As far as doing TV, I do think there's a big audience out there that could enjoy classical music, but they don't know how to find it, and sometimes by doing different things... crossover things probably make up about 5% of what I do.

I learned early on how to make best use of my time. You know, quality is more important than quantity when it comes to practice time. And unfortunately, I still need to practice a lot.

I was lucky enough to have parents who started me on music very early, but most kids don't get that kind of exposure.

Music teaches people to work together, which is maybe one of the most important skills.

My father was - actually was an Episcopal priest as a young man. Became a psychotherapist, a psychologist. My mother is Jewish, so I grew up in a mixed background. But the common denominator was certainly music, and that was sort of emphasized in my household as music being sort of the spiritual force.

I think it's really important to always kind of stretch your boundaries and your limits and get out of your comfort zone. And for me, that's very important.

You might think that after 40 years of practice you wouldn't need to practice anymore, but sadly it doesn't work that way. You still have to keep chugging away and perfecting.

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.

Everyone's definition of what God means can vary. But music is something that really takes you to that - 'sublime' is a great word. That thing that is greater than we are. The beauty, the magic of the universe.

You only live once, so I try to say yes to everything.

I've always been accused of moving around too much when I play concertos. Sometimes, conductors ask me which of us is leading.

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.

It's very hard to find a pianist that's willing to play the so-called accompanist role on part of the program and yet be capable of being a great solo pianist that you would want for the big sonatas.

If I read every comment on my YouTube videos, I'd go crazy with people that are saying negative things.

Beethoven's fourth and seventh symphonies have a certain amount in common. Well, of course they're both written by Beethoven, but besides that, I would say their overall effect and idea is to provide the listener with an incredible sense of joy.

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.

For me, music has been, in a sense, my religion, and it is what brings me closest to God or truth or whatever you want to call it.

Obviously, I want it to be legally downloaded, and I myself have spent a fortune on iTunes because, for me, that's the easiest way to get music.

I approach everything as chamber music. Even with Beethoven symphonies, I lead from the violin and basically encourage the orchestra to think of it as a giant string quartet.

I grew up in a musical environment. My parents played music and had it playing on the radio. They brought me to a concert at the age of 5, the same age I started violin lessons.

Good conductors know when to push and when to lay back. I've known so many great conductors that I'm still doing what I can to learn the craft of this role.

I think - I'm always interested in reaching people in different ways, not by - not by just standing on a - randomly on a subway platform.

I happen to love Saint-Saens in general. I think he's a brilliant composer and sometimes underrated in a way because people like to pass him off as fluffy and not being serious.

We live in the least ugly time in history.

There was a time, early on in my career, when it was very important for me to be liked by everyone. It meant that I was musically less honest with myself.

I'm not a businessman, so I don't know how to solve the problems of the recording industry.

Bach's music is really some of the greatest. I think, in some ways, Bach is the most profound composer of all.

So many times, I've seen conductors that, every time they have a thought, they stop the orchestra and say it, and I can see the orchestra rolling their eyes and saying, 'Oh, God, he stopped again.' So there's a technique to rehearsing.

The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.

I started directing chamber orchestras, then adding bigger pieces, adding winds, adding small symphonies. I've always loved chamber music, and I've done a lot.

In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.

I know how to deal with jet lag, and I know just how much rest I need and when I need to take naps. When you walk on stage, you need your brain working at its highest and most fully-functioning, so it's not always easy, but I sort of figure it out.

I'm having a blast being the music director at the Academy of St. Martin in the Fields. It certainly is challenging for me, but I love challenges.

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

I love the outdoor festival feeling. When I'm on stage, it's very gratifying to watch people on the lawns enjoying the music with a glass of wine.

The beauty of a Stradivarius is that you can play in Carnegie Hall without any amplification, and it has this - the sound has, inside it, has something that projects, and it has multifaceted sound, something that kind of gets lost when you use amplification anyway.

A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.

When you play for ticket-holders, you are already validated. I have no sense that I need to be accepted. I'm already accepted.

It's been very exciting for me to start directing and conducting, exploring the symphonic repertoire, which I've always loved.

For me, I'm sort of a wanna-be composer, and I love being involved with the arrangements.

Music - you need the give and take from the audience, the feeling of attention. It's not about me: it's about the music itself.

No one tells you what to do if you completely flop at the beginning of a performance.

I kind of alternate between conducting and playing and kind of juggling those things, but I don't use a baton.

I love celebrating music in different and unique ways.

At a music hall, I'll get upset if someone coughs or if someone's cellphone goes off.

Music is a continual learning process. One finds new insights all the time. For me, it began at a very early age; from the beginning, there was something besides the notes.

When you play a violin piece, you are a storyteller, and you're telling a story.

I think, as an artist, it's very important to continue to be challenged and feel challenged all the time.

The great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them. But there are conductors that actually inhibit the players from playing with each other properly.