The act of conducting in itself, of waving my arms in the air and being in charge, I didn't miss. I missed the sensual pleasure of being in contact with music.
The music I turn out these days is the kind of music I want to hear myself.
The underlying process in Northern music tends to be slower and continuous, whatever's happening on the surface; in Southern music the underlying process is always faster.
I always had, deep down, a slight aversion toward the purely cerebral in music.
Music has just as much to do with movement and body as it does soul and intellect.
In the range of music that we play - roughly 300 years' worth-there really are more similarities than differences.
My music wouldn't sound the way it does if I hadn't had the experience of conducting.
When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.
If music leaves any impression at all, it does so without regard to stylistic issues.
Jazz music is an intensified feeling of nonchalance.
I grew up listening to a lot of soul music, and a lot of folk music.
Each time I seem to go through one of life's huge things, I want to play music.
And I like to interpret music. So I think it's all interpretive.
For me it's also - the music is equally as important. I mean I think as somebody who writes music, there just has to sort of be the marriage between both.
Music is extremely intuitive, which acting too in a different way.