I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

At the moment, in Britain we're facing such enormous cutbacks in education programs and music programs and art programs that you feel you are knocking your head against a brick wall.

An audience shouldn't listen with complacency.

If you don't get feedback from your performers and your audience, you're going to be working in a vacuum.

I know what I want at least, and the older I get I think I'm better at getting it out of players and singers.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

The establishment in Britain is certainly against the arts and against education. If something doesn't make a profit, it's invalid, and art doesn't make a profit in that sense.

The demands are related to their questing of the best possible out of the people concerned. It's this going for the highest possible factor that I'm very concerned about.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

I don't see how they can with most of my pieces, but I think it's unfortunate that they can through familiarity with flashy performances of a great deal of other music.

I'm not actually teaching any more, but I am writing pieces for schools all the time, and for kids.

But you can't really know your audiences so well.

I'm very interested, for instance, in music in education - getting young people not only to listen to, but participate in the music that I write. I consider this one of the most vital aspects of my work.

What they can expect always is that they're going to be made to think.

But when you get a bit older, and I hate to use the word, quite a bit more established, people take more notice and conducting becomes a great deal easier. You don't have battles like you had before.

If you aim at anything lower that is expecting your audience to be really alert and aware, then you're going to be caught out sooner or later as a composer.

Recently I've been participating in radio and television talk programs doing broadcasts and conferences, and shooting my mouth off and really going to town.

You don't underestimate either players or audience in any circumstances.

You can't pander to your audience. You might in the short term, but ultimately you can't hoodwink them, either.

If you dont get feedback from your performers and your audience youre going to be working in a vacuum.

There was a time when I was wondering about this business of going public, so I visited about a half-dozen companies in the Boston area, all of them formed by MIT faculty and all had gone public.

Was the crew well? Was I not? I had profited in many ways by the voyage. I had even gained flesh, and actually weighed a pound more than when I sailed from Boston.

Our situation here, without any exaggeration, is beyond description almost; it is such as eye has not seen nor ear heard, nor hath it ever entered into the heart of men to conceive Boston ever to arrive at.

A very considerable body of the German people live in America and propose to fight that Government. Bourke in his great speech last week welcoming the Belgian mission to Boston worked out the President's meaning with care.

At a Boston signing, someone from the audience asked why I was so obsessed with furniture in my books. The question rattled around in my head. I had no idea that I was obsessed with furniture.

My father was the orphaned son of immigrants to the United States from Ireland. My father never knew his parents. His mother died - we're not sure - either at or shortly after his birth, and he and all of his siblings were placed in orphanages in the Boston area.

Boston is the engine of the state's economy.

And it was from Boston that one in every six American families began their journey into the land of the free.

I don't believe a manager ever won a pennant. Casey Stengel won all those pennants with the Yankees. How many did he win with the Boston Braves and Mets?

There isn't much discussion of ruling class in America even in Boston, probably one of the most class-conscious cities in the country?

In my freshman year in high school, I went to the only public high school in Boston with a theatre program.

The word survivor suggests someone who has emerged alive from a plane crash or a natural disaster. But the word can also refer to the loved ones of murder victims, and this was the sense in which it was used at a four-day conference in early June at Boston College.

Probably the biggest thing that surprises people is that I am obsessed with hockey. I grew up in the Boston area so I am obsessed with hockey since I was a little kid.

When I go abroad I always sail from Boston because it is such a pleasant place to get away from.

I'd rather entrust the government of the United States to the first 400 people listed in the Boston telephone directory than to the faculty of Harvard University.

Here's what I see all across this great city - people working together to make Boston a better place to live and to raise children, to grow and pursue dreams.

Paul Farmer has helped to build amazing health care system in one of the poorest areas of Haiti. He founded Partners in Health, which serves the destitute and the sick in many parts of the world from Haiti to Boston and from Russia to Peru.

I recently did a piece for the Boston Pops and John Williams, and I hope that it's as well a composed piece as I've ever done for any other medium or occasion.

If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.

Let's use the energy of this historic year to propel us toward our shared vision of a greater Boston.

I got private lessons in keyboard at Julliard, before New England Conservatory of Music in Boston.

And that's the mistake that was made with Steel Pier. Roger was caught between a rock and hard place. It would have cost a couple of million dollars more to take it to Boston or someplace first. So we opened about a month too early.

A Boston man is the east wind made flesh.

Boston is an oasis in the desert, a place where the larger proportion of people are loving, rational and happy.

They played Boston. They played at the Boston Tea Party and through an amazing chain of events I got to hang out with them backstage even though I was underage.

Currently, Boston has only nine percent of the state's population - but we provide more than 16 percent of the jobs and 19 percent of the state's revenues.

I brought together experts from health care, business, academic institutions, and the community to develop a comprehensive blueprint for eliminating racial and ethnic disparities in health care in the City of Boston.