"That he is a master is universally accepted. That his originality is unrivalled (for an eminently tonal composer) we all realize. That his influence has been formidable goes without saying. But to me as a conductor, his unique value is his fabulous variety. [...] The variety itself is manifold. There is a stylistic variety which makes each work sound new and different from the last. We are treated to a series of historical flashes ranging from Pergolesi to Tchaikovsky. We can select from a continuum that runs from irony to pure balletic entertainment to the most moving profundity. There are all degrees of complexity, from the Norwegian Moods to Petrouchka. And there is infinite variety of orchestral sonority. No two pieces ever sound really alike in timbre. The last quality is what mystifies me. Especially because the personal trademarks are always present: the niceties of his doublings, the disposition of his chords, his unconventional use of strings, his addiction to wind instruments, and his uncompromisingly lean clarity, even in the earlier works. He combines, in his handling of the orchestral groups, a stability which always guarantees a "sound," with an almost fussy way of casting subtle lights and shadows by means of meticulous detail. Yet one never tires of his sonorities. [...] Stravinsky's variety is a treasure, and a conductor's boon. In an audience, I am a fan; as a composer, a humble admirer; as a worker in the theatre, an observing student. But as a conductor, I am eternally grateful."