Anyone who heard and saw Adolf Busch play chamber music experienced an unforgettable event. He endowed performances of masterworks with striking interpretative empathy. Whether he played a sonata with Rudolf Serkin, a quartet with his own ensemble or a solo partita, the interpretations lived, before all, through an authenticity of style of which he was a faithful guardian. These memorable performances were guided by the principle of historic correctness. The notation of old scores, such as those of the Baroque and early Classicism, lacks instructions of a kind that is taken for granted in scores of later periods (for example, indications of the tempo). Furthermore, the graphic signs and symbols of notescript, in general, cannot express the intangibles of performance. Only the searching imagination of the intuitive interpreter can find the indispensable answers to the multiple problems that must be solved in the performance. Adolf Busch combined an incomparable performing practice, acquired since his early youth, with the accumulated knowledge of a profound scholar. His virtuosity as a violinist was controlled by a style-conscious, iron discipline.