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It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.

A composer is a guy who goes around forcing his will on unsuspecting air molecules, often with the assistance of unsuspecting musicians.

A conductor can't be too arrogant with an orchestra and try to impose himself too much.

A lot of people think the orchestra is playing and the conductor doesn't do very much, but the conductor's the person that gives shape to the music, gets the phrasing, and if he has really fine musicians in solo spots, the question is does he try to help them phrase, or does he let them go?

You have to change your mind with every orchestra because every orchestra has a different character.

I think John Williams, him and his team, have been incredible orchestrators. By that, I mean how he chooses which instrument plays which note.

Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal - the vision, the structure, the architecture.

If a composer is to reach his audience emotionally - and surely that's what theatre music is all about - he must reach the people through sounds they can relate to.

There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.

Whenever you face a man who's playing your instrument, there's a competition.