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I do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
It's different for people who have not seen a symphony conductor conduct from a chair. I feel very connected to the orchestra in a way that a conductor sometimes does not feel. I think it's more visceral.
Everyone's definition of what God means can vary. But music is something that really takes you to that - 'sublime' is a great word. That thing that is greater than we are. The beauty, the magic of the universe.
We like to categorize things into showy things and deep things, you know, and things that are high music - important music - and shallow music. And I think that's dangerous, because there's often a mix of both.
I've been touring for 25 years. I'm used to it, so I love it. Although I feel the tug of home, as I have three little kids, I don't suffer like some artists who constantly complain about how much they hate traveling.
Being a director or a conductor is a balance of many things. And to do it right is a very difficult tightrope to walk. I've come to the conclusion that there's really no way to be one hundred percent popular as conductor.
What drew me to the violin was mastering the instrument technically, which I'm continuing to do. You want to push boundaries, to not always be in your comfort zone. If you don't, you get stale. So you have to find areas of growth.
As far as doing TV, I do think there's a big audience out there that could enjoy classical music, but they don't know how to find it, and sometimes by doing different things... crossover things probably make up about 5% of what I do.
In a way, the highest praise you could give to a composer like Bach was to take and make your own arrangement; it was sort of an homage to that composer and to his work, so it wasn't considered sacrilegious to do something like that.
In 1987, I had no idea who Steven Isserlis was. We met at the Spoleto Festival in Charleston, South Carolina. It was originally just an Italian summer festival, but for the past 14 years, there's also been a spring festival in America.
So many times, I've seen conductors that, every time they have a thought, they stop the orchestra and say it, and I can see the orchestra rolling their eyes and saying, 'Oh, God, he stopped again.' So there's a technique to rehearsing.
As far as I'm concerned, I want to do everything because life is short. So, when I did 'The Red Violin' film, I got to go to the Oscars, and I got to meet Samuel Jackson, and I got to do stuff that one wouldn't normally do in my world.
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.
When you start reading a piece together, you get a sense of someone's basic philosophy of music without saying a word. You realize the other person's approach, how they express themselves, the kind of restraint they show, all those things.
I'm in a position where, theoretically, I could play the same ten concertos and make a very good living bouncing around playing Mendelssohn, Tchaikovsky and Barber, but I really think artists should keep pushing limits and trying new things.
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.
Beethoven's fourth and seventh symphonies have a certain amount in common. Well, of course they're both written by Beethoven, but besides that, I would say their overall effect and idea is to provide the listener with an incredible sense of joy.
I know how to deal with jet lag, and I know just how much rest I need and when I need to take naps. When you walk on stage, you need your brain working at its highest and most fully-functioning, so it's not always easy, but I sort of figure it out.
Conducting is a strange thing to teach. There are very few great conducting teachers, and most great conductors don't teach. Look at Valery Gergiev - what he does is not teachable. A lot of it is on-the-job training, what works and what doesn't work.
If you mess up the tiniest little thing in the Beethoven concerto, or the phrasing isn't just exactly perfectly executed, Beethoven brings out the worst in the best violinist. You almost never hear a satisfying performance, because it doesn't play itself.
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.
In concertos, I stand up, and I conduct with the bow when I'm not playing. During symphonies, I sit, but sometimes I stop playing to conduct. Being seated in a section allows me to feel more like we're playing chamber music, which is how I like to approach it.
The beauty of a Stradivarius is that you can play in Carnegie Hall without any amplification, and it has this - the sound has, inside it, has something that projects, and it has multifaceted sound, something that kind of gets lost when you use amplification anyway.
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.
As far as I'm concerned, the stakes are always very high. Whether it's playing at the White House or playing for a group in my own house - you know, one of those soirees I play in. Once I start playing, the stakes are somehow higher, in a way, than any of the context.
We live in the least ugly time in history. If you look at back when Beethoven was writing, half the kids were dying, mothers were dying at childbirth, there were more wars going on then than there are now. People wrote the most beautiful things during the ugliest times.
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.
There are some days I take my violin out and it feels dreadful, like nothing is responding, and I want to sell it and get rid of it. And the next day suddenly the skies open up and the sound is glorious again. So it's like a relationship: There are good days and bad days.
As my career has gone on, I guess I've become more well known. I'm playing to fuller halls in general, which is a nice feeling. When you're doing that, you're going to have a certain number of people who are not just the hardcore classical fanatics, and this makes me very happy.
The great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them. But there are conductors that actually inhibit the players from playing with each other properly.
I open up my violin case every day, and have one of the great creations. It is very inspiring. It makes you want to practice. How can you open up a case and look at a violin that was made in 1713 by one of the greatest artists in history and then say, "No, I don't feel like practicing today."
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.
My father was - actually was an Episcopal priest as a young man. Became a psychotherapist, a psychologist. My mother is Jewish, so I grew up in a mixed background. But the common denominator was certainly music, and that was sort of emphasized in my household as music being sort of the spiritual force.
Music is such an incredible tool for kids in general. They learn discipline; they learn how to express themselves. You learn math. You learn language. It's the ideal teaching tool, and that's why it's mind-boggling when any school superintendent decides that music is something we can kind of do without.
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.
I always find it funny when people say, "I don't really like classical music" or "it doesn't do anything for me." I tell them, "Well, you know, it does. You go to films and you're responding to it, and you've heard it..." It's controlling you! So don't think you're not being affected. It's a great medium for music.
We live in a very chaotic world that sometimes we - it just seems like a mess. One of the reasons why we listen to music, and to great classical music in particular, is that everything is in an order and in a place and has a beauty that you see in nature, that you see and that people look for when they look for God.
When I do things, like, with Josh Grobin, or he has so many fans, and I get people after my concerts, classical concerts, all the time coming back and saying, 'Never heard of you until I heard the song with Josh Grobin.' Then they're now classical music fans, which is something I think we need to reach a wider audience.
Social media puts us inside our phones and our computers and our headphones, and we're not connecting so much with our outside environment. Even when people go to the Grand Canyon they're more concerned about the selfies than actually looking at the canyon. I see it with my own kids - the addiction to needing things fast, never pausing to just see what's around us and connect with our fellow human beings in real time.
I think if there's ever been a time we need music more, it's now. For our kids, it teaches you to take time, to listen, to work together, to listen to other people, and to use your brain. That's why classical music doesn't work when you throw it at people in a subway platform while they're rushing to work. Classical music is something that needs to be contemplated, you have to be completely present with an active mind that's working. It's not background music.