Esa-Pekka Salonen

Finland
June 30, 1958

Situs web

Esa-Pekka Salonen is a Finnish orchestral conductor and composer. He is currently Principal Conductor and Artistic Advisor of the Philharmonia Orchestra in London, Conductor Laureate of the Los Angeles Philharmonic, Composer-In-Residence at the New York Philharmonic, Artistic Director and cofounder of the Baltic Sea Festival, Artist in Association at the Finnish National Opera and Ballet, and principal conductor of the Swedish Radio Symphony Orchestra for 11 years.

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Selama 14 hari terakhir:

28 lagu
23 stasiun
12 negara

Lagu papan atas Esa-Pekka Salonen

1	Symphony No. 1: I. Allegro giusto
2	Peer Gynt, Op. 23: Morning Mood
3	Fanfare for Los Angeles Philharmonic
4	Overture Russlan and Ludmilla
5	Little Suite in A Minor, Op. 1: III. Finale. Andante con moto - Allegro con brio
6	Valse triste for Orchestra from "Kuolema", Op. 44
7	Symphony No. 5, Op. 50: IIc. Andante un poco tranquillo
8	Romeo and Juliet, Op. 64 (Excerpts): Dance of the Knights
9	Romeo and Juliet, Op. 64 (Excerpts): Farewell Before the Parting
10	Romeo and Juliet, Op. 64 (Excerpts): The Balcony Scene (Instrumental)
11	Romeo and Juliet, Op. 64 (Excerpts): Death of Juliet
12	The Theft
13	Reflections by Esa-Pekka Salonen
14	Concerto No. 2 in F Major for Piano and Orchestra, Op. 102: III. Allegro
15	Concerto No. 1 in C minor for Piano, Trumpet and Orchestra, Op. 35: I. Allegro moderato
16	Psycho: The Murder
17	Toccata & Fugue in D Minor, BWV 565: Fugue
18	Serenade in F Major, Op. 31: V. Finale
19	Peer Gynt (Excerpts): Anitra's Dance
20	Symphony No. 4 in E flat major, "Naive": II. Adagio
21	Symphony No. 1, Op. 7: III. Allegro comodo
22	Symphony No. 82 in C Major, Hob.I:82 "The Bear": I. Vivace
23	Oedipus Rex - Opera-Oratorio in two acts after Sophocles: Oracula mentiuntur
24	Oedipus Rex - Opera-Oratorio in two acts after Sophocles: Rex Pèremptor Regis Est - Invidia Fortunam Odit
25	Oedipus Rex - Opera-Oratorio in two acts after Sophocles: Dicere Non Possum

Kutipan Esa-Pekka Salonen

Every orchestra I know, every opera house I know, is desperately looking around trying to find new talent, new composing talent, supporting young composers, supporting new ideas, supporting new ways of getting the message across.