Nadia Sirota: “When I got to Juilliard in 2000, I encountered a pretty sad, fatalistic attitude: We’re teaching you something we all love and believe in but we don’t know how to get you employed.” She and her friends were energized by that depression, convinced that a) classical music couldn’t possibly be dying since it felt so intense and essential to them, and b) the only way to save it was to sell it to their uninitiated peers.