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March 26, 2017: Jerusalem String Quartet LUDWIG VAN BEETHOVEN (1770–1827) String Quartet in F minor, op. 95, “Serioso” March 26, 2017: Jerusalem String Quartet Beethoven’s F minor String Quartet of 1810, the last of his “middle” quartets, is one of a select group of works for which he provided his own descriptive title—other famous instances being his Pathétique Sonata and Eroica and Pastoral Symphonies. He marked his manuscript “Quartett Serioso,” a curious mix of German and quasi-Italian, which apparently meant a work devoid of ostentation whose inner conflicts were expressed by pared-down harmonic, motivic, and formal structures. Unfortunately it could imply that his Harp Quartet, op. 74, written just a year before—and any of his other quartets for that matter—were not “serious,” though surely he meant it as a way to separate his quartet production apart from the proliferation of showy and less weighty quartets by other composers that had begun populating the concert scene. On another front, the work’s “seriousness” has to do with his having written it without a commission because of a personal compulsion, and dedicating it to a friend, cello-player Nikolaus Zmeskall von Domanovecz, rather than to a highborn patron. This resonates with his late quartets, which, though instigated by a patron, ended up being composed out of sheer inner necessity. Beethoven had already begun using quartet-writing as the place for exploring his most forward-thinking ideas—which had led to such disappointing critical reception of his Razumovsky Quartets, op. 59—but now this testing ground took a turn toward privacy. He waited an unusually long time before having the Serioso Quartet performed and published. The work received its first performance by the Schuppanzigh Quartet in May of 1814, for which occasion Beethoven apparently revised it. The Serioso was one of several pieces that Beethoven sold to publisher Anton Sigmund Steiner in 1815 in repayment of a debt. The debt must have been substantial because the batch also included the Opus 96 Violin Sonata, the Archduke Trio, the Seventh and Eighth Symphonies, and several smaller works. A pivotal work, the Serioso takes a look back to the Razumovsky and Harp Quartets but just as clearly points to the late quartets, though it would be fourteen years before he took up the genre again. Concision and new harmonic relationships are paramount here, and often his compression of both boils down to single notes or pairs of notes. The first movement’s dark, furious unison opening suddenly breaks off, followed by a leaping response characterized by dotted rhythms. The ensuing lyrical elaboration of the opening now pointedly highlights the remote Neapolitan harmony (based on the flatted second scale degree). A prominent pair of half steps in the lyrical passage sets up the somewhat unusual key of D-flat for the lovely second theme. Twice, once at the end of the second theme and once in the midst of the closing theme, explosive ascending scales and daring excursions to remote keys command our attention. It stands to reason that in such a terse movement Beethoven would not repeat his exposition. Instead he shocks the listener again with a crashing major chord that seems to signal a development. Yet this turns out not to be a thorough “working-out” in the classical sense, rather a brief revisiting of the furious opening and the leaping dotted-rhythmic idea, followed by a suspenseful buildup. Beethoven then begins his drastically shortened recapitulation with the fortissimo unison of the transition to the second theme. A coda of the same length as the development balances out this remarkable rethinking of sonata form. The Allegretto ma non troppo begins softly and mysteriously, with a melodic shape similar to the first movement’s opening. Any idea of relaxed, lyrical contrast becomes entangled in a wavering between major and minor and an increasing influx of chromaticism that peaks in the middle section’s fugue. This remarkable interior piece unfolds in two sections before the opening music returns in shortened form. Beethoven continues with a serene coda, but instead of ending peacefully makes a directs link to the ensuing tempestuous scherzo. Beethoven asked that his third movement, a typical place for an irreverent scherzo, be played Allegro assai vivace ma serioso . Propulsive sections with an obsessive dotted rhythm alternate with two trio sections of more lyrical demeanor, which still transmit a restless sense with the first violin’s