Classic music somehow changed, and it changed between the first and the second world wars, and somehow what happened was that the hero that had been the composer, the hero now was the performer, and especially the conductor.

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.

Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.

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

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.

Once you get over the first hill, there is always a new, higher one lurking, of course.

There will have to be times when I'm not conducting because I'm composing. I haven't solved that problem, and perhaps I never will.