And I always tried to be not a star. To be someone who people like to talk to.
As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?
Even my family laughed at me because they thought this young guy who's always stuttering in front of other people should be in front of 100 musicians and talk to them and leading them.
I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.
I believe so, but at first he must know. He must know in which spirit Beethoven has composed this piece. He must try to study that. And he must find out in which station of life of Beethoven he did.
Even I had no opportunity to conduct very many concerts after World War II.
You have to change your mind with every orchestra because every orchestra has a different character.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
At the age of 16, something happened with my finger and the doctor told me, you never can be a organist or pianist, so think about what you do with music.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
I wouldn't say I've changed my mind. I changed some of my natural habits, some of my natural character.
Since the composer has said everything, if you discover everything, it will be enough and you will be a happy man. Don't try to say it's your taste, and because of that you are changing this or that. And I must say this respect is still there.
Young conductors who are confident enough, they very often have success.
If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.