It was in Salzburg, with the LSO, and the conductor was Karl Böhm, a man whose music-making we found both awesome and heart-warming. His discipline was first-class, probably because of the respect we had for him as a great musicians rather than as a person, and this enabled him to produce, at the final rehearsal, the finest performance of Strauss' Death and Transfiguration anyone could recall. I swear that many of us - and there are a few members of that excellent orchestra who could be called thin-skinned - were in tears at the end of it. It was an unforgettable experience, and should have resulted in an incredible performance that night. What it got was an excellent one, just as it should have been at rehearsal, but it was without the tearing passion of the morning. You can't do that twice with a British orchestra. What you must do is leave it just short of culmination, and let it bloom at the concert. If you do this, music can be what it has always been intended to be - a happening. It is difficult to arrange this always.