harmony and style of the works she plays as a violinist. She stopped practicing the piano for a few months while she was preparing for the Menuhin Competition in 1995 where she won 1st prize in the junior category. On 1 January 2008, Fischer had her public debut as a pianist, performing Edvard Grieg's Piano Concerto in A minor with the Junge Deutsche Philharmonie at the Alte Oper, Frankfurt. The concert was conducted by Matthias Pintscher, who stepped in for Sir Neville Marriner. On the same occasion, she also performed the Violin Concerto No. 3 in B minor by Camille Saint-Saëns. Fischer performed this concert once more in Saint Petersburg on 4 January 2008. Fischer about performing Fischer once said: "What is helpful for a career is that it is always about the music and not about the career. As soon as a young musician decides for certain reasons to have a career instead of using musical reasons, I can guarantee that it will be – if it will be at all – a short career. I truly believe that if someone wants to spend his professional life with music, he will – either as a soloist, orchestra member, teacher, concert promoter, or agent – in the end, it is unimportant. One should choose to become a musician because one believes that the world needs music and without music, the emotional life of human beings is going to die. Everything else will come with dedication and hard work.” In an interview in May 2006, she said the Beethoven violin concerto is probably the concerto she likes most. Her mother taught Fischer and her brother to play the piano just for the love of classical music. The jury of the 2006 BBC Music Magazine Awards said, “There are many recordings of Bach's works for solo violin but rarely do they reach such breathtaking heights of musicianship as this one. Julia Fischer is an incredible technician and soulful musician who does not let an ounce of ego come between the music and the listener.” In 2010, a critic for the Guardian wrote: "Although still in her mid-20s, she has been playing Bach for nearly two decades, in a daily act of private worship. [...] Fischer's full-blooded sound still allows for breathtaking precision: with her perfect understanding of the even rhythm and mounting tension at the work's core, she held the audience in