Mozart has written opera, symphony, sacred and chamber music - not to mention his piano and violin concerti.
We don't want other people poking into our artistic pie.
Music is a continuum and the modern and avant-garde composers of today will be part of the standard repertoire 30 years from now.
I would like new people with new ideas to come into it and change it.
So I've never found there was any particular separation between the two cultures at all, musically speaking.
The awful thing about a conductor becoming geriatric is that you seem to become more desirable, not less.
So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.
Taste is changing, style is changing, and players' abilities are changing.
There are some sounds that English singers find quite difficult to manipulate.
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.
Most Beethoven symphonies require 80 or more instruments, and the late romantics even more.
As you know, there are certain languages that lend themselves very easily to vocal use.
I think the quality of something like the Beveridge, for instance, will have a life of its own.
I think we were all frustrated with our daily routine.
If the (British) Arts Council give you money, they also tell you how to spend it.
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