Fiona Cunninghame-Murray in Conversation with Christian Baldini

This Saturday, March 29, I will have the pleasure of collaborating with violinist Fiona Cunninghame-Murray as our soloist in Sacramento for Jenö Hubay's Carmen Fantaisie, with the Camellia Symphony Orchestra. I had the chance to ask Fiona some questions, and here are her answers:

Christian Baldini: Fiona, it is a pleasure to be making music with you, especially after hearing so much about you. Welcome! You recently made your debut as a soloist sharing the stage with Joshua Bell in Bach's Double Concerto. Tell us about this experience and how you felt. I imagine he must have been one of your heroes growing up, so how has this experience transformed you?

Fiona Cunninghame-Murray: Thank you so much for having me! My debut with Joshua Bell and Academy of St Martin in the Fields was incredibly transformative. Growing up, he was definitely a figure that I looked up to so it felt surreal to perform with him. Because this concert was sold out and on the subscription series for San Francisco Symphony, I learned a lot about the relationship between preparation and nerves. I was very lucky to have the support of my wonderful teacher Chen Zhao, who made sure that I was prepared for anything and everything on the night of the concert. I am very grateful to have been awarded this opportunity and I hope to grow from here. 

CB: And I understand you have been borrowing a truly special instrument too? Tell us about it, and how it reached your hands.

FCM: Yes, I had the honor of playing on a 1728 Stradivari titled “Caressa, Thunