 I started playing off a tablet about four years ago. It was a friend of mine, in fact, two friends, two pianists from the United States, Geoffrey Cahane and Wuhan, they're both very, very close friends of mine, and I saw them doing this and I went to ask them, you know, what is this, and they told me about it. And I thought, yeah, what a great idea, why didn't I think of this before? And so I first tried it, and I have to say, from the second I did it, there was just no going back, because there are so many different benefits from it. As a classical violinist, as a soloist, when you play big concertos with orchestra, mostly you play from memory, so you don't need it. But there are many, many times that you would have the score there, for example, with an ensemble, or if you're directing from the violin, and often with a score, you have many, many pages, and it's impossible to turn without making, you know, a big commotion, or the stand falls over, or it just looks terrible. There's too much going on, and you don't want to disrupt the atmosphere. The same is in a recording. You want to be absolutely quiet when there's a page turn, and the tablet just makes that happen with a foot pedal. So I was convinced the second that I tried this out. I grew up with Henley, you know, it was those blue editions, they had something just magical about them, and I think it was the mixture. It was the paper for a child that doesn't quite understand what the Urtext is. The way they looked, they just felt like something amazing. There was something kind of royal about them. And then, of course, when you become, you know, a musician, you start to learn and study, and you realize what Urtext means. You look at the seriousness with which Henley devotes itself to the catalogue. And every single dot and note and slur and line and bowing is, you know, is a science unto itself. It became just one of those things that musicians, also as a status symbol, I think, they chose Henley because it represents excellence. So, you know, when I heard that they were going to then transfer this digitally, you know, I was over the moon. I think that technology can help sheet music in many, many different ways. I think, you know, it starts from any amateur musician anywhere in the world that wants to read music and that doesn't want to have 10, 15, 20 volumes to carry around, but just to have it there, the access. I think for professional musicians, it's outstanding if you're playing works that there are very few-page turns in, you know, some of the great works of chamber music from Beethoven to the music of our time, there are very few rests where we have the chance to turn. And every time you turn is an involuntary motion that disturbs the performance. And, you know, musicians and Henley are about the performance and about being as true as you can to the original. So anything that makes you, allows you more concentration on the music, I think is a good thing. Well, you know, my sheet music collection is vast. I have thousands and thousands of volumes. And so, you know, the biggest challenge is to have to convert that onto a tablet. But that's why I think that publishers that are willing now to put their collections online, I think that's going to define the future of how we read notated music in the future. And that Henley has invested so much time and energy into doing their very specific catalog this way is a brilliant idea. Also, what I find so interesting, you know, there are many great musicologists and musicians who made their own versions of particular pieces, you know, some great violinists who gave their fingerings. But you always have one version because you have the analog version. Now with the Henley app, you're able to take from the various versions and create your own. And that's something I think that is revolutionary. Because you're able at one click to see what other people, how they approach this piece of music. So therefore, while you're learning it, you have all of this at your fingertips without having to pick up five, six different pieces of music. So for the learning experience for students and for professionals alike, I think it's an amazing chance to get back to the source. Yehudi Menuhin, I remember, who was a great supporter of Henley and who prepared some editions for Gunter Henley himself. I remember him always saying to me, his dream one day would be to have an urtext where you had, in a sense, transparent paper with everybody's different versions on it that you could then peel off and put on to the music itself and therefore decide which version you want. What Henley has done is in fact that it's a digital version of that except, of course, it's much more focused because you can choose exactly which fingering, which bowing, which articulation you want from which edition and create your own. Plus, you can annotate what you want to do. So it changes the whole way that a musician learns and thinks about a piece. And that's very exciting. I think there will always be sheet music and I think it's probably impossible to convert every piece of sheet music out there. There are certainly people, I think, who will prefer to have that feeling of turning the music the same way that there are people that prefer to turn the pages of a book. And I think one's going to have to respect that. But I think there are many, many young musicians out there who have now been convinced and I know at every single concert I have at least 10, 15 people who can't say, how does that work and where can I get this? So I think they will coexist for a long time and eventually, I think in the end, most people, just like in many strands of life, will be using things digitally.