 I got a little bit lost with the whole where morality came to the picture, but except that I think I quite followed. I really have a little bit of a... Maybe it's my own personal problem, but I hear a lot of judgment in everything which is being said here. I hear a lot of, we are sitting here doing something really incredibly important and great and high and necessary and everybody else outside should come and see how incredibly important it is. They don't know yet that they will know how incredibly important it is once they've been exposed to this incredible thing. Now, obviously from a personal point of view, I agree with you, I am a musician. I think it is great. But, sorry, Bach and Mendelssohn and Mozart, who is what I do every day, have been dead for 200 years now. There are people outside in the street who have other content that is not less valid than what we do in this hall. So what, I would say? So what? Now, let it first... Sorry, I'll get there in a few seconds. I am the first one to think, since this is my life, that an orchestra as incredible as the orchestra that plays in this hall in a building which has so much tradition and history is incredibly important, but it's a part of what we have to do. We cannot lose contact with what's happening now and with what... Why am I, not me, me, but me, a person of my age, what has Mozart got to do with me? What has Shakespeare got to do with me? It's our role as interpreters to find a bridge between these works and these people, but it's also a role to create things that happen nowadays, because if we go on telling people in the street for the next 200 billion years that they're too stupid to understand our great culture, they won't find it more interesting. Now, the point is, we have to have, first of all, not say it, but feel deep respect for other cultures, other kinds of interests of people that are not interested in art, that are not interested in what we consider important art, but have true respect for what interests them if we want them to have respect for what interests us. Because I think essentially art and what we try to do here, and I think that's what he said, because what I've been doing my whole life is try to make music for people who have never seen music before, it's all about an exchange, it's about communication. I try to say something to my audience, I want to hear something, I'm trying to have an exchange with my audience. If somebody does it through music or through theater or through playing football or through reciting Chinese poetry, I don't care. We have to challenge, we have to get into a discussion, we have to get into some sort of a platform where we reach to one another. One last thing, what you said, I completely agree with it, and that's what I've been trying to do a lot as well, and partially failed, partially not, I don't know, but it's very easy to convince anybody in the street who has never been to a concert before to go to a concert once. If you're a little bit charismatic and you have three good excuses, you will find a way after 15 minutes to make them try it out. A completely different story starts where it's about making them come a second time. You will not convince anybody if they have been to an experience which did not move them, they will not come even if you tell them 300 times that it was really important. We are always approaching this by explaining, oh, it's about education and it's about teaching and it's about explaining, we don't have to understand music. Music is not there to be understood, art is not there to be understood, so I don't have to look at a painting and understand anything to know it's beautiful or for you to move me, it either does or it doesn't. If music doesn't move you, you won't come back to a concert and you shouldn't. I don't go to many concerts because they just don't move me. Now, why do I have to go to a kid who is 10 and say, I'm going to teach you for the next 2,000 years until you will know enough to understand why music is good? No, we should just make sure, the problem starts with us musicians or us artists. We have to offer something that has substance that will move our audience, then they will come, we don't have to educate them in that way, we will educate them for showing them that real experience is possible. That's my opinion on the subject. Thank you very much. Let me turn this and I'll give you the floor to the final general question and then we turn to the audience. Of course, if you consider this a situation in which arts and culture are much less important than probably it was 100 years ago, before we go to the world of politics or technology or commercial life or whatever, what happened in the world of culture, what happened in the world of arts that much less people are interested to participate in all of this. Yori, what are your... No, I agree totally with what you say. But I think one of the problems we have, as you have said before, we have to have the thing to specialise. We have to do a program in the Festival of Sarsworld with the Ragan Days with the great success with people from Serbia, Bosnia, Turkey, Armenia, and I think we have to open the music to every culture. And it's not only the music which composes great names, which is important, because many of the cultures they have music like the Sephardic people, like the Armenian, like the Serbian. This is really authentic music from the life of the persons because this music has