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"This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous."
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"Sound.Noisethe air employs.Melodies sweet.Tweet, tweet, tweet.Soft. Loud.A roaring crowd.Cluck. Caw. Crow.Tet, tet. Tis, tis.Guttural growl.Harrowing howl.Drip, drip, drip.Tap, tap, tap.Moan and groan.Endless drone.Ding, dang, dong.A church bell song.Vibrations in my earto hear.Sound."

"It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings."

"I just want to do everything. I don't want to sound soppy or too cliched, but that's the way it is."

"Instead of following one another the sounds overlap; a sound which is acoustically perceived as coming after another one can be articulated simultaneously with the latter or even in part before it."

"I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place."

"Around '75 when the recession hit, club owners started going to disco because it was cheaper for them to just buy a sound system than it was to hire a band."

"If it's not going to sound like Terrapin Station, what's the point of playing Terrapin Station?"
Explore more quotes by Esa-Pekka Salonen

"In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been."

"The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself."

"There will have to be times when I'm not conducting because I'm composing. I haven't solved that problem, and perhaps I never will."

"I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so."

"This conducting thing happened. In 1983 I was sucked into this international career, which was a very scary experience."

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

"The Northern idea of form is more of a process. The various units of the form overlap. You can't tell where some things stop and new things start. This is typical of Sibelius."

"This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous."
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