As a young cellist, I gratefully accepted my teachers' generous offers of bowings, fingerings and phrasing suggestions to many pieces I studied. These suggestions were well tested in numerous performances, were given thoughtful evaluation that took into account the personal convictions of many great musicians. At that time, I was not particularly in the habit of questioning and reasoning for myself. In a sense, other than what I HAD to contribute, I trusted that all this work would and should settle into a successful interpretation. Since becoming the cellist of a professional string quartet (the Borromeo String Quartet), my attitude HAD to change completely. Now, it was not possible to participate in making music without evaluating ALL that was in the score. The pieces in the repertoire of the string [...]