Those sultry publicity photos of Nicola Benedetti are clearly intended to promise experiences that are as much dreamy musical ecstasy as dazzling technical virtuosity. That promise is confirmed by the young violinist’s magnificent first two recordings for the Deutsche Grammophon label that last year signed her to a multiyear contract well in excess of $1 million. However, when it comes to a discussion of preparing for a career as a high-flying world-class soloist, 19-year-old Benedetti reveals her practical Scottish roots.

Benedetti’s native practicality was encouraged when, at the age of ten, she entered the Yehudi Menuhin School for gifted musicians. There, she worked with Natasha Boyarskaya, whom she has described as a teacher who “was very disciplined and expected me to be disciplined. I warmed very much to that. I enjoyed working incredibly hard and having another goal to reach each week.”

Benedetti feels that’s the kind of self-discipline that is crucial for anyone aiming to become a professional musician and who will be on his or her own from an early age.

Looking back, she reflects on the advantage of having taken her studying seriously as a preteen: “ The more you do at an early stage,” she says, “the more you will be able to accomplish later on, and more easily.”

Her stardom seemingly assured, Benedetti now practices “sound production and tone more than anything else.” And while listening for “quirks of phrasing or style” is important, she says, “it is not as important as listening to your sound. Because when you listen to an instrumentalist, it’s impossible not to hear her personality shine through, as if she were speaking or singing to you.

"So, my priority, whenever I’m performing, recording, or rehearsing, is not to be loud or superficially impressive, but to produce the sound that my voice would make if I could speak or sing the notes.”