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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• Esa-Pekka Salonen:

  The act of conducting in itself, of waving my arms in the air and being in charge, I didn't miss. I

• Esa-Pekka Salonen:

  With American orchestras, in particular, because they play in such huge halls, getting a true piani

• Esa-Pekka Salonen:

  The players never think they project enough. In a hall that seats 3,300 people, it's a very scary t

• Esa-Pekka Salonen:

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

• Esa-Pekka Salonen:

  This continuity of sound and form was something that I became really interested in from working wit

• Esa-Pekka Salonen:

  If the seams are showing, there is something wrong with the performance or the construction of the

• Esa-Pekka Salonen:

  As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, ra

• Esa-Pekka Salonen:

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

• Esa-Pekka Salonen:

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

• Esa-Pekka Salonen:

  After working with Ligeti I began to hear Brahms and Beethoven differently.