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After the war, once the bop revolution had taken hold, there were all kinds of young musicians, talented young musicians, who were ready for this fusion of classical and jazz.
If we could ever find that moment, maybe thousands of years from now, where all the musics of the worlds would be communicating with each other, there would be no more wars, there would be peace.
So this anchoring in some way, in some important way in the past without repeating the past, but on the basis of the past building something new: that is what is important.
Many people think of me as a modernist, as a radical in music, you know, someone who's always sort of at the avant-garde of musics, but I'm also quite a traditionalist.
I don't hate work, composing is not work for me, it's my pleasure; it's my life. So why should I stop? If something is pleasurable and exciting and rewarding, why should one stop?
I was playing in the Metropolitan Opera Orchestra as principal horn. I was there for some 15 years - one of the most exciting and great musical periods in my life.
I wanted to be a painter and an artist. And it's interesting that in some of my later musical works, I refer so often and associate myself with works of art.