The Serbian violinist talks about his eclectic album and the difference between good music and not-so-good music.

Shortly after starting to learn the violin you found yourself performing on the world stage. What was the attraction?

For me everything was very natural and easy. I had my first contact with the instrument when I was seven and I had my first contact with the stage when I was seven-and-a-half. I liked the world stage because the feelings that you get during a concert are really incredible. Even if it was not the violin, I think I would still do something on the stage.

Your career took off in 2006 when you replaced Maxim Vengerov in Beethoven’s Violin Concerto. How was that experience?

It was funny because I’d just finished playing a concert in Cologne when I received a phone call from my agent asking if I could play the concerto the next day in France with Myung-Whun Chung and L’Orchestre Philharmonique de Radio France. I was like, “Oh my god. Yes, of course!” The next day I arrived in Paris for the rehearsal and then the concert was that evening. I remember the feeling of how much I enjoyed playing with Chung: he...

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