When people feel that something really special is happening on the stage, things change.

My relationship with the Philharmonia Orchestra brought me many times to London and I will always reflect positively on that early period of development with them - their patience, their warmth, their dedication.

Going to a concert can sometimes be very difficult. It can be a long journey. There's the ticket prices. But when the music goes to the community - not the community coming to the concert - they say, 'Wow! I didn't know that this music was so amazing!

I think that I need to learn a lot, a lot.

I set out to create a means whereby music could be a way of vindicating the rights of the masses.

For me to rehearse with a children's orchestra a Mahler symphony was to really work. We had three or four weeks of rehearsal with the orchestra, every day eight or nine hours, putting the First together. I had been conducting Tchaikovsky a lot and Beethoven, but Mahler was different.

When you play Mozart, it's so clean, it's so simple. It's the body naked.