Every musician will tell you that there are some musicians who just seem to have better ears than others do.

One of the reasons Mozart’s operas seem so profound to us is because they’re so true to life, and perhaps especially true to life’s complexities and contradictions.

The tools and techniques of conducting have changed a great deal over the centuries.

One of the common dangers of studying composers’ lives is finding out that some of the people whose music we love and admire turn out to have been very unadmirable human beings.

Should we really care about the personal lives of the composers we admire?

Ears can be trained. Which is why every music school in the world offers ear-training courses. I suppose it should go without saying, but for musicians the ability to recognize fine distinctions among sounds is crucial.

Bach and Mozart died over two hundred years ago – – Is there anybody alive today whose music will be played two hundred years from now? It’s a tricky question.

I still have to practice, but now I love to practice.

It’s always fun to propose lists of the “ten best” of something – or the ten worst of something, for that matter. But when it comes to thinking about composers of classical music, there’s a word I like better than “best,” and that word is indispensable.

There are many people who say they love classical music, but not “that modern stuff.” What’s interesting is that some of “that modern stuff” is well over a hundred years old.