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.

The zenith of virtuosity, a violinist like Jascha Heifetz, the supernatural in a pianist like Vladimir Horowitz, these are performers who were so idiosyncratic and personal that to imitate them would be like filling somebody else's bottle with your wine.

Even if you are a pianist, your concerto repertoire is very limited compared to what your chamber repertoire would be if you were a chamber music pianist.

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.

The realm of classical music is so vast - not only in terms of style but of era, age and the purposes for which it was composed - it is an enormous art form.

Beginning in the nineteenth century, with performers like Franz Liszt, were musicians who were able to excite an audience and communicate on a whole new level.

Being an artist and a musician, I have witnessed the previous generation taking the art form, not as a way of making a living, but as a belief, an almost maniacal, sometimes insane devotion and commitment to communication.