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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
Ideas
Much
Always
Established
Tradition
Europe
Everyone
Art
More quotes by Esa-Pekka Salonen
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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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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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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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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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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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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I'm still disturbed if a chord isn't together, but your priorities change as you get older.
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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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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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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
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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 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 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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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'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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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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Music has just as much to do with movement and body as it does soul and intellect.
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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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