There have been many great violinists but none could hold a candle to Kuznetsov，a miraculous young Russian.On his emergence while still in his teens，his playing was filled with timeless wisdom beyond his years；he now holds the stage with immense authority.So it comes no surprise that he is about to add a new string to his bow.When he performs with the English Chamber Orchestra，it will be as both soloist（獨(dú)奏者）and conductor. "It's something I've often thought about，" he says.
   Other musicians who have traded the bow or piano for the baton（指揮棒）have failed；the transition is not easy，of which he is aware. "The most crucial thing is the human chemistry between conductor and players.You must avoid at all costs being an outsider，as though saying to the orchestra， 'You make your music while I imagine mine.'"
   He is quite relaxed about not yet having his own hand-language --- every conductor is different.Kuznetsov believes the connection between notes is not just physical，but also spiritual.Spiritually is，for Kuznetsov，the conductor's key characteristic. "And it should ideally be expressed through beauty of movement，" he says.Some conductors threw themselves about，others hardly move a muscle.Where will Kuznetsov fit on that scale？ "We must wait and see，" he says.
   Kuznetsov himself moved straight as an arrow toward his goal.His father was an oboist（雙簧管演奏者）and his mother conducted a choir，but at the age of four，young Leonid settled on the violin. "The violin is located at the front of the orchestra.It seemed very desirable to sit there and show off." He gave his first concert at the age of five. "When I went on stage，I bowed so deeply and so long that he audience laughed -- but I knew that this was what great artists always did.I felt it was an honour for the audience to listen to me." His programme that day included Paganini variations， "which were very easy for me."
   What is his view now of the recordings he made at that age？ "I didn't have the technique I have now but across the years the intuition has not changed.I still feel every time I go on stage as though I'm newborn."
   Kuznetsov cautiously paces his own development.He didn't give his first performance of Beethoven's Violin Concerto until he felt ready for it，and he'll let Bach's works stay in his mind for some years.
   One of Kuznetsov's admirers wonders whether he is in danger of not hanging onto "the fearlessness of youth." On the evidence of Kuznetsov's bravely assured new interpretation of the Brahms Concerto，which he plays on a new CD release，I'd say that his fearlessness is in no danger yet.

（1）Kuznetsov think

C

C

is most important in conducting.
A．the conductor's and the orchestra's knowledge of the composition
B．whether the conductor has cooperated with the players before
C．the understanding between the conductor and the orchestra
D．the players' recognition of the conductor
（2）What can be learned about Kuznetsov from the passage？

D

D

A．He didn't start to play the violin until five.
B．He plans so give Bach's works a try first.
C．He isn't as enthusiastic as before about the violin.
D．He was confident while giving his first concert.
（3）What can be inferred from the passage？

D

D

A．Violin players are usually those who like to show off in an orchestra.
B．It's easy for piano or violin players to become conductors.
C．Kuznetsov hasn't decided which conductor's hand-language to follow.
D．The writer thinks highly of Kuznetsov's performance as a conductor.
（4）What is the passage mainly about？

C

C

A．A violinist's understanding of music.
B．Kuznetsov's efforts that have led to his success.
C．A violinist's new attempts in his musical ambitions.
D．Kuznetsov's insight into how techniques matter in performance.