I would like new people with new ideas to come into it and change it.
We don't want other people poking into our artistic pie.
I think the quality of something like the Beveridge, for instance, will have a life of its own.
If the (British) Arts Council give you money, they also tell you how to spend it.
But the most important test is to take them on tour and see if you can bear to spend time with them.
This American Jewish music is a new experience for us at least consciously.
So in one leap we had gone from being a friendly society to something almost professional.
As you know, there are certain languages that lend themselves very easily to vocal use.
One of the great virtues, apart from the pleasure of performing these works, is that it's opened up an entirely new, expansive repertoire of American Jewish music.
Mozart has written opera, symphony, sacred and chamber music - not to mention his piano and violin concerti.
Music is a continuum and the modern and avant-garde composers of today will be part of the standard repertoire 30 years from now.
Taste is changing, style is changing, and players' abilities are changing.
There are some sounds that English singers find quite difficult to manipulate.
So I've never found there was any particular separation between the two cultures at all, musically speaking.