The Milanese Maestro on the Gewandhaus Orchestra sound:
"You can describe it like a sort of old gold color – warm, darker, but at the same time transparent, even though temperamental," the affable Chailly, on the phone from Leipzig, replied."So you have the great sense of discipline of playing together, which also adds to the clarity, but at the same time, this unique kind of dark color, which is always starting from the bottom of the strings, the low strings. And this prolongs into the woodwinds and brass. It's something pretty unique, I have to say in that sense."
Chailly on his interpretation of Dvorak's Ninth Symphony:
"Well, to start with, the original tempi of the composer. Him and Beethoven indicate very clearly the metronome (markings) they wanted to have, and you almost never hear what is written. Apart from the third movement, which in Dvorák's Ninth very often is done in more or less the adequate tempo, the first, second and fourth movements are far, sometimes far miles, from what is the dictate of the score. And these would be already one point to refresh ideas."