“I want to do everything. That's my problem. Life is short, and I hate the idea of turning down anything. You never know what interesting experience might happen.”

“I want to do everything. That's my problem. Life is short, and I hate the idea of turning down anything. You never know what interesting experience might happen.”

“I think music should be the basis of an education, not just something you do once a week.”

“For some reason I can't explain, artist and musicians tend to look younger than our age. Being in music, you need this youthful sense of discovery and wonder for what you're doing and keep your imagination open. That's a youthful way of looking at life and I think that reflects in how you age.”

“The symphonies are the things that, as a soloist, I've not gotten to play. I used to travel the world playing concertos, and then I would sit and listen to the symphony.”

“I want to do everything. That's my problem. Life is short, and I hate the idea of turning down anything. You never know what interesting experience might happen.”

“My whole life, I've been watching conductors. I was 7 the first time I played with a conductor. Seeing the ones that do it well, it's an amazing thing.”

“Stradivarius, in particular, was the most amazing craftsman and one of the great artists and scientists that ever lived because he figured out something with the sound and the science of acoustics that we still don't understand it completely.”

“Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal - the vision, the structure, the architecture.”

“The real architecture happens within the works themselves, and that was done by the composer. That's where the real skill is. In putting together a program, you're more a curator, but that's important as well. And then the interpreting of it is where our big job is.”

“I always have loved the Stradivarius. My teacher, Josef Gingold, he had a Stradivarius. As a treat, he would put it under my chin and let me play a few notes, and I remember that feeling of the overtones, the complexity of the sound. It's like a great wine.”

“My teacher, Josef Gingold, a student of the French school, always loved the music of Saint-Saens and Henri Vieuxtemps and all the French repertoire.”