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 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.
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.
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.
The world changes when there's music in it.
Being an American musician means being adventurous.
If you're alive, you have all the experience necessary to understand classical music.
You can't have Bach, Mozart and Beethoven as your favorite composers. They simply define what music is!
It's easier to interest a conservative audience in pushing the musical boundaries than to involve a young audience used to very noisy, assertive music in something like Schubert or Bach because the further back you go, the less bells and whistles there are.