We're not talking about an elite art form from the price point of view. We have a building in L.A. that is incredibly open, exciting, inviting, and all that, and there's no reason for this music not to be part of everybody's everyday life.

I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.

I think we are in the process of getting the word out, and we haven't done very well yet. But we are trying.

The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.

Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.

Our audience, it has been a more difficult process for classical music audiences around the world, and I'm not completely certain why.

If you think of the history, in the days of Brahms and Beethoven and all these guys, almost every concert was a new music concert. To play something old was really an exception.