figurations and unusual harmonic juxtapositions of distantly related keys. A truly slow, reflective introduction prefaces the agitated sonata-rondo finale. Compact once again, the movement features a dancelike but disquieting main theme that Beethoven varies ingeniously on every recurrence. Its last appearance comes to a halt on a hushed major chord that unleashes one of the most talked about endings ever. A lightening quick coda in the major mode rockets forth in unimaginable contrast to the rest of the movement and to the entire piece. In this Beethoven parallels his own Egmont Overture, written just months before, also in a serious F minor with an F major coda, but whereas that ending represents a hard-won victory corroborated by the story, here Beethoven seems simply to be letting go, albeit in breathtaking style. © Jane Vial Jaffe Return to Parlance Program Notes

DEAN LEBLANC, BASSET HORN Clarinetist Dean LeBlanc has been performing with the Metropolitan Opera Orchestra as an Associate Musician since 1998. He enjoys a versatile performance career as an orchestral musician and has also performed with the New York Philharmonic, Philadelphia Orchestra, Mostly Mozart Orchestra, Lincoln Center Festival, Orchestra of St. Luke’s, Santa Fe Opera, New York City Opera, American Symphony Orchestra, Bard Music Festival, American Ballet Theatre Orchestra, New Jersey Symphony Orchestra, and Milwaukee Symphony Orchestra. As a chamber musician he has performs frequently with the MET Chamber Ensemble, Skaneateles Festival, the New York Chamber Music Festival, and the New York Philharmonic’s CONTACT! Series to include a few. Mr. LeBlanc has recorded for Decca, Atlantic, Telarc, New World Records, and EMI labels as well as for numerous major motion picture soundtracks including the Emmy Award Winning HBO Miniseries Mildred Pierce and the Oscar Winning Films True Grit, and Joker. He can be heard on four of the MET’s Grammy Award winning recordings, including Der Ring des Nibelungen, The Tempest, Porgy and Bess, and Akhnaten. Mr. LeBlanc is a Selmer Artist and serves on the Adjunct Faculty of the Juilliard School.

ANTON RIST, CLARINET Anton Rist was appointed Principal Clarinetist of the Metropolitan Opera Orchestra in 2016. He previously held principal positions with the Princeton and New Haven Symphony Orchestras. In addition, he has performed with the St. Paul Chamber Orchestra, the Grant Park Festival Orchestra, the Orchestra of St. Luke’s, the Louisiana Philharmonic, the American Ballet Theater, and on several Broadway productions. Rist toured Japan with the New York Symphonic Ensemble, and has performed as a chamber musician throughout Europe and Asia. As a soloist, he has performed with the Mainly Mozart Festival of Orchestras, the Cheyenne Symphony, the Knoxville Symphony, and the Sullivan County Chamber Orchestra. In addition, he has appeared at Festival Mozaic, the St. Barts Music Festival, Bravo!Vail, and is a founding member of the Montserrat Music Festival in the West Indies.

FRIEDRICH HEINRICH KERN, GLASS HARMONICA Friedrich Heinrich Kern is a German composer, pianist, and glass harmonica player based in New York City. He has made widely-praised appearances as a performer and composer in the United States, Europe, the Middle East and Asia. FHKern’s work is dedicated to exploring wistful, unfolding soundscapes and discovering the realms between dreams and consciousness. He moves freely between the worlds of electronic and acoustic music, unwilling to be limited by boundaries, languages, and any barriers between them. One of the few professional glass harmonica soloists worldwide, he plays the only existing modern version of the glass harmonica in North America, the Verrophone. FHKern began his studies in his home country of Germany where he earned degrees in both piano and composition. He then traveled to Korea studying traditional Korean music. He combines his contemporary classical background with a refined pop sensibility to create ethereal compositions with modern electronic vibes. In addition to his solo and ensemble performances, he has composed works for acoustic and electronic instrumentations, ranging from solo piano to full orchestra. Musical connections shape his ideas and genius. His latest collaboration is ‘The New Paganini Project’ with Niklas Liepe (Sony Classical, 2018), and his solo recordings are released on M=Maximal. FHKern currently performs live in Europe and North America on his spellbinding ‘The Evolution of Silence’ tour. He is a member of German glass music ensemble sinfonia di vetro.

