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To have the privileged position of being the guy who is responsible for shaping the entire experience for an audience as opposed to being just one instrument in that orchestra, being an actor, it's all-encompassing.

I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.

But if I can be convinced and then through the work that we do together, the orchestra can really be convinced of the big sweep of that communication that the piece suggests, then the audience will get it and it will be a good experience for all of us.

They are representations of many shared hours of collaboration between us all. That's the real nature of the relationship the orchestra and I are trying to build.

Sometimes if you have very confident people, you have to tell them please, be polite, there are other players are good enough as you and you should never speak out of an orchestra.

You have to change your mind with every orchestra because every orchestra has a different character.

There are two golden rules for an orchestra: start together and finish together. The public doesn't give a damn what goes on in between.

You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.

The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.

It's nice not to have the majority of the attention on me like there is when playing a concerto with an orchestra.