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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
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
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More quotes by 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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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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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 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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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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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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In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
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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 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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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?
Esa-Pekka Salonen
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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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.
Esa-Pekka Salonen