Our interpretations through the years and generations have always changed, but the emotions, ideas, and the thoughts of the composers are still with us, and these are the premise of the music. The time factor has little to do with it because, after all, it is about human feeling, the Universe and who we are as people.

We all know that there are many people that can play the instrument perfectly today, up and down with technical perfection, but does the sound connect internally, do they touch people's hearts, how creative are they.... ?

If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.

When I finally got together with Rostropovich as a student, he was very focused, almost entirely focused on the music itself, on what the composer had in mind and what he knew about the composer. Many of the works that I played for him had in fact been composed and written for him; he was often the first performer of these works, having known the composers personally.

I think one of the most wonderful things we can do as performers is to remind audiences that they can still relate to the emotions and feelings, as though the music had been written yesterday.

Our interpretations through the years and generations have always changed, but the emotions, ideas, and the thoughts of the composers are still with us, and these are the premise of the music. The time factor has little to do with it because, after all, it is about human feeling, the Universe and who we are as people.

For Rostropovich, every single note that he played had a special kind of human meaning behind it. And this was something that he expressed and demanded of everyone who worked with him, who wanted to rise up to that level.