This chapter begins by taking up the problem of listener encounters with unfamiliar music via recorded audio media. I first examine how early reviewers of Shankar’s live and recorded performances anchored to various more familiar practices and instruments to make sense of his music. I then discuss Shankar’s early LP releases, tracing the discursive shift—evinced in liner notes and reviews—from treating the recording as a window into a musical tradition to presenting Shankar himself as the exceptional height of that tradition. The chapter next turns to Shankar and Menuhin’s collaborations, highlighting the tendency to celebrate Menuhin’s mobility even as certain aspects of Shankar’s musical persona had to remain more fixed. I conclude by reflecting on the role of their virtuoso identities, the cosmopolitan nature of their appeal, and the emphasis placed on Shankar’s particular musical absorption. The varied skills deployed by both musicians came to stand for a cosmopolitan mode of existence: an ability to make any space home, and any culture (at least partially) one’s own.