Violinist and three-time Grammy winner Hilary Hahn has been performing with major orchestras since she was 12 years old.

“The first time I worked with a major orchestra was with the Baltimore Symphony, the other BSO, my hometown of Baltimore,” Hahn told GBH’s Morning Edition co-host Jeremy Siegel. “It was the Christmas concert, and it was in the concert hall where I grew up going to the symphony. So it was really special and very exciting and weird to be on the other side of the stage all of a sudden.”

This week she will perform Brahm’s Violin Concerto in D, Opus 77 with the Boston Symphony Orchestra on Thursday, Friday and Saturday.

She has played the piece before, with the BSO at Tanglewood last summer. But Brahms, in her view, wrote his compositions in a way that lends itself to evolutions.

“Brahms is one of the composers who, with that change of perspective over the years, I really feel I have gotten to know better musically,” Hahn said. “The piece has such depth and it has such brilliance at the same time. The proportions can change indefinitely, yet its identity is still clear. It really gives you infinite possibilities.”

Looking at a musical piece can seem prescriptive, Hahn said: There, on paper, are the notes, the tempo, instructions as to who should play what part and how loudly.

But people who spend more time with those compositions can start to see the different paths they could take within them, she said.

“You'd think that those are all the possibilities, but actually it's just a series of relative indications,” she said. “A score, over a lifetime, means a lot of different things and can become a lot of different things for a performer. Just like if you're reading out loud a script as an actor, where you put an accent can change the meaning of an entire sentence.”

Traveling the world and playing with different orchestras from a young age gave Hahn an opportunity to see pieces in different ways, she said.

“I really like to have my perspective challenged by change. I really like to wake up in a new place every so often,” she said. “And by the same token, the musicians you work with changed a lot with this particular lifestyle. So working with different colleagues on the same concerto, for example, it's like being a student all over again, but also it's like being part of a really large global community.”