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I think if you would like to describe composing as an act with one word, slow would be the word.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Think
Thinking
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Composing
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Slow
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Would
More quotes by Esa-Pekka Salonen
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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After 30 years I have realized the greatest pleasure I can get is to have learnt.
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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 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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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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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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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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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 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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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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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
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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.
Esa-Pekka Salonen
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 Royal Festival Hall in London is nice people hang out there. I think this inviting, non-exclusive character is very important.
Esa-Pekka Salonen
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.
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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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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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The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.
Esa-Pekka Salonen
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.
Esa-Pekka Salonen
