“In a certain way our work is very close to that of a sculptor. Every musical programme confronts us with unknown masterpieces, hidden, as it were, in unhewn marble. We divine their form, but only hard work during rehearsals makes it manifest.
A well-rounded interpretation establishes a relationship with the composer, like a conversation that bridges centuries. Likewise, if we create interesting concert programmes, we will have an immediate response from the audience. Their composition, however, requires knowledge of a wide musical terrain.
In this respect we are like treasure-diggers in the open fields of musical history.”