Could you describe what you do as a musician in plain words that are understandable to a non-musician?
I'm lucky to have a lot of variety in my musical life. I mainly perform as concertmaster of the Orchestre Symphonique de Montréal, which means I lead the violin section and help guide the orchestra alongside the conductor. I'm also one of the violinists in the New Orford String Quartet, a group that tours and records regularly. I've had a long and rewarding collaboration with pianist Charles Richard-Hamelin; together we've recorded all the Beethoven and Schumann sonatas for violin and piano, and we're releasing the Brahms sonatas next season. I also teach and perform at music festivals during the summer, and I'm an associate professor of violin at McGill University's Schulich School of Music in Montreal.
When and how did you decide to become a professional musician? Did you understand what you signed up for back then? Did it turn out the way you had imagined?
Looking back, I think joining the Edmonton Youth Orchestra and the National Youth Orchestra of Canada really set me on this path. Of course, I had incredible teachers, supportive parents, inspiring peers, and I attended some unforgettable concerts. But there was something about being surrounded by people my age who loved music as much as, or even more than, I did that made it all feel possible. I didn't know exactly where it would lead, and everyone has dreams, but I always had the sense that there were many versions of this career I'd be happy living.
Do you still listen to music for leisure these days?
I can't escape music. Even when it's technically "work," like reviewing edits for an album, learning new pieces, or evaluating recordings for auditions and festivals, I still love it. And now that we have an 18-month-old son, Raffi (the children's music icon) is constantly playing at home. Honestly, I enjoy that too.
What are some works of music that are in your personal sacred shrine?
Just at this moment, and in no particular order:
- Schubert - Fantasy for Violin and Piano
- Beethoven - String Quartet Op. 135
- Ravel - Piano Trio
- Strauss - Four Last Songs
What are some recordings that you were inspired by, and why?
It's not an unusual choice, but Glenn Gould's first recording of Bach's Goldberg Variations never stops astonishing me. It's so clean, the articulation is flawless, the voices are incredibly clear, and the tempos feel fresh and alive. It's a miracle of a recording.
Another one I've listened to many times is Joyce DiDonato's live album Into the Fire with the Brentano Quartet, recorded at Wigmore Hall. The whole performance is stunning, but the encore, a version of Strauss's Morgen arranged for voice and string quartet by Mark Steinberg, stopped me in my tracks. It's breathtaking.
How important is the presentation of sound to you in a recording? Do you believe a recording can be either "musical" or "sterile"?
Very important. Most of my casual listening happens through AirPods or my phone speaker, usually while chasing around my son. But when I'm working, I switch to high-quality speakers or serious headphones. It's amazing how much more depth, emotion, and detail you hear. The same piece can feel like an entirely different performance.
How does audio playback gear, especially headphones, influence the way you perceive recordings, and music in general? Does it inform your own performance? Have Hifiman headphones brought any revelations to your creative work?
Using HiFiMan headphones (HE1000 Stealth and EF500) has been a revelation. Honestly, I thought my previous gear (I won't name names!) was good enough to judge my own recordings, but whether I'm evaluating studio takes or listening to practice recordings, the difference in clarity, realism, and detail is striking. I can't imagine going back to anything less.
What was your proudest work or moment you could share with us? Proudest recording?
One unforgettable moment was performing Mendelssohn's Octet at Carnegie Hall during Juilliard's centennial celebrations, alongside the Juilliard Quartet, which included my teacher at the time. Sharing that stage was deeply meaningful.
More recently, my orchestra toured Europe with our music director Rafael Payare, playing in some of the world's most iconic concert halls - Berlin, Vienna, Amsterdam, London, Paris, and more. Returning to those legendary spaces was thrilling.
As for recordings, I'm very proud of our recent albums with Payare on the Pentatone label. Our Mahler Fifth Symphony recording stands out. It's powerful, emotional, and I was moved all over again when I re-listened recently.
Do you have any upcoming performances or albums you'd like to share with us and our audience?
Yes, please keep an eye out for my recording of the Brahms sonatas with Charles Richard-Hamelin, released on the Analekta label (Out Here Music in Europe).
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