Esa-Pekka Salonen
Esa-Pekka Salonen
Esa-Pekka Salonen: ; born June 30, 1958) is a Finnish orchestral conductor and composer. He is currently Principal Conductor and Artistic Advisor of the Philharmonia Orchestra in London, Conductor Laureate of the Los Angeles Philharmonic, Composer-In-Residence at the New York Philharmonic, and Artistic Director and cofounder of the Baltic Sea Festival...
NationalityFinnish
ProfessionMusician
Date of Birth30 June 1958
CountryFinland
classic kind retarded
Our industry [classic music] has kind of retarded into this kind of endless cover-producing thing, and it's a pity.
world classical-music certain
Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.
classic moments term
I actually don't like this term, "classic." It's wrong, but we don't have a better word at the moment.
war world classical-music
The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.
hands class ideas
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.
based experience modern odds performance visual
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
functions los people
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.
barely hall quietly scary seats
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.
english-musician
After working with Ligeti I began to hear Brahms and Beethoven differently.
music people rite
When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.
certain musician next relates
The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.
continuity form
This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous.
competition coins position
If I were in a position to announce a public competition to coin a new word, I would do so right now.
people trying talent
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.