A Quote by Esa-Pekka Salonen

When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically. — © Esa-Pekka Salonen
When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.
I went to a music academy in Los Angeles, and some friends started playing me Ravel and Prokofiev, who I liked, but what really blew me away was 'The Rite of Spring.' That's what made me get interested in classical music for real and want to study it.
Anton Bruckner wrote the same symphony nine times, trying to get it just right. He failed.
Stravinsky influenced film music in general - those stabbing chords and rhythms from 'The Rite of Spring.'
I think that the first World War put an end the kind of music that Mahler, Bruckner and Richard Strauss were writing. A change of fashion was needed.
I tend to write short, brief snippets - I lean toward the chamber music end as opposed to the symphony end of things.
Music, at the end of the day, is communicating something - emotion, a feeling, a rite of passage, where you are in life.
Wagner's philosophy had absolutely nothing to do with Bruckner. Bruckner hadn't written a single word against Jews. Wagner's book on the Jews was one of the most infamous books of the 19th century.
The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I'm not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage.
I discovered 'Rite of Spring' when I was 21. As a matter of fact, not with orchestra first, because it was still a work which was not often performed. Don't forget that I was 19 in 1944, still the Occupation time. So it was performed slightly after the end of the war, in 1945.
It's important to me that people feel connected to the band through the music, you know? I don't want it to be wallpaper. I don't want it to be background music. I want it to be clear: This is the song. These are the words. If you feel the same way as I do, sing it as loud as you can.
Designers want me to dress like Spring, in billowing things. I don't feel like Spring. I feel like a warm red Autumn.
There is this tremendous amount of arrogance and hubris, where somebody can look at something for five minutes and dismiss it. Whether you talk about gaming or 20th century classical music, you can't do it in five minutes. You can't listen to 'The Rite of Spring' once and understand what Stravinsky was all about.
I've got great joy from rediscovering Western music. I love Schumann and Chopin, and those amazing symphonies of Bruckner.
I don't want to make music alone in a dark studio and make me feel awful and depressed. I want to make music and feel happy and get to share it with people.
I guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
There is no beginning and no end in music. Some people want it to end. But it goes on.
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