Now this is very funny because my brother's name is Michael Chang, I go in for interviews or just talk to people and they say, "so what does your brother do?" I say he plays tennis and they automatically assume that he is Michael Chang, the tennis player, and I don't say anything.

"I hate analyzing stuff. I do the bare minimum. When it comes to interpretation, I just play it and go from there. I think emotion is everything. When you get the notes, you've just scratched the surface. The best things happen spontaneously, on stage. I'm doing three concerts here; I guarantee that none of them will be the same. We're not machines."

"There are certain moments in performance when I'm hand-in-glove with a conductor and feel I can take risks and try something completely different from what we did in rehearsal. Sometimes we pull it off, and it's magical. Other times you try to get creative, the support isn't there, and you think, oh well, maybe next time."

I've worked with a lot of living composers recently. It drives me nuts, though, that they like to change things at the last minute. For example, two years ago I played a piece that had been completed only the day before, in front of thousands of people in a huge stadium in Taejon, South Korea.

Everything in my life is planned. It adds stability, but it makes me yearn for something that's not planned, that's spontaneous.

I try not to take my life for granted. I have friends who have tendinitis. That would kill me. A short break from the violin is fine, but if I don't touch it for three or four days, my fingers start to feel funny.

The ultimate high for me is being onstage in front of an audience. Nothing else can compare.

I've always ranked the Brahms as the Mount Everest of all concertos -- and the Beethoven, of course.

I like Lenny Kravitz, I like Pink, and for forever and ever I've thought that Whitney Houston has an amazing voice. I really love great voices.