This conducting thing happened. In 1983 I was sucked into this international career, which was a very scary experience.

As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.

I love a visceral sound, the kind that hits you in the belly.

If I were in a position to announce a public competition to coin a new word, I would do so right now.

There's so much energy exchange [in conduction], so you get back a lot, of course, but you also have to give a lot. It's kind of high-energy thing.

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

Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.