The Royal Festival Hall in London is nice; people hang out there. I think this inviting, non-exclusive character is very important.

If you think of the history, in the days of Brahms and Beethoven and all these guys, almost every concert was a new music concert. To play something old was really an exception.

If we always thought like that, why would we study physics, why would we think of cosmology, why would we do any kind of research? Because we know already so much that there is no one person who can contain all that information.

I think if you would like to describe composing as an act with one word, "slow" would be the word.

Of course, if you think of a European or American household in the '50s, so what were the things that when people started climbing up the ladder, what did they buy? A fridge, a TV, I think piano was the number three item in say '53 or '54.

I think truth as an idea should be left to the philosophers and perhaps religious leaders and politicians, and professional people who deal with that idea.

I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.

I think we are in the process of getting the word out, and we haven't done very well yet. But we are trying.

I think we still do have a PR problem in the sense that these institutions portray themselves quite often as a museum without the contemporary wing. For a young cutting-edge person, why would you get into that sort of business, which is very clearly geared towards dead or almost dead people?