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 like working with kids because I enjoy seeing the looks on their faces and, it's kind of selfish, I want a future audience.
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.
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.
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