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2008-2009 ARTIST ROSTER Howard Alden, guitar David Chan, violin Mary Hammann, viola Ken Noda, piano Bucky PIzzarelli, guitar Elizabeth Roe, piano Frank Vignola, guitar Greg Anderson, piano Rafael Figueroa, cello Yoon Kwon, violin Joel Noyes, cello Morris Robinson, bass John Novacek, piano Nancy Allen, harp Katherine Fong, violin Jon Manasse, clarinet Elmar Oliviera, violin Catherine Ro, violin Lucy Shelton, soprano

SHARON ISBIN, GUITAR Acclaimed for her extraordinary lyricism, technique, and versatility, multiple Grammy Award winner Sharon Isbin has been hailed as “the preeminent guitarist of our time.” She is also the winner of Guitar Player magazine’s “Best Classical Guitarist” award, and the Toronto and Madrid Queen Sofia competitions, and was the first guitarist ever to win the Munich Competition. She has appeared as soloist with over 170 orchestras and has given sold-out performances in the world’s finest halls, including New York’s Carnegie and Avery Fisher Halls, Boston’s Symphony Hall, Washington, D.C.’s Kennedy Center, London’s Barbican and Wigmore Halls, Amsterdam’s Concertgebouw, Paris’ Châtelet, Vienna’s Musikverein, Munich’s Herkulessaal, Madrid’s Teatro Real, and many others. She has served as Artistic Director/Soloist of festivals she created for Carnegie Hall and the Ordway Music Theatre (St. Paul), her own series at New York’s 92nd Street Y, and the acclaimed national radio series Guitarjam. She is a frequent guest on national radio programs including All Things Considered and Garrison Keillor’s A Prairie Home Companion. She has been profiled on television throughout the world, including CBS Sunday Morning and A&E. She was a featured guest on Showtime Television’s hit series The L Word, and was the only classical artist to perform in the 2010 Grammy Awards. She performed as featured soloist on the soundtrack for Martin Scorsese’s Academy Award winning film, The Departed. Among her other career highlights, she performed at Ground Zero on September 11, 2002, for the internationally televised memorial, and in concert at the White House for President and Mrs. Obama in November 2009. She has been profiled in periodicals from People to Elle, The Wall Street Journal, and The New York Times, as well as on the cover of over 45 magazines. A one-hour documentary on her titled Sharon Isbin: Troubadour, produced by Susan Dangel, premieres in 2014. Ms. Isbin’s catalogue of over 25 recordings—from baroque, Spanish/Latin, and 20th century to crossover and jazz-fusion—reflects remarkable versatility. Her latest recording, Sharon Isbin & Friends: Guitar Passions (Sony) became a #1 bestseller on Amazon.com, and includes guest rock/jazz guitarists Steve Vai, Steve Morse, Nancy Wilson (Heart), Stanley Jordan, and Romero Lubambo. Her 2010 Grammy Award winning CD Journey to the New World includes guests Joan Baez and Mark O’Connor. Ranked as a #1 bestselling classical CD on Amazon.com and iTunes, it spent 63 consecutive weeks on the top Billboard charts. Her Dreams of a Worldsoared onto top classical Billboard charts, edging out The 3 Tenors, and earned her a 2001 Grammy for “Best Instrumental Soloist Performance,” making her the first classical guitarist to receive a Grammy in 28 years. Her world premiere recording of concerti written for her by Christopher Rouse and Tan Dun received a 2002 Grammy, as well as Germany’s prestigious Echo Klassik Award. She received a 2005 Latin Grammy nomination for “Best Classical Album” and a 2006 GLAAD Media Award nomination for “Outstanding Music Artist” (alongside Melissa Etheridge) for her Billboard Top 10 Classical disc with the New York Philharmonic of Joaquin Rodrigo’s Concierto de Aranjuez, and concerti by Ponce and Villa-Lobos. This marked the Philharmonic’s first-ever recording with guitar, and followed their Avery Fisher Hall performances with Ms. Isbin as their first guitar soloist in 26 years.Baroque Favorites for Guitar with the Zurich Chamber Orchestra remained on the Billboard Top 10 for 16 weeks, and her Journey to the Amazon with Brazilian percussionist Thiago de Mello and saxophonist Paul Winter, a bestseller in the U.S. and the U.K., received a 1999 Grammy nomination for “Best Classical Crossover Album.” She is also featured on Howard Shore’s 2008 Grammy-nominated soundtrack CD for The Departed. Her other CDs include Artist Profile, Wayfaring Stranger