This week, though, his programme focuses on Brahms's Fourth. I asked how he approaches such a stalwart of the symphonic repertoire.
"Music is alive, so there is no way I can just conduct Brahms or Beethoven all the time without adding new spices. And working with contemporary music makes me think differently about Brahms.
"For example, I might focus more on beauty than weight. Brahms is often played as if it is a 300-kilo (47 stones) man, but after working on contemporary music I start to hear the beauty of pure sounds and harmonic clashes. So I might get the second violins to bring out a certain clash or the winds to bring out a certain texture. Most of all, though, I simply feel more like conducting Brahms after I have been conducting contemporary music. And that makes all the difference.
"Even if the audience has heard the piece a hundred times, the performers must be willing to play it as if it is new-born."