Joshua Bell

In those projects with Sting and Josh Groban and people like that, I see a very interesting effect: their fans coming to my classical concerts, people who've never been to a classical show at all.

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.

Music is a continual learning process. One finds new insights all the time. For me, it began at a very early age; from the beginning, there was something besides the notes.

When I hear people clapping at the wrong times, I think that's great. We have got a listener that's not used to going to - we have got a new listener.

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.

There was a time, early on in my career, when it was very important for me to be liked by everyone. It meant that I was musically less honest with myself.

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.

Someone who directs a film, they have to see the overall picture, and they have to get the best performances out of the actors.

No one tells you what to do if you completely flop at the beginning of a performance.

Great music was written by the great geniuses, and you want to do it justice.

Good conductors know when to push and when to lay back. I've known so many great conductors that I'm still doing what I can to learn the craft of this role.

It's endless, the amount of things that music touches on that can help kids grow that are very, very practical.