Brussels, Belgium

Kim Kashkashian, David Takeno and Natalia Boyarsky. Atar Arad with whom I worked for two Summers was also a major influence.

In middle school, the moment I realized that no matter what class I was sitting in, I was still singing a Schubert or Beethoven symphony in my head.

There were several. First was meeting and playing violin for Yehudi Menuhin, which led to attending his school in England. When I was there, I got to play chamber music on his viola, and fell in love with the instrument. It makes it all the more meaningful to be teaching at SFCM where Menuhin studied!

The turning point for my move from London to the US was going to the Ravinia Festival and meeting Kim Kashkashian. That is what led me to go study in Boston.

One more important moment came at the time I was fortunate to win the Primrose competition. If it had not been for New England Conservatory needing a viola teacher at that time, I would have gone back to Europe. Instead, I started teaching and performing more here in the US.

I had the chance to work with some incredible musicians. There are things I try to recapture from each of those experiences. From Richard Goode, I loved his sense of freedom; from Mitsuko Uchida, her expressive intensity and care of each note. Gidon Kremer struck me with his ability to create tension in performances.

Viola-wise, playing alongside Nobuko Imai, Tabea Zimmerman and Kim Kashkashian really opened my eyes and ears to how they approach the instrument from different angles.

I have so many! I will have to go for my favorite viola recordings then: Hindemith Sonatas with Kim Kashkashian and Robert Levin; Saltarello by Garth Knox (which includes music for the viola d’amore).

It was playing a Mendelssohn string quartet with violinist Pamela Frank when she first started performing again. It was one of those magical moments you felt the whole group was breathing as one. There was trust and we all felt so privileged to be able to just play music!

Leon Fleischer playing Schubert Sonata in B-flat major. Time simply stopped during that performance.

Reading. Classic literature and books on psychology and pedagogy.

‘How can I practice effectively?’ and ‘What is my goal here?’

I give students the help according to their needs. It is important for violists to approach the instrument in a way that is physically sustainable and this means with little to no excessive tension. When students have the freedom to control their instrument, they naturally become more expressive. For this reason, I make a point to help the students build a strong technical foundation.

From the musical side, I also try to help the student discover the story they want to tell through the music, while staying true to the composer’s intentions.

The goal is to have each student leave the school with a strong set of skills that allows them to grow for many years after they graduate. I believe students should have strong skills in all these areas: solo, chamber music, orchestra, teaching, historical performance. Getting better in one area helps the others too, and it is best in these changing times to be adaptable. That means having a wide range of skills.

My studio has a weekly performance class. About half of it is devoted to students performing their current repertoire for each other. The other part is used for playing scales and technical exercises for one another. Each month, we go through a special exercise book on one aspect of playing (e.g. shifting, double stops). We keep it constructive, so it is nothing to be afraid of!

“Practice focusing on one thing at a time!” I wish I knew this sooner as a student! So many hours could have been used more effectively. It is part of the learning process.

When I was a student, and now when I am preparing for solo recitals, I would practice three to four hours every day. Regularity is important.

Whether or not I am preparing for something, I like to play every day and divide my time between warm up exercises, shifting exercises, scales, arpeggios, an etude/caprice and some Bach. I try to play Bach every day, it is good for the soul.

Bach, Beethoven and Schubert.

1919: an important year for the viola, with Hindemith, Bloch and Clarke writing their major viola sonatas that year.

My first full album ‘Beginnings’ was released in 2017 with sonatas by Vieuxtemps, Clarke and Hindemith. I am also playing on several contemporary music recordings. The easiest way to listen to me is to find me on youtube and Spotify.

Learning the viola d’amore