with mezzo-soprano Susanne Mentzer, Greatest Hits (EMI), and Aaron Jay Kernis’ Double Concerto with violinist Cho-Liang Lin and the Saint Paul Chamber Orchestra (SPCO), which received a 2000 Grammy nomination. Her eight best-selling titles for EMI include J.S. Bach Complete Lute Suites and concerti by Joaquin Rodrigo which the composer praised as “magnificent.” She is also featured on the Grammy Foundation’s Smart Symphonies CD distributed to over five million families. Her recordings have received many other awards, including “Critic’s Choice Recording of the Year” in bothGramophone and CD Review, “Recording of the Month” in Stereo Review, and “Album of the Year” in Guitar Player. Sharon Isbin has been acclaimed for expanding the guitar repertoire with some of the finest new works of the century. She has commissioned and premiered more concerti than any other guitarist, as well as numerous solo and chamber works. Her American Landscapes (EMI) is the first-ever recording of American guitar concerti and features works written for her by John Corigliano, Joseph Schwantner and Lukas Foss. (In November 1995, it was launched in the space shuttle Atlantis and presented to Russian cosmonauts during a rendezvous with Mir.) In January 2000, she premiered the ninth concerto written for her: Concert de Gaudí by Christopher Rouse with Christoph Eschenbach and the NDR Symphony, followed by the U.S. premiere with the Dallas Symphony. Among the many other composers who have written for her are Joan Tower, David Diamond, Aaron Jay Kernis, Leo Brouwer, Howard Shore, Steve Vai, and Ned Rorem. In 2003, she premiered John Duarte’s Joan Baez Suite, and in 2005 she premiered a duo by rock guitarist Steve Vai in their joint concert in Paris’ Théâtre du Châtelet. Upcoming premieres in 2015 include a work for guitar and orchestra by Chris Brubeck. Orchestra (throughout Austria including Vienna’s Musikverein) and Belgium’s Philharmonique de Liege, recitals and concerti in New York’s 92nd St Y and Carnegie Hall, Washington, D.C.’s Kennedy Center, a week of performances at the Théâtre du Châtelet in Paris, Filarmonica Toscanini in Milan, MIDEM Classical Awards in Cannes, and an Ms. Isbin’s recent highlights include tours with the Zurich Chamber Orchestra, Tonkünstler 18-city Guitar Passions tour with Stanley Jordan and Romero Lubambo in 2014. Ms. Isbin has toured Europe annually since she was seventeen, and appears as soloist with orchestras throughout the world, including the New York Philharmonic, National Symphony, Baltimore, Detroit, Houston, Dallas, Pittsburgh, Minnesota, St. Louis, Nashville, New Jersey, Louisville, Indianapolis, Milwaukee, Phoenix, Buffalo, and Utah Symphonies; Saint Paul, Los Angeles, Zurich, Scottish, and Lausanne Chamber Orchestras; the London Symphony, Orchestre National de France; and BBC Scottish, Lisbon Gulbenkian, Prague, Milan Verdi, Mexico City, Jerusalem, and Tokyo Symphonies. Her festival appearances include Mostly Mozart, Aspen, Ravinia, Grant Park, Interlochen, Santa Fe, Mexico City, Bermuda, Hong Kong, Montreux, Strasbourg, Paris, Athens, Istanbul, Ravenna, Prague, and Budapest International Festivals. As a chamber musician, Ms. Isbin has performed with the Emerson String Quartet; the Chamber Music Society of Lincoln Center; a “Guitar Summit” tour with jazz greats Herb Ellis, Stanley Jordan and Michael Hedges; trio recordings with Larry Coryell and Laurindo Almeida; and duo recordings with Carlos Barbosa-Lima. She collaborated with Antonio Carlos Jobim, and has shared the stage with luminaries from Aretha Franklin to Muhammad Ali. Born in Minneapolis, Sharon Isbin began her guitar studies at age nine in Italy, and later studied with Andrès Segovia and Oscar Ghiglia. A former student of Rosalyn Tureck, Ms. Isbin collaborated with the noted keyboardist in preparing landmark first performance editions of the Bach lute suites for guitar (published by G. Schirmer). She received a B.A. cum laude from Yale University and a Master of Music from the Yale School of Music. She is the author of the Classical Guitar Answer Book, and is Director of guitar departments at the Aspen Music Festival and The Juilliard School (which she created in 1989, becoming the first and only guitar instructor in the institution’s 100-year history). In her spare time, Ms. Isbin enjoys trekking in the jungles of Latin America, cross-country skiing, snorkeling, and mountain hiking.

