Our industry [classic music] has kind of retarded into this kind of endless cover-producing thing, and it's a pity.

Our industry [classic music] has kind of retarded into this kind of endless cover-producing thing, and it's a pity.

Coming from a sort of very rigid European type of training to this culture which is just a little more open - a lot more open, and kind of curious, and asking different sorts of questions.Because the problem for me was that the European modernist movement in the '70s was all about right or wrong. Some things were right and you were dealing with the truth, as it were, and then some things were wrong and therefore not allowed.

Every orchestra I know, every opera house I know, is desperately looking around trying to find new talent, new composing talent, supporting young composers, supporting new ideas, supporting new ways of getting the message across.

If we always thought like that, why would we study physics, why would we think of cosmology, why would we do any kind of research? Because we know already so much that there is no one person who can contain all that information.

There is such a suspicion in today's world of people who do more than one thing, who aren't specialized.

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