Tradition demands that we not speak poorly of the dead.

Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective.

Jewish intellectuals contributed a great deal to insure that Europe became a continent of humanism, and it is with these humanist ideals that Europe must now intervene in the Middle East conflict.

Every great work of art has two faces, one toward its own time and one toward the future, toward eternity.

The tempo is the suitcase. If the suitcase is too small, everything is completely wrinkled. If the tempo is too fast, everything becomes so scrambled you can't understand it.

In the beginning, there was silence. And out of the silence came the sound. The sound is not here.

There are many types of silence. There is a silence before the note, there is a silence at the end and there is a silence in the middle.

Now the first step has to be taken, the step towards democracy. This step is full of risks, and requires trust on all sides. We don't know where it will lead. But if we just stand still, we will have no chance of escaping the violence.

Tradition demands that we not speak poorly of the dead.

Anti-Semitism has no historical, political and certainly no philosophical origins. Anti-Semitism is a disease.

US presidents can make all the commitments and declarations they want until they are blue in the face, in the Muslim world they will always be perceived as partisan.

'Tristan' is a very unique case, not just in Wagner's output, but in music in general. It remains contemporary no matter what else surrounds it. There is something self-renewing about it.

An hour of violin lessons in Berlin is an hour where you get the child interested in music. An hour in a violin lesson in Palestine is an hour away from violence, is an hour away from fundamentalism.

Any conductor who tells you that if he is approached for the directorship of the Chicago Symphony that he's not interested in it, you know perfectly well he's lying.

Beethoven was a deeply political man in the broadest sense of the word. He was not interested in daily politics, but concerned with questions of moral behaviour and the larger questions of right and wrong affecting the entire society.

Beethoven's importance in music has been principally defined by the revolutionary nature of his compositions. He freed music from hitherto prevailing conventions of harmony and structure.

Beethoven's music tends to move from chaos to order, as if order were an imperative of human existence.

Controversial means somebody who makes people think. And if you are afraid of people who will be against you, you might as well stay home and do nothing.

Either you live by the barometer of the music critics, or you live by your own. I choose the latter.

Every concert I've finished with the knowledge I've played a fistful of wrong notes.

Every note is a lifetime for itself.

For many people, music is here to let them forget the daily chores of life.

I am permanently relaxed.

I am the conductor for life of the Staatskapelle in Berlin, which fills me with tremendous joy because I feel absolutely at one with them. When we play, I have a feeling that together we manage to create one collective lung for the whole orchestra so that everybody in the stage breathes the music in the same way.

I can't stand going out to one more dinner with some Mrs. So-and-So who might leave a million dollars to the Chicago Symphony Orchestra when she dies.

I cannot be music director at La Scala and at Staatsoper. This would be unfair to one of the two institutions.

I don't believe in changing the unchangeable.

I don't like possessions.

I don't think I'm anti-Israeli.

I feel that the Jews have always had a special connection to this part of the world, which in geographical terms was called Palestine for so many centuries.

I get no satisfaction just showing myself in every corner of the world every week.

I have accumulated so many experiences, so much, that I want to be able to realize so many things. This is why I have basically given up most of my positions.

I have loved Elliott Carter's music for many years.

I have music in my brain all the time, all sorts.

I know so many Irish musicians. They're all over, because there has been so much emigration from Ireland. Like the Jews.

I liked very much when we lived in Hampstead. We would go for walks on the Heath. I liked it better than living in the centre of town.

I love conducting. What I'm tired of is music administration. I don't want that. I just want to make music.

I maintain music is not here to make us forget about life. It's also here to teach us about life: the fact that everything starts and ends, the fact that every sound is in danger of disappearing, the fact that everything is connected - the fact that we live and we die.

I think Sharon is anti-Israeli because it's in the interest of Israel to understand the problems of the other side.

I think that our civilisation is very much a visual civilisation - television and videos and all this.

I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.

I used to conduct the last opera in Berlin on Sunday, get on a plane on Monday to Chicago, and start a rehearsal that same night, if it was a performance week.

I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.

I would like to be a terrorist for music education - to make a complete reform, all over the world.

In Arab culture, music is for celebration. You don't play music at funerals.

In my mother's belly, I remember not liking the tempi my father played the Beethoven Sonatas in.

In order to lift a certain object from the ground, we have to use energy. But then to sustain it at that level, we have to keep on adding energy, or otherwise, the object falls to the ground. It's exactly the same thing with the sound.

Israel is in the grip of a ghetto mentality. We have a powerful army. We have the atomic bomb. But the psychology of what comes out of Israel has the tone of the Warsaw Ghetto.

It is always interesting and sometimes even important to have intimate knowledge of a composer's life, but it is not essential in order to understand the composer's works.