DR. GARETH ICENOGLE, NARRATOR Dr. Gareth Icenogle became the Senior Pastor of West Side Presbyterian Church in February, 2009. He has degrees in ministry from Fuller Theological Seminary in Pasadena, CA, and music degrees from the University of California, Riverside, and California State University of Los Angeles. His masters degrees are in music (voice and composition) and divinity, and his doctorate is in ministry, with a focus on spiritual formation and discipleship. He has written an internationally used textbook on the theology, purposes, and dynamics of faith formation through small groups. Gareth comes to West Side from the National Presbyterian Church in Washington, DC, where he served as Senior Pastor from 2004 to 2008. Before that he served First Presbyterian Church of Bethlehem, PA, as Senior Pastor and Co-Senior Pastor for 14 years. Previously he was the Director of the Doctor of Ministry program at Fuller Seminary. Both natives of southern California, Gareth and his wife, Vida Smith, have been married for 36 years. They have two daughters, Tamara, 29, and Tonya, 26.

September 23, 2018: Arnaud Sussmann, solo violin; Michael Brown, piano; Sean Lee, violin; Emily Smith, violin; Matt Lipman, viola; Nick Canellakis, cello ERNEST CHAUSSON (1855-1899) Concert for Violin, Piano, and String Quartet in D major, op. 21 September 23, 2018: Arnaud Sussmann, solo violin; Michael Brown, piano; Sean Lee, violin; Emily Smith, violin; Matt Lipman, viola; Nick Canellakis, cello Chausson is one of an illustrious group of composers who initially studied to be something else. Berlioz studied medicine, Vivaldi trained for the priesthood, Telemann, Rameau, Handel, Schumann, Tchaikovsky, and Stravinsky all studied law, and so on. Chausson had to earn a law degree and license to satisfy his father. He had, nonetheless, been nurtured in music, painting, and literature by his wealthy parents and by the tutor they engaged for him, and he became acquainted with many of the most important artists of the day. He was twenty-five by the time he had finished his law studies and decided that of all the arts, music attracted him most. He then entered the Paris Conservatory, where César Franck became his most influential teacher. Because of his late start and untimely death at forty-four from a bicycle accident, Chausson had only a short composing career. His achievements were notable, however; his most successful compositions are probably his Poème for violin and orchestra, various songs, and the present Concert, op. 21. Written between 1889 and 1891, the Concert is unique in the chamber music repertoire—scored for solo piano and violin with string quartet. Chausson entitled it Concert (French for concerto) rather than “Sextet,” but it lies somewhere between a double concerto, in which the two solo instruments are pitted against an entire orchestra, and a sextet, in which all the instruments are more or less equal. The opening three-note motive of the introduction is the germinating cell of the first movement, which unfolds in full-fledged Romantic sonata form. The second movement is a brief intimate Sicilienne in A minor. The composer Vincent d’Indy, who arranged for the work’s premiere, described it as like “the gardens where bloom the charming fancies of a Gabriel Fauré.” Chausson is at his most brooding and chromatic in the third movement marked Grave. D’Indy remarked that the finale is “somewhat oddly conceived, and partakes rather of the nature of variation form than of one of the forms regularly employed in the sonata.” Yet it is like a rondo in many respects: the animated main theme regularly returns (albeit varied), and material of episodic nature intervenes, including material from the previous movements (second theme of the Grave). Franck’s influence on Chausson surfaces in the work’s cyclical form, modulatory procedures, and expressive lyricism. The Concert is dedicated, as is the Poème, to Eugène Ysaÿe, who played the solo violin part in the premiere in Brussels on March 4, 1892. The Crickboom Quartet played the remaining string parts, and Auguste Pierret was the pianist who saved the day when the originally scheduled pianist suddenly returned the score as too difficult. (Chausson dedicated his next chamber work, the Piano Quartet, op. 30, to Pierret in gratitude for his fine performance.) Chausson, a composer continually plagued by self doubt, was thrilled at the instant success of the Concert, which now occupies a permanent place in the chamber music repertoire. © Jane Vial Jaffe Return to Parlance Program Notes

