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.

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.

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.

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

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.

My music wouldn't sound the way it does if I hadn't had the experience of conducting.

Pulse as an active means of expression, Stravinsky and Beethoven are the two masters of that.