describe composing as an act with one word, slow would be the word.
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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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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've learned a lot from the masters of orchestration, like Ravel and Stravinsky.
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I love a visceral sound, the kind that hits you in the belly.
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