"I do not consider my self as having mastered the flute, but I get a real kick out of trying"
About this Quote
Galway’s line is a virtuoso’s wink: the world hears “mastery” when it hears his name, yet he chooses the posture of a student. That’s not false modesty so much as a musician’s truth-telling about an instrument that keeps moving the goalposts. The flute is unforgiving and weirdly intimate; tiny shifts in breath, embouchure, and nerves can turn yesterday’s brilliance into today’s thin, sharp note. By refusing the word “mastered,” Galway punctures the fantasy that excellence is a finished state you arrive at and keep.
The phrase “a real kick” does heavy lifting. It drags high culture down off its pedestal and plants it in the body: joy, adrenaline, appetite. Coming from a classical celebrity, it’s also a quiet rebuke to the prestige economy around conservatories and competitions, where seriousness is often mistaken for value. Galway’s subtext is that the point isn’t to win the instrument; it’s to be in a live, ongoing relationship with it, including the humbling parts.
Context matters: Galway’s career helped popularize the flute as a solo voice beyond the orchestra pit, and his sound is tied to a kind of luminous control. From that height, “trying” becomes a statement of artistic ethics. It frames practice not as punishment or penance, but as play with stakes. The intent is permission-giving: if even James Galway is still “trying,” you’re allowed to chase the feeling, not the finish line.
The phrase “a real kick” does heavy lifting. It drags high culture down off its pedestal and plants it in the body: joy, adrenaline, appetite. Coming from a classical celebrity, it’s also a quiet rebuke to the prestige economy around conservatories and competitions, where seriousness is often mistaken for value. Galway’s subtext is that the point isn’t to win the instrument; it’s to be in a live, ongoing relationship with it, including the humbling parts.
Context matters: Galway’s career helped popularize the flute as a solo voice beyond the orchestra pit, and his sound is tied to a kind of luminous control. From that height, “trying” becomes a statement of artistic ethics. It frames practice not as punishment or penance, but as play with stakes. The intent is permission-giving: if even James Galway is still “trying,” you’re allowed to chase the feeling, not the finish line.
Quote Details
| Topic | Music |
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