A Quote by Esa-Pekka Salonen

Somehow, conductor as this superhuman conduit between the masters and the masterpieces and the immortals. — © Esa-Pekka Salonen
Somehow, conductor as this superhuman conduit between the masters and the masterpieces and the immortals.
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.
We know that Las Vegas is junk, but at the same time I think that exactly the same process and ultimately also, perhaps the same logic, attaches itself to or underlies our masterpieces. We live in an amazing era when in spite of an absence of masters there is an explosion of masterpieces.
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture.
Whenever the legislature attempts to regulate differences between masters and their workmen, its counsellors are always the masters. When the regulation, therefore, is in favor of the workmen, it is always just and equitable; but it is sometimes otherwise when in favor of the masters.
You stand exactly in the middle, poised between heaven and earth, a human conductor for the energy that seeks to flow between these two polarities.
The Masters is not greedy. You wanna buy a Masters souvenir logo shirt? Sure, let's go over to the nearest Ralph Lauren boutique. Oops, you can only purchase Masters memorabilia at the Masters, this one week of the year.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
The shaman has access to a superhuman dimension and a superhuman condition, and by being able to do that he affirms the potential for transcendence in all people. He is an exemplar, if you will.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
I don't like masterpieces having one-night stands in collectors' homes between auctions.
My work is as an ethnographic rescuer: a conduit between past and future generations. The urgency of this effort cannot be overstated.
Being a director or a conductor is a balance of many things. And to do it right is a very difficult tightrope to walk. I've come to the conclusion that there's really no way to be one hundred percent popular as conductor.
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