I think the quality of something like the Beveridge, for instance, will have a life of its own.

But the most important test is to take them on tour and see if you can bear to spend time with them.

I think we were all frustrated with our daily routine.

I would like new people with new ideas to come into it and change it.

If the (British) Arts Council give you money, they also tell you how to spend it.

If we perform the romantic repertoire we need more musicians.

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.

This American Jewish music is a new experience for us at least consciously.

So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.

So I've never found there was any particular separation between the two cultures at all, musically speaking.

So in one leap we had gone from being a friendly society to something almost professional.

Taste is changing, style is changing, and players' abilities are changing.

There are some sounds that English singers find quite difficult to manipulate.

Before, we may have taken part in it without even thinking it was American Jewish, but in this case, I think, you have now perhaps pointed us in a direction of a new interest in this repertoire.