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

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.

To remain mysterious, say little and do nothing.

I believe that what we are fighting here is not just a small group of people who have hijacked a religion, but it is a civilization bent on destroying ours.

Some of our finest leaders were not intellectuals at all, and I admire them enormously because they weren't. Harry Truman wasn't.

A man too busy to take care of his health is like a mechanic too busy to take care of his tools.

Is fame without purpose and is fame without talent really where we are now? People used to be famous for what they did. Now, they're just famous.

I don't think there's any such thing as rock n' roll anymore - it's an amalgamation of business interests.

I only wanted to be a songwriter. I never wanted to be a singer. And I never wanted to be famous.

In my 20s, as I began to travel in Europe, I found comfort in religious paintings. Even though my own belief in Catholic dogma had been shaken and weakened, I found that the beauty and the richness of the art still held me.

The danger in media concentration comes not from the concentration, but instead from the feudalism that this concentration, tied to the change in copyright, produces.

Banks now want you to pay for face time, as more institutions charge fees for what was once the ritual for withdrawing and depositing your money: interacting with a teller.

King Frederick I of Prussia conceived the Amber Chamber in 1701 as a magnificent gift to the Russian royal family that would seal the alliance between the two powers.

Whenever you have political conflict, such as the one that we have now between Russia and Ukraine, but also in many other conflicts around the world, it has always proved to be right to try again and again to solve such a conflict.

I've been criticized for not having perspective in the past and I thought that of myself many times but not there.

I may not drink an electrolyte beverage during the race. If I am running in an hour, I won't need one. But if you're running an hour-and-a-half to two hours or more, maybe you need a little bit of the electrolytes.

I do shamefully little for charity, and I always talk about it when I do.

Every invalid is a prisoner.

My idea of relaxation is not lying down by a beach. I have to move around, do stuff. Though I'm a massive quiz show person.

The artist's role is to raise the consciousness of the people. To make them understand life, the world and themselves more completely. That's how I see it. Otherwise, I don't know why you do it.

Being different isn’t a bad thing. It means you’re brave enough to be yourself.