And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.

An orchestra full of stars can be a disaster.

And if you are strong enough, then you can grow as a conductor more and more.

Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.

And I always tried to be not a star. To be someone who people like to talk to.

Even I had no opportunity to conduct very many concerts after World War II.

I always imagined that to bring an orchestra to play together is not enough for a conductor.

I was different from most young conductors today.

I wouldn't say I've changed my mind. I changed some of my natural habits, some of my natural character.

What I never overcame is a kind of shyness.

You have to change your mind with every orchestra because every orchestra has a different character.

Young conductors who are confident enough, they very often have success.

And to understand this, I think this is a most important point where I would like always to be understood what we do with the New York Philharmonic. That the meaning of the music is number one.

As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?

At the age of 16, something happened with my finger and the doctor told me, you never can be a organist or pianist, so think about what you do with music.

Even my family laughed at me because they thought this young guy who's always stuttering in front of other people should be in front of 100 musicians and talk to them and leading them.

I believe so, but at first he must know. He must know in which spirit Beethoven has composed this piece. He must try to study that. And he must find out in which station of life of Beethoven he did.

I can go in front of an orchestra. I can go in front of an audience. But if you see me walking through an audience in the reception or through a lot of people, I'm still shy.

I worked on scores. I went to the musical library in Berlin which is very famous. I discovered that we had scores of Beethoven, printed scores of Beethoven, that are full of mistakes. Not the wrong or false notes, but the wrong dynamic, understandable things.

If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.