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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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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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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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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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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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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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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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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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In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
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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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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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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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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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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.
Esa-Pekka Salonen
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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There was this kind of mildly annoying mythology about conductor Like biker should riding a Harley-Davidson on an LP cover, and wearing a sort of a leather suit.
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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 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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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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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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