Every day we make more progress toward understanding the concert hall.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.
In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
Music has just as much to do with movement and body as it does soul and intellect.
Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.
The music I turn out these days is the kind of music I want to hear myself.
There is such a suspicion in today's world of people who do more than one thing, who aren't specialized.
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.
The Northern idea of form is more of a process. The various units of the form overlap. You can't tell where some things stop and new things start. This is typical of Sibelius.
As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
Once you get over the first hill, there is always a new, higher one lurking, of course.
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.
In Europe, there is so much tradition, and everyone has established ideas as to what art should be and what it has always been.
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