But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.

And at the same time, you are of course a performer, but it's very important that you understand that your role as a performer is to get the best performance from those wonderful colleagues that you have the chance to work with.

It's kind of scary sometimes, I've seen this a lot in Asia. Children are given music lessons, very intensively I might add and involving great technical expertise sometimes, but you can tell that they have been told only to play happy pleasant music.

If we are able to get inside the music and inhabit it convincingly enough, it will cause everyone to find each other in this new psychological space. And that's most exciting.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

Being an American musician means being adventurous.

But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.

When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.

The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.

You know, they were returning to the language of the people and trying to use musical language, particularly as Copland did to create a musical language in which all Americans would feel that they had a stake.

But without the experience of actually singing or playing these things yourself, you don't have the same kind of involvement or understanding of what these musical moves mean. And that is a very big problem in addressing the future of music.

I can't do pieces I only admire technically. I have to feel some direct contact with them.

And what classical music does best and must always do more, is to show this kind of transformation of moods, to show a very wide psychological voyage. And I think that's something that we as classical musicians have underestimated.

Conductors are performers.

But some people will say you just did these programs. Well, yes, the programs are important and I'm proud of the programs, but mostly I'm proud of the way the San Francisco Symphony plays these programs.

Extreme volume in music very often disguises a lack of actually important content.

Earlier in my life, I performed a lot of music. Some of it because I felt it was a demonstration, or a representation of certain intellectual concepts that were very exciting and important.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

The first year I started in San Francisco, there was an American work on every program and there's been a lot of music by living composers and gradually that was part of the process of getting the audience really to trust me.

I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

But still as compared to many, many orchestras in the world, I think you find a lot more new music and living composers on our programs than many other places.

But you know in the contemporary art world, you pose a very interesting conundrum. All sorts of people collect very contemporary art, yet when it comes to the music which is analogous to that sort of art, they are not interested, or perhaps even hostile.

Classical music is an unbroken living tradition that goes back over 1000 years and every one of those years has had something unique and powerful to say to us about what its like to be alive.

Classical music is a wonderful 1200 year old tradition that witnesses everything that it has meant and what it means right now to be human.

But those musics do not address the larger kind of architecture in time that classical music does whatever each one of us knows that classical music must mean.

If youre alive you have all the experience necessary to understand classical music.

And what classical music does best and must always do more is to show this kind of transformation of moods to show a very wide psychological voyage. And I think thats something that we as classical musicians have underestimated.

You learn from a conglomeration of the incredible past - whatever experience gotten in any way whatsoever.

I've danced one time in my life. It was the most mortifying experience I ever had.

The experience of life consists of the experience which the spirit has of itself in matter and as matter, in mind and as mind, in emotion, as emotion, etc.

My best film composing experience was with Elia Kazan.

Education is a private matter between the person and the world of knowledge and experience, and has little to do with school or college.

A novel should be an experience and convey an emotional truth rather than arguments.

By experience we find out a short way by a long wandering.

The experience of democracy is like the experience of life itself-always changing, infinite in its variety, sometimes turbulent and all the more valuable for having been tested by adversity.

Learning teacheth more in one year than experience in twenty.

Well, the hardest thing to do, as we know from our own experience on 9/11 is protect everything all the time.

The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.

When I reached adulthood, even now, I could afford to belong to a country club. But I could never belong to a private club because of my experience as a child, because it would isolate me from the whole of humanity.

No one I know of has ever had this experience-where you had to sit and wait and wait for a DNA test to come back just so you can write the last page of the book.

If you live long enough, you'll experience everything.

Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.

In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.

Experience is never limited, and it is never complete; it is an immense sensibility, a kind of huge spider-web of the finest silken threads suspended in the chamber of consciousness, and catching every air-borne particle in its tissue.