"The orchestra's establishment was spontaneous. Students of  the Academy, of secondary music schools got together - mainly on the effect of the I Musici di Roma they used to hear about and Listen to at that time - because they felt they wanted to do something similar. When I started working with them I got a very special instrument into my hand, not primarily an ensemble of music instruments but rather a small group of young and most talented musicians whose relationship with musical expression and inner compulsion to express music were similar to what I had.

  What I then felt was not that I had the possibility to realize the existing performance ‘recipes’ I had not much have the chance to realize by that time, but rather to create a new synthesis of my musical experiences with the help of the live material, kindred spirits of my youth. I felt there was a need for a style of presentation in which the eruptive power of Hubermann, the Lyric way of expressions of Dohnányi, the strictness of Bartók and the monumental harmony of Klemperer live together. I was pleased to say all that although I was somewhat ashamed to combine the above sentence as in the text I so far presented great performers to whom I could naturally never compare myself. I continue to Learn from them with honest modesty and great respect to date, and teach about them to the chamber orchestra and to all my students. I also warn them- many people have already said it but I also repeat it - that nothing can be copied that once existed. Copying is the most dangerous mistake performing art could make."

/Frigyes Sándor - interview by Peter Zsoldos, Muzsika, 1971/5/