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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.
Esa-Pekka Salonen
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Esa-Pekka Salonen
Age: 66
Born: 1958
Born: June 30
Composer
Conductor
Helsingfors
Completely
Audience
Process
Difficult
Around
Certain
Music
Audiences
World
Classical
More quotes by 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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I actually don't like this term, classic. It's wrong, but we don't have a better word at the moment.
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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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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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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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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 love a visceral sound, the kind that hits you in the belly.
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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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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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Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
Esa-Pekka Salonen
In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
Esa-Pekka Salonen
After 30 years I have realized the greatest pleasure I can get is to have learnt.
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.
Esa-Pekka Salonen
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.
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.
Esa-Pekka Salonen
I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.
Esa-Pekka Salonen
I think if you would like to describe composing as an act with one word, slow would be the word.
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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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