
His recent cameo at Tate Modern offended the piano purists, but Daniel Barenboim doesn’t care. He tells Alan Rusbridger what Arab revolution can teach classical music When Daniel Barenboim ‘s hands are not at the piano or holding a baton, they demand a cigar. It is the first thing he mentions as he bustles into Claridge’s Hotel on the afternoon of his recent cameo concert at Tate Modern. We will go upstairs to his suite, he explains, and then he can light up. As if reading his mind, a member of staff shouts down the corridor after him: “Now then, Maestro” (he really does call him Maestro). “No smoking