Quotations Of Leif Segerstam
A few years ago we worked with Leif Segerstam, a composer/conductor from Finland. He had a remarkably creative way of using the English language, and as usual, I started writing my favourite quotes in our music. After a few days, I learned that several other members of the orchestra were doing the same thing. This is a compilation of our efforts. Unlike the collected quotations of another famous conductor, these aren't just the fractured phrases of someone who speaks English as a second language - we have before us a record of the creative mind of a kaleidescopic flexator electrifically fluxating new meaning into a tired old language.
• Could we have a relativity normal beginning?
• Take "La Forza Del Destino" and half it.
• I want the music more traumatised.
• Like an old time Western locomotive we can get the organity of the puffing.
• The kaleidescopic flexator on the podium --- the conductor.
• Keep an irony rhythm.
• You are still mauving.
• The string section without the basses is a plasmatic living cluster.
• Here you should have a little worm.
• A sort of indignated way of playing before the la minore explosion.
• You have to become a little dirty about the fingerboard there.
• Flutterzungen in the mind.
• Just play in your box until you come to the climax. . . so that we hear the clappering.
• . . . if you get music early in your brainal functions.
• The old quarter note becomes very freshly enough the new quarter note.
• You could take a speed of 33 metronome, or 22.
• A dividing 50 percent reaction tempo-wise.
• The quintuplet should be freshly and rudely the same as the triplet.
• I am in 76 of this here.
• Still together, conductified.
• Could I have something which is close to that which is underneath the pencil?
• The atmospheric things must have a millimetre to do with the speed.
• The winds can rehearse the length of the teedle-eedle-boom.
• Something is satelliting out of the control of the beated music.
• I have words for everything that can be expressed.
• Coincidentimently
• Embryomalic
• Electrifically
• Fiveishness
• Flimmer
• Inexclickable
• Fenugrish five things
• I am fluxating in 8.
• It is a Valsefy.
• There is a slight worm to be executed very much together.
• It should be the emigrated Loch Ness. (to the basses)
• Please don't play sloppy dactyls that they don't know what it is.
• We do it Wiener Schule kind of poco apostrophe.
• Try to use this optical notation.
• How about talking about the spot where someone composes the registration number of his car.
• You haven't experienced it because nobody is doing it.
• Could we have a rude accord between First and Second Violins?
• You could allow if you have got long ears. . .
• . . . whatever bumble thing. . .
• . . . a small dog noise. . .
• . . . almost a gorilla sound. . .
• You don't need to count here. You won't get lost because at the end, I will turn and look at you stoppingly!
• Could I see lead being sacrificed on the paper?
• If you are not the leader you will be the first one.
• Dibble-Dibble. . . GUSTAV!!
• Keep the fermata of the rest interesting.
• Three centimetres of wavy lines, then you play the music.
• Somebody singing a far-fetched diagonals from Sibelius' Finlandia.
• Hypnotic and destiny-filled.
• It is very beautiful what you played, but you are forgetting one thing that makes it tomorrow too loud.
• Who would sacrifice a violin?
• You play whenever you get there.
• Tonnmeister, are you heavy enough in the Glockenbox?
• I always get very pounding sounds on the one there.
• At 7 o'clock we do the Klami piece and then my piece places.
• Two terracic slowing downs.
• . . . a comma in the Heaven.
• The gravity is on the beat composed.
• Listen to these gorilla players. (in reference to the Cello section)
• Is the Donnerblech organised in the strings now?
• You could really be princessy pochissimo.
• Wait for the Puccini bit in four and make like the Diva.
• . . . like an augmented ambulance siren.
• I'm still here doing things in this direction.
• Segerstam disease: gastronomical music.
• More grease in the pianissimo.
• The non-metric pulsator on the podium.
• It's a late threeness.
• There are misleadings. . .
• More like James Bond Goldfinger.
• You don't have to dirten your notation.
• It really sounds like some Tom and Jerry accompanimiento sounding.
• Use parabolic crescendi. . . they are more animalic.
• My left hand will look at you.
• We get a plankton plasmatic flimmer.
• Each individual is not together.
• We will enter in the right times, so the shortening is to the left.
• Native folkloric haemiolas that you should have in your Mahler bloods.
• I have to be the bumper to take all these colleagueual comments to the playing trumpets.
• Please compose the six rests that are missing.
• Could you technically program that for the next time playing?
• Quasi dim pencil, and feathers are for the wish here.
• I am very hacking because of the scales there.
• Don't make it sound as brutal as my left hand, please.
• You are still mouldering (to the percussion).
• There are people swallowing time.
• We still have a pleep.
• There is a confusion about.