helped still today people to survive. And I think this is the important. When you say this, when you listen to a Bosnian singer singing an old melody, you feel these people are fighting for his life, for having a chance to be alive. And I think we have to bring the music to this level of authenticity. One of the things that makes the classical music dying is because we are Ottomans. We are Ottomans, we are not anymore trained to use the music as something which is essential for life. And I think the chance is to open for really music play by musicians. They fight for the life and for the music. But you see, this is in a way exactly a result of that. If you train people to specialise, they become at the end... No, the people from the Balkans are not specialised. Exactly, that's why I actually agree with you. But I think what happened in the classical world is that we stopped encouraging people to be personal and to be sincere, we encouraged them to fit to certain rules if they want to fit in certain boxes. And I completely agree with you. If my music does not represent my story, and I don't say my story when I play, the audience will feel it and it will not be moved by it, just by me executing notes correctly. It doesn't interest anybody. I completely agree with you. And we must make sure, exactly as you said, that we don't maybe subconsciously have this little bit of arrogance that we think our music is better than other music. Because there is no better music than other music. Every culture, every art or every ritual of every culture is as legitimate and as important. And I think I completely agree with what you said. You say, still we need musicians that can play Mozart, they can play... For sure, also. Because this is also music from our time and we need this also. I must agree too, you know, what can I do? Because you are right, but maybe it's interesting to look at two different layers. The first one is that, of course you need kind of know what you are doing. So the reason how to teach children is with good teachers. And this counts for all books of life, it counts for music or for culture, whatever. If you know why this picture is moving you, you can also talk to somebody else about it. If you really know it. So the first thing is, well, all forms of music are forms of the human animal singing to itself. Why should one be more better than the other? Of course you can say one is better than the other. And then I would always put emphasis on that one. You can also say one is better conveyed than the other. But what lies deeper is, it's not only about you feel your story when you're singing the song, man. That only brings you, that's quite a limited perspective. Because empathy enables us to feel and to understand that we could be the other in that situation. Like how could you be moved by a picture if you never sat on a horse, for example. And there is somebody sitting on a horse, you know? Or how could you be moved by a massacre if you've never been through it. And also know nobody who has, you know? You know all this because you can feel for the other. And this is an access to all things produced culturally and to a capacity of understanding them. You do not have to like them. Like there's costly music out there, please. But you could understand that. And this broader understanding of something what the human animal does and is capable of and what happens to him, I think for me is the key to something like education or to find that 2,000 year old book incredibly interesting and fresh. Or to understand the music which is not your own culture. And therefore everything is valuable but if it's nicely conducted. But the question is why is this big statement much less evident for so many people? And what is the responsibility? Why is it that the world of arts and culture which has been subsidized for many years? Why is it that we, you know, world of culture, world of arts or whatever have not been able to convince a ruling class, political parties and especially, you know, an audience that what we are doing is quote unquote very, very important. Where is it that we did wrong? I was thinking about what you said. This is a temple of music. Is it called like that, a temple of music? It's a temple without, we hope, a threshold, a temple for music. Yeah, it's a temple of music. But there is not all music in this temple. And that's, I think, one of the mistakes we make. Because if my son is studying composition at the conservatory in Amsterdam he's very interested in jazz and he's also very interested in rap. And we, as an audience, I think, well I know now because he is interested in that but the very nice thing about rap is that I live in a village like Rome or a small village like Bones, whatever. I write about Bones, that I come from that and I stay there and I want to tell about my village how beautiful it is. So my move is not coming into the center. My move is there. I want to show you, I want to show you how beautiful identity I've got. An important identity I've got. That's the sort of music. But we, I think, me too, we have moved that out instead of looking, ignore it, instead of looking how beautiful it is. Because in Germany, let's say, we have, in my theater, we have a big, big, big music program. But the Germans, to give an example, count on 1, 2, 3, 4, 1, 2, 3, 4. The, let's say, the red people count like that. 1, 2, 3, 4, which is completely different. And that we've lost, that feeling.