A Quote by Esa-Pekka Salonen

I've learned a lot from the masters of orchestration, like Ravel and Stravinsky. — © Esa-Pekka Salonen
I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.
On my mental iPod, I always have Stravinsky and Ravel.
To this day, I still travel with scores. Every time I'm on a plane - it could be Stravinsky or Mozart or Ravel.
Pulse as an active means of expression, Stravinsky and Beethoven are the two masters of that.
There is a reactionary conservative side of classical music, which is not the most exciting side of it. The side that draws me in, there's a real encouragement of risk-taking, going back to masters of that tradition like Beethoven and Bartok and Stravinsky.
Stravinsky the composer I worship. Stravinsky the thinker I despise.
Neil Shepard's (T)RAVEL/ UN(T)RAVEL takes us from the sublime -- Paris in Spring, sunset on Corfu -- to an unscheduled toilet stop in a Chinese desert as fellow passengers cheer. Yes, there's light at the heart of this book; but darkness too, as the world and the traveler unravel and re-ravel, fall together, come apart. Shepard proves the best sort of traveling companion -- lively, observant, incisive, eloquent, charmed by the strange and familiar, the old and new. Climb aboard these poems. Enjoy the ride.
You may not be aware of this but Leonard Bernstein won another award, for explaining the music of Igor Stravinsky... to Igor Stravinsky!
I think what people call genre is just a question of orchestration. So, for instance, with Punch Brothers, you look at that band and say that's a bluegrass band, when really it's an orchestration choice.
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
I studied arranging and orchestration a number of years ago, so I have a home studio and arrange about three-fourths of my songs on the computer. Since writing orchestration is tedious, I often put an arrangement on the keyboard and let someone better-qualified finish it.
The fact that Stravinsky used the classics as a major influence is obvious. What is interesting is how he used them, how he turned Bach into Stravinsky.
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.
I currently spend a lot of time thinking about orchestration and every detail of a piece.
I like classical music. I especially like the French composers: Ravel in particular. Debussy. That's so soothing in a nervous world.
Most of us are searching-consciously or unconsciously- for a degree of internal balance and harmony between ourselves and the outside world, and if we happen to become aware-like Stravinsky- of a volcano within us, we will compensate by urging restraint. By that same token, someone who bore a glacier within them might urge passionate abandon. The danger is, as Bergman points out, that a glacial personality in need of passionate abandon may read Stravinsky and apply restraint instead.
I studied film scoring and orchestration and conducting and arranging in my twenties, and I scored a lot of television shows and other things.
This site uses cookies to ensure you get the best experience. More info...
Got it!