Esa-Pekka Salonen Quotes
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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 philharmonic became such a journey and adventure in my life, and a deeply satisfying thing.
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I feel very free and very happy to be a composer.
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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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After 30 years I have realized the greatest pleasure I can get is to have learnt.
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Classic music somehow changed, and it changed between the first and the second world wars, and somehow what happened was that the hero that had been the composer, the hero now was the performer, and especially the conductor.
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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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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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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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I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.
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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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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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I always had, deep down, a slight aversion toward the purely cerebral in music.
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You know, in some ways conducting is counter-intuitive. It's like winter driving in Finland - if you skid, the natural reaction is to fight with the wheel and jam on the brakes, which is the quickest way to get killed. What you have to do is let go, and the car will right itself. It's the same when an orchestra loses its ensemble. You have to resist the temptation to semaphore, and let the orchestra find its own way back to the pulse.
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This country, and the West Coast, especially, is bad at preserving any cultural legacy.
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Coming from a sort of very rigid European type of training to this culture which is just a little more open - a lot more open, and kind of curious, and asking different sorts of questions.Because the problem for me was that the European modernist movement in the '70s was all about right or wrong. Some things were right and you were dealing with the truth, as it were, and then some things were wrong and therefore not allowed.
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We're dealing with music that is being played by traditional instruments in a specifically built building called a concert hall. But classical is not - the reference is wrong, because classical on one hand refers to one period in musical history, which is Mozart, Hayden, Beethoven, which is a fine period in musical history, but it was a while ago.On the other hand, it sort of alludes to some kind of "class," which A, is not true; B, is kind of detrimental to the whole idea. Because the point is that this music is available and it's actually relatively reasonably priced.
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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.
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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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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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I started conducting lessons and I realized that this is actually something I like doing.
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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 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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Conducting is intensely social. You work with a hundred people every day. You collaborate, you try to focus their thoughts, you try to give them a concept, you try to inspire them, and it's actually exhausting.