I basically always, always listen to the music rather than just saying, “Well, you know, I play this phrase this way, and that’s the way I play it.” That’s not necessarily the case, you know.  I may play the phrase slightly differently, and again, it’s not a question of “Today I’m playing loud; tomorrow I’m playing soft.” It’s not like that. It’s very subtle, and I always call it — it’s our kind of improvisation.  Because when people play jazz, they improvise, but when they improvise, they really improvise. They play different notes. They play different harmonies, and they do certain things, and if you hear a piece one time, you hear the same piece a second time, it’s really different.  With classical musicians, the improvisation is very subtle. You hear it the first time, it’s like this. You hear it the second time, it has maybe a freshness, and that’s a little bit of an improvisation, but it’s very subtle. It’s about timing. It’s about phrasing. It’s about color, but it’s not about, necessarily — it’s not about notes. The notes are the same. So in many ways, to improvise that way in classical music is very difficult.