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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.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Everyone
Art
Ideas
Much
Always
Established
Tradition
Europe
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The philharmonic became such a journey and adventure in my life, and a deeply satisfying thing.
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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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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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I think we are in the process of getting the word out, and we haven't done very well yet. But we are trying.
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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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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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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'm still disturbed if a chord isn't together, but your priorities change as you get older.
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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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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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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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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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Conducting was just something that happened by fluke.
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I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.
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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've learned a lot from the masters of orchestration, like Ravel and Stravinsky.
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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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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 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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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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