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You ask if I would have been different without "Party guidance"? Yes, almost certainly. No doubt the line I was pursuing when I wrote the Fourth Symphony would have been stronger and sharper in my work. I would have displayed more brilliance, used more sarcasm, I could have revealed my ideas openly instead of having to resort to camouflage.

For some reason, people think that music must tell us only about the pinnacles of the human spirit, or at least about highly romantic villains. Most people are average, neither black nor white. They're gray. A dirty shade of gray. And it's in that vague gray middle ground that the fundamental conflicts of our age take place.

A great piece of music is beautiful regardless of how it is performed. Any prelude or fugue of Bach can be played at any tempo, with or without rhythmic nuances, and it will still be great music. That's how music should be written, so that no-one, no matter how philistine, can ruin it.

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Jewish folk music has made a most powerful impression on me. I never tire of delighting in it, it's multifaceted, it can appear to be happy while it is tragic. It's almost always laughter through tears. This quality of Jewish folk music is close to my ideas of what music should be. There should always be two layers in music. Jews were tormented for so long that they learned to hide their despair. They express despair in dance music.

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