Esa-Pekka Salonen Quotes
Top 43 wise famous quotes and sayings by Esa-Pekka Salonen
Esa-Pekka Salonen Famous Quotes & Sayings
Discover top inspirational quotes from Esa-Pekka Salonen on Wise Famous Quotes.
If I were in a position to announce a public competition to coin a new word, I would do so right now.
There is such a suspicion in today's world of people who do more than one thing, who aren't specialized.
With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.
Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.
This conducting thing happened. In 1983 I was sucked into this international career, which was a very scary experience.
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.
I think we are in the process of getting the word out, and we haven't done very well yet. But we are trying.
Los Angeles is just a more open place. The way L.A. functions is that people give you a forum. They say, Show us what you can do.
When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.
There will have to be times when I'm not conducting because I'm composing. I haven't solved that problem, and perhaps I never will.
In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
Somehow, conductor as this superhuman conduit between the masters and the masterpieces and the immortals.
Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.
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.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.
In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been.
As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
Our industry [classic music] has kind of retarded into this kind of endless cover-producing thing, and it's a pity.
The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.