A Quote by Esa-Pekka Salonen
You know, in some ways conducting is counter-intuitive. It's like winter driving in Finland - if you skid, the natural reaction is to fight with the wheel and jam on the brakes, which is the quickest way to get killed. What you have to do is let go, and the car will right itself. It's the same when an orchestra loses its ensemble. You have to resist the temptation to semaphore, and let the orchestra find its own way back to the pulse.
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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.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
The great myth is the manager as orchestra conductor. It's this idea of standing on a pedestal and you wave your baton and accounting comes in, and you wave it somewhere else and marketing chimes in with accounting, and they all sound very glorious. But management is more like orchestra conducting during rehearsals, when everything is going wrong.
The art of conducting consists in knowing when to stop conducting to let the orchestra play.
There're some places that are more difficult or dangerous to navigate and I wouldn't look forward to going back. Like I'd much rather go back to Afghanistan - which fascinates me - quicker than I'd go back to spend a week walking around Nairobi, Kenya, which is a great and easy way to get yourself killed.
It's very intuitive, the way that I approach my work. I only buy something that has a pulse. I may not know how I'm going to use it, but I know it has a pulse and it has multiple readings - if I shift it one way or another, it can be read this way or it can be read that way, but both readings are critical and very much ground the work.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.
The actor is concerned with his own bit of it, but the director's somehow trying to work the whole thing into a much bigger picture. It's like conducting an orchestra.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I actually don't like playing the piano or conducting the orchestra.
In symphonic music, when you are conducting, you do the same thing. You are feeling the whole orchestra, thinking ahead so you can prepare for a change.
If all experienced God in the same way and returned Him an identical worship, the song of the Church triumphant would have no symphony, it would be played like an orchestra in which all instruments played the same note.
The Metropole Orchestra is like Count Basie or Duke Ellington with strings... it's strings that swing. Strings that swing like Dizzy Gillespie... keep swinging, baby. And when you have all of that special excellence of the Metropole Orchestra, then your music just flies - it soars in a way that's really magical.
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
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