I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?

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

I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?

I don't believe in an annual dose of film music for the sake of it being film music. If we program film music, it will be because there is a real artistic reason for doing so.

The sort of commercial parameters of classical music changed after the [World War II] , and the whole industry became more backward-looking.

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

I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.