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Conducting was just something that happened by fluke.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Fluke
Flukes
Conducting
Happened
Something
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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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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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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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After 30 years I have realized the greatest pleasure I can get is to have learnt.
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The philharmonic became such a journey and adventure in my life, and a deeply satisfying thing.
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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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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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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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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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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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I think if you would like to describe composing as an act with one word, slow would be the word.
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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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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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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 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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I love a visceral sound, the kind that hits you in the belly.
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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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