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.
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.
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.
Good conductors know when to let an orchestra lead itself. Ninety percent of what a conductor does comes in the rehearsal - the vision, the structure, the architecture.