So I've never found there was any particular separation between the two cultures at all, musically speaking.
Most Beethoven symphonies require 80 or more instruments, and the late romantics even more.
So I think we got together as the Academy to give ourselves that sort of responsibility and to play well.
Mozart has written opera, symphony, sacred and chamber music – not to mention his piano and violin concerti.
If the (British) Arts Council give you money, they also tell you how to spend it.
So in one leap we had gone from being a friendly society to something almost professional.
Music is a continuum and the modern and avant-garde composers of today will be part of the standard repertoire 30 years from now.
There are some sounds that English singers find quite difficult to manipulate.
One thing we were looking for from the start was players who really fit together, who sounded in tune.
This American Jewish music is a new experience for us at least consciously.
I think the quality of something like the Beveridge, for instance, will have a life of its own.
The awful thing about a conductor becoming geriatric is that you seem to become more desirable, not less.
Taste is changing, style is changing, and players' abilities are changing.
But the most important test is to take them on tour and see if you can bear to spend time with them.
One of the great virtues, apart from the pleasure of performing these works, is that it's opened up an entirely new, expansive repertoire of American Jewish music.
Before, we may have taken part in it without even thinking it was American Jewish, but in this case, I think, you have now perhaps pointed us in a direction of a new interest in this repertoire.
As you know, there are certain languages that lend themselves very easily to vocal use.