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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Masterly
Stravinsky
Conceived
Precisely
Harmony
Way
More quotes by Esa-Pekka Salonen
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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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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My music wouldn't sound the way it does if I hadn't had the experience of conducting.
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After 30 years I have realized the greatest pleasure I can get is to have learnt.
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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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The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.
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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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Music has just as much to do with movement and body as it does soul and intellect.
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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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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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I'm still disturbed if a chord isn't together, but your priorities change as you get older.
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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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Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
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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 love a visceral sound, the kind that hits you in the belly.
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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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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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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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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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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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