I discovered that the people of the North are different and there's no way you can make a person from the North similar to a Southerner. They're two different worlds.
Los Angeles is just a more open place. The way L.A. functions is that people give you a forum. They say, Show us what you can do.
The players never think they project enough. In a hall that seats 3,300 people, it's a very scary thing to play so quietly that you can barely hear yourself.
The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.
There is more openness in LA to possibilities than on the East Coast of America. There is a pioneering spirit there that stems from the reason people went out there in the first place-to find something new.
There is such a suspicion in today's world of people who do more than one thing, who aren't specialized.
When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.
In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been.
I'm still disturbed if a chord isn't together, but your priorities change as you get older.
Anyone who composes and conducts at the same time is immediately suspect, because he must be faking one or the other.
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.
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
My music wouldn't sound the way it does if I hadn't had the experience of conducting.
This conducting thing happened. In 1983 I was sucked into this international career, which was a very scary experience.
I love a visceral sound, the kind that hits you in the belly.