He admits to finding this somewhat unnerving, particularly since he has no idea yet what it sounds like: “In a practice room you generally don’t have to worry too much about what [sound] comes out of your instrument; this becomes a challenge when somebody else is present.” Plus, he says, there is a risk of being “overawed” by the instrument. But he relishes his role as a conduit: “My job is to let it speak for itself because there is nothing that I can do that will be as interesting to the audience as just being in the room with that violin.”