 Fingerings are very important for the interpretation because different fingerings make a different sound quality. Think of the four strings of the violin, they all sound very different and you can play the same passage with different fingerings on different strings and that makes a total different sound and it will be a different expression like that. On the other hand, fingerings are very important to master technically passages, to find a possibility to play clean and for that you need the right fingering and it's great that in the Hill Lab we have different fingerings to compare each other and to use the best possible version. Fingerings can change an interpretation very much. I would like to give you a little example. This motif of the D minor sonata of Brahms. See it now in the fingering by Christian Tetzlath in the fourth position on the D string. Now what about a historic fingering by Osip Schnirlin? Osip Schnirlin was a student of Josef Joachim so there is a good link to Brahms because of the friendship Brahms-Joachim. Unfortunately there is no fingering by Joachim but of his student Osip Schnirlin and the fingering is like that. It sounds maybe strange to us today but it is historic. It is a fingering here with flageolet and with glissando. Let's now check a fingering from another student of Josef Joachim, Leopold Auer. Even more glissando because no flageolet here and the fingering 4-4. Leopold Auer did his edition of the Brahms sonatas in 1917 so it's something like an essence of his teaching because by that he had already taught his great students, Heifetz, Elman, Toscha Seidel, Zimbalis and all the others. So this gives us great insight in the history of island playing. With the bowings it's the same idea. They also can change an interpretation and the phrase completely. For example think of the main theme of the Frühlingssonate by Beethoven. That is the bowing from Igor Osip to start it with downbow and that means that the third bar in this phrase, this D minor with the G, is something like an aim. You go to the third bar because it's downbow and the downbow naturally is a little bit more heavy than the upbow. Listen to it again. Now Henrik Schering has a different idea. He starts it with upbow and that means that for him the fourth bar in this phrase when we go to G minor is the most important bar because it will be in downbow. I think that's absolutely fascinating to compare the different ideas of the different players. It gives you the possibility to have a library under your arm and you don't have only the great compositions but you also have something like a history of violin playing always with you when you compare all the fingerings and bowings of actual artists and of historic artists.