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
giving people way
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.
way looks dogma
I realized that the European dogma is not necessarily the only way to look at things.
one-day bullets way
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.
way harmony stravinsky
Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
way sound doe
My music wouldn't sound the way it does if I hadn't had the experience of conducting.
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.
classic kind retarded
Our industry [classic music] has kind of retarded into this kind of endless cover-producing thing, and it's a pity.