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Esa-Pekka Salonen

Once you get over the first hill, there is always a new, higher one lurking, of course.

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I'm still disturbed if a chord isn't together, but your priorities change as you get older.

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Pulse as an active means of expression, Stravinsky and Beethoven are the two masters of that.

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Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.

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There is such a suspicion in today's world of people who do more than one thing, who aren't specialized.

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Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

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In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.

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When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.

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Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.

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With American orchestras, in particular, because they play in such huge halls, getting a true pianissimo is very hard.

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