Kids need to be structured in some way, but you don't want to force something down their throats that they have no interest in.

Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.

I don't listen to a lot of music when I have my free time. But I'll go to a jazz club and have a drink and listen to a good jazz musician. Or sometimes in the morning, if I want to put myself in a good mood, I'll put on some Latin music.

Being a classical musician, you're doing many things anyway. One day you're doing Bach concerto and the next you're doing some avant-garde thing. It's just another hat that I'm allowed to wear.

There are days that I get neurotic with the instrument [violin]. Every little adjustment will change the balance for good or for bad. It's kind of a miracle, the way the whole thing works as an acoustical whole, so perfectly balanced that any little thing will - which also means the weather, the humidity.

Kids need to be structured in some way, but you don't want to force something down their throats that they have no interest in.

I don't sleep with a violin in my bed, but there is something very magical about the instrument. You open up the case; it's a masterpiece, it's gorgeous, the varnish is still there from 300 years ago. People who know violins, they look at it and it's almost like a face.