Conductor Jonathan Stockhammer is sitting down to a late breakfast in a London hotel. He’s wearing flip-flops and a pink t-shirt. Set out in front of him are a smoked salmon sandwich, a green veggie smoothie and a cup of coffee. He was out celebrating the success of his last concert with his musicians until 2 o’clock in the morning. The concert was a mix of classical music and pop and featured up-and-coming musicians from the Junge Deutsche Philharmonie symphony and Imogen Heap in Westminster Central Hall. It was a journey between the musical worlds.

On the eve of the concert, Stockhammer sports a dark tuxedo and shiny black shoes. He stands to the right of the stage, waiting for his entrance. He looks meditative as he stares out into the void. He was so focused on his quest for the ultimate sound experience and for the perfect concert that he forgot to eat. As his name rings out from the stage, the audience begins to applaud. Stockhammer snaps out of his trance. With a spring in his step, he makes his way to the conductor’s stand.

Stockhammer is considered to be one of Germany’s most experimental conductors. Among the American-born conductor’s credits is a concert with the Pet Shop Boys and the Dresden Sinfoniker orchestra, who were playing on the balconies of a communist-era apartment building, which he conducted from a crane. He has a passion for challenges and lives for innovation culture.

He was introduced to classical music at a very young age with a father who played the viola and a flutist mother. At his parents’ request, he first studied in Boston before submitting to the irresistible call of music.

How important is high-end listening and recording to you in classical music? For a long time, I thought I didn't really believe in it. Live concerts were the most important thing for me. I didn’t listen to many music recordings. Maybe I was too involved in my work. But around five years ago, I suddenly realized I was missing something. From that point on, I began listening to CDs again. In doing so, I rediscovered wonderful recordings. I let myself be carried by the wave of the orchestra. For me, it’s important to feel the composer's craftsmanship and to capture the moment when it was recorded. Recording concerts is its own kind of art. It's a different way of getting to the heart of a piece.

How are you able to conduct such excellent concerts with the talented musicians of the Junge Deutsche Philharmonie? I try to draw interpretations out of people. I try to inspire them to play a piece differently than the way it has been played so many times already, to motivate them to take new paths. This concept has worked very well with the Junge Deutsche Philharmonie. I have worked together quite a bit with this orchestra and each time I am pleased to do so. The young musicians' enthusiasm is amazing. In the same way that I motivate them, they give me energy back. I love conducting them. Each event and each rehearsal is different. It’s enlightening every time. Playing with them is so refreshing – like interspersing classical music with a bit of heavy metal.

What approach do you take when you arrange pop songs for a classical orchestra? Many classical variations of pop songs just use classical instruments as decoration. Sure, it's wonderful to be on stage with 60 well-dressed people. That alone isn't a bad thing, but it's a waste of resources. I try to capture the orchestra's sounds and give the piece a new personality, because ultimately it's the tension between pop and classical music that makes a concert or recording so interesting.