Salonen made that sense of urgency palpable. The symphony can be seen as Lutoslawski capturing stylistic influences (Bartók, Stravinsky and maybe Milhaud) and finding his own way with them.
But more interesting are the sudden shifts of tone, which Salonen focused on. The slow movement, with its eloquent horn solo (beautifully played by Andrew Bain), erupts into grotesque weirdness. Salonen gave the Scherzo a kind of ghoulish humor that is not so funny when the orchestra explodes, as though a bomb has been dropped on the dance hall.