"This conducting thing happened. In 1983 I was sucked into this international career, which was a very scary experience"
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“This conducting thing happened” is doing a lot of quiet work. Salonen, a composer-conductor who later became one of the most polished public faces of classical music, frames his career not as destiny or conquest but as an accident with consequences. The phrasing is deliberately anti-mythic: no “calling,” no heroic grindset narrative. Just a thing that occurred, almost against his better judgment. That casualness reads like defense and honesty at once, a way to puncture the industry’s tendency to crown prodigies and demand a neat origin story.
Then he shifts to a stronger verb: “sucked.” It suggests velocity, loss of control, and the peculiar violence of being fast-tracked. In classical music, especially in the 1980s, international careers were built through a gatekept circuit of major orchestras, agents, recordings, and press. If you’re suddenly inside that machine, you’re not only learning repertoire; you’re learning diplomacy, authority, and how to project certainty in front of a hundred highly trained adults who can hear every crack in your confidence. The subtext is that conducting isn’t merely musical talent; it’s public leadership performed nightly.
Naming 1983 makes it feel like a specific rupture rather than a gradual rise. It hints at the moment the private musician becomes a public symbol, exported across borders and expectations. “Very scary” lands because it refuses bravado. For a field that prizes control and composure, admitting fear is a small act of rebellion - and a reminder that prestige can arrive as pressure, not validation.
Then he shifts to a stronger verb: “sucked.” It suggests velocity, loss of control, and the peculiar violence of being fast-tracked. In classical music, especially in the 1980s, international careers were built through a gatekept circuit of major orchestras, agents, recordings, and press. If you’re suddenly inside that machine, you’re not only learning repertoire; you’re learning diplomacy, authority, and how to project certainty in front of a hundred highly trained adults who can hear every crack in your confidence. The subtext is that conducting isn’t merely musical talent; it’s public leadership performed nightly.
Naming 1983 makes it feel like a specific rupture rather than a gradual rise. It hints at the moment the private musician becomes a public symbol, exported across borders and expectations. “Very scary” lands because it refuses bravado. For a field that prizes control and composure, admitting fear is a small act of rebellion - and a reminder that prestige can arrive as pressure, not validation.
Quote Details
| Topic | Career |
|---|---|
| Source | Help us find the source |
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