"What was important was to have Chinese business partners who know how to deal with Chinese business people. In the first few years I had a lot to learn," he says.
Bringing top orchestras to China can be a logistical nightmare, transporting artists and their instruments.
"The maestro always travels first class and the players in the top orchestras business class. This often means they have to travel over two days because there is not enough room for them all in the business class of a single airliner," he says.
He believes Chinese orchestras are now bridging the talent gap between themselves and major Western orchestras as Japanese orchestras have succeeded in doing.
"Chinese orchestras are doing rather well now. For them to be the equivalent of the Berlin or Czech Philharmonic we are probably still looking at 20 years from now," he says.
"The actual playing talent is strong everywhere. The only difference to me is the interpretation and the traditions of interpretation."
He says China suffers also from something of a brain drain of its musicians.
"Many Chinese youngsters go to the Curtis (Institute of Music in Philadelphia) or the Juilliard (School in New York) or the Royal Academy of Music in London and don't come back. There are top Chinese players in the Berlin and the New York philharmonic orchestras."
Armstrong says he continues to be impressed by the range of the sheer number of music events across China.
"There is an incredible range of orchestras, chamber music, dance and also musicals being brought here right across China. It is very exciting to be part of it all."