YOON KWON, VIOLIN Described by Dorothy DeLay as a violinist with “staggering imagination” and “one of the most expressive tones I’ve ever heard”, violinist Yoon Kwon’s compelling musicianship and dynamic stage presence have won the hearts of audiences around the world. Her performances have earned her critical acclaim across four continents, garnering remarks such as “magic that transcends mere pyrotechnical flash”, “infinitely beautiful sound… holding an audience spellbound”, and “utterly assured and carefree…a talent that kept us enchanted throughout”. Yoon Kwon began her professional career in 1993 as a thirteen-year-old, youngest winner in the history of the New Jersey Symphony Young Artists Auditions joining the roster of IMG Artists, alongside such artists as Itzhak Perlman and Joshua Bell. She has since concertized extensively as soloist with major orchestras and in recitals and chamber music appearances with distinguished musicians. Today, still only in her mid-twenties, Yoon Kwon is a seasoned artist with a remarkable and excitingly versatile career. In addition to her solo appearances, she is currently the youngest first violinist of the Metropolitan Opera Orchestra, a member of the Lincoln Center Chamber Music Society Two, and the lead violinist of her own jazz ensemble, Emergence, appearing regularly in New York City’s jazz clubs. As soloist, Ms. Kwon has appeared abroad with such orchestras as the Cologne Philharmonic, Warsaw Philharmonic, (it’s 100th season opening gala) Orquesta Sinfonica de Teatro Colon (Argentina), Euro-Asian Philharmonic, Vancouver Symphony, Istanbul State Symphony, and the Mexico State Symphony Orchestra, to name a few. Her numerous US appearances include performances with the symphonies of Cincinnati, Chicago, Colorado, Greenville, Houston, Honolulu, Phoenix, New Jersey, New Mexico, New York, St. Louis, and Wichita, and others. Among the conductors she has collaborated with are James Conlon, Lawrence Foster, Sergiu Commissiona, Paavo Jarvi, Haermann Michael, Stefan Sandering, Alan Gilbert, Tandeuz Strugala, Gurer Aykal, David Lockington, Andre Raphael Smith, and Enrique Batiz. Her recital credits are also numerous: Ravinia Rising Stars Series, St. Louis Great Artist Series, La Jolla Discovery Series, and Aspen Winter Series. During the 1998-2003 seasons, under the auspices of Columbia Artists Community Concerts, Yoon and her sister, pianist Min Kwon, undertook extensive tours of joint recitals and master classes across the US. Yoon Kwon is also a frequent performer at summer festivals, including Marlboro, Aspen, Santa Fe, La Jolla, Tanglewood, Vancouver, Rome and Cassamagiore (Italy), Kuhmo (Finland), and Interlaken, Verbier (Switzerland), collaborating with such distinguished musicians as Andras Schiff, Pinchas Zukerman, Richard Stolzman, Midori, Felix Galimir, Cho-Liang Lin, Robert McDuffie, Daniel Blumenthal, Carter Brey, and members of the Guarneri, Juilliard, and Emerson string quartets. Yoon Kwon released her debut CD on the BMG/RCA Red Seal label in Korea in 1997 to critical acclaim, becoming the first Korean artist to record for the label. She has also recorded You and Me, an album of solo and duo works with pianist Min Kwon, Anthony Newman’s Sonata for Violin and Piano with the composer at the piano. She can be also heard on a jazz album entitled Phoenix on the Songlines label. Yoon Kwon’s captivating and passionate performances have been seen and heard by television and radio audiences worldwide. Ms Kwon has been a feature performer on CBS TV’s New Year’s Eve Peace Concert hosted by Maya Angelou, and broadcast from New York’s Cathedral of St. John the Divine. She has also been featured on NBC TV (USA), TV Stuttgart and WDR (Germany), KBS and SBS TV (Korea), and numerous FM stations across the US. A native of Seoul, Korea, Yoon Kwon began her musical studies at the age of three, studying the piano. At the age of six, she began studying the violin, and two years later was accepted into the Juilliard School, where she studied with the late Dorothy DeLay. In 1997, at the age of the 17, she was the youngest winner in the history of The Juilliard School Concerto Competition, resulting in her Avery Fisher Hall, Lincoln Center debut later that year. Ms. Kwon received her Bachelor and Master of Music degrees as well as the prestigious Artist Diploma from The Juilliard School where she studied with Dorothy DeLay, Hyo Kang, Cho-Liang Lin, and Donald Weilerstein. She was the recipient of the Avery Fisher Stradivarius on loan from The Juilliard School and Sennhouser Guarnerius del Gesu on loan from the Stradivari Society. She also enjoys teaching, and has taught at Columbia University’s Young Musicians Program, Kuhmo International Music Course in Finland, and as assistant to Cho-Liang Lin, at The Juilliard School.