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I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.
I believe so, but at first he must know. He must know in which spirit Beethoven has composed this piece. He must try to study that. And he must find out in which station of life of Beethoven he did.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
Even my family laughed at me because they thought this young guy who's always stuttering in front of other people should be in front of 100 musicians and talk to them and leading them.
Even I had no opportunity to conduct very many concerts after World War II.
At the age of 16, something happened with my finger and the doctor told me, you never can be a organist or pianist, so think about what you do with music.
As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?
And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.
And if you are strong enough, then you can grow as a conductor more and more.
And I always tried to be not a star. To be someone who people like to talk to.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
An orchestra full of stars can be a disaster.
Believing In Someone
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