Pierre Boulez

I am not nostalgic about things. When you have a kind of improvement, I am not nostalgic about the past.

I almost chose the career of an ethnomusicologist because I was so fascinated by that music. It gives a different feeling of time.

Acting and performing music is exactly the same. Therefore, an actor, for instance, who is very impressive, he's not simply imitating or trying to imitate, but he must dominate this kind of feeling, and then he transmits it in a much stronger way.

Certainly I was a bully. I'm not ashamed of it at all. The hostility of the establishment to what you were able to do in the Forties and Fifties was very strong. Sometimes you have to fight against your society.

I always think the relationship between a teacher and a student should be short and maybe violent. You don't need to spend years together. All you need is an explosion: you are the material to explode; the teacher is the detonator.

Some members of the Vienna Philharmonic convinced me to try Bruckner, which I have never done before. And that was interesting to me to have this experience with this orchestra, which knows the repertoire very well, and to be confronted with this knowledge, and to learn from them.

All the people with whom I was very close at one point in my life - Stockhausen, Berio, Ligeti, Nono, Bernd Alois Zimmermann - they are all gone.

My parents were so far from the music world that they couldn't conceive how you could make a living. But for me, it was the only solution for the rest of my life.

Conducting is more difficult than playing a single instrument. You have to know the culture, to know the score, and to project what you want to hear. Some conductors are well prepared but cannot transmit their ideas to an orchestra, and others are good communicators but have nothing to transmit because they are not absorbed enough in the score.

I wanted contemporary music to be treated the same as the traditional repertoire - performed regularly by people who knew each other and the music. That is the way you convince an audience.

Webern was a kind of 'Kamchatka of music,' an unknown country of music. That's true; for me and people of my generation, he was a radical - you couldn't be more radical than he was.

People see me as a theoretician, but my music is also seductive, even spiritual.