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.
There's nothing more frustrating than seeing a conductor say, 'Play softer,' as they're waving their hands in huge gestures.
When you play for ticket-holders, you are already validated. I have no sense that I need to be accepted. I'm already accepted.
People wrote the most beautiful things during the ugliest times.
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.
