"Interpretation is as improvisation as improvising from silence is. It is just a different way of looking at it. When you improvise form interpretation you have certain dramatic ideas, you have a certain structure. But you know that everything that is in that is relative and flexible. Even pitch can be a matter of interpretation. Rhythm is relative."

“It is not like we have a piece written out that we improvise on. We know where we are going but we don’t know how we are going to get there.”

“What do I really want to do, and what will help me continue to be creative, and what will lead me towards being the artist that I want to be in the end.”

“I’m kind of at the point where I’m doing the second of those things and surprised by what I have done. And it is not necessarily a big master plan, but I look at the number of recordings I’ve made and I’m kind of shocked.”

“Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic - one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way.”