I think you can tell a lot from the lives of many of today's great soloists. Their participation and gravitation towards chamber music is ever increasing.

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.

A lot of my musical education was done simply by listening. If you really want to excel on your instrument, it's almost impossible to not develop and analyze what you see and hear and to incorporate all of it into your own playing.

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.

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.

I think you can tell a lot from the lives of many of today's great soloists. Their participation and gravitation towards chamber music is ever increasing.

The pieces that have survived, the ones that we all love, were not all popular in their time. Just look at Beethoven's late string quartets. The music that the musical community selects, however, is usually the very best.