A Quote by Esa-Pekka Salonen

I always had, deep down, a slight aversion toward the purely cerebral in music. — © Esa-Pekka Salonen
I always had, deep down, a slight aversion toward the purely cerebral in music.
sometimes the shifting of rocks is deep, deep below, and it's powerful and scary down there, but that all we feel on the surface is a slight tremor. Only a slight tremor.
She thought of Aziza's stutter, and of what Aziza had said earlier about fractures and powerful collisions deep down and how sometimes all we see on the surface is a slight tremor.
Country music's always had the best musicians in any format of music, and I always gravitated toward that, stuff that was musically interesting.
I never had an aversion because I was active in the drama club. If I had that aversion I certainly wouldn't put myself in the position of being on stage. Of course, in the drama club you're hiding behind a character.
I've always had an aversion to debt.
My music is always called "cerebral." It is a way of saying I'm Asian, and therefore everything I do is brainy.
I was always real deep into music. From everything, all around the board - from East Coast, West Coast, down South, everywhere. I just been a fan of music and I know I always wanted to do it myself and I wanted to do it my way. So, I told myself if I ever start doing music, I'ma do it my way. That's what made me start my own label.
It's weird. I went so far away from music that I had to re-invent music again. I had to come back to music. I had to put music with an agenda down and at least write for my son, write to keep writing, but the idea of having a music career had to go away for a while.
For me, cerebral palsy wasn't the biggest deal, because I always had it. You know, you always work with what you got.
I think Rush have always had this reputation, particularly to non-fans, of being an ultra-serious and cerebral group when, in fact, the reverse is true. We don't take ourselves seriously at all. Sure, we take our music seriously, but that's altogether different.
Wine is similar to music in that it's a purely experiential realm, and it's a purely subjective practice. That's sort of the funny thing about wine criticism or, for that matter, music criticism. At times, those are useful guides, but ultimately it's all about how you react to that music or wine.
Deep down, I always had a belief I would get on the charts.
I've always had an aversion to looking sexy, but I've grown out of it.
I've always had a deep passion for a lot of early electronic and sampled music.
I always had my guitar; I worked at writing some songs. I always played music - in the house. I sang to my daughters, I scribbled down some ideas. Actually I didn't always play music. I did leave it alone for some time too.
I was born in Edinburgh, in Scotland, a few days after the end of the Second World War. Both my parents had left school at a very young age, unwillingly in my father's case. Yet both had deep effects on my education, my father influencing me toward measurement and mathematics, and my mother toward writing and history.
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