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Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
Classical music is an unbroken, living tradition that goes back over 1,000 years, and every one of those years has had something unique and powerful to say to us about what it's like to be alive.
I think music needs to be presented in a way so that kids can grasp songs, dances, simple music that's associated with some particular defining moment in human experience.
The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.
When I first was conducting as guest conductor in Europe 25 years ago, I would propose doing American pieces and grudgingly it would be accepted from time to time.
In earlier times, so many people sang much more. You know as a kid you'd go to some kind of religious training and or summer camp or whatever it was and you'd learn to sing a lot of songs.
They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
A conundrum of music is that music brings people together, yet to become a skilled musician involves a certain amount of lonely time in which you're just figuring it out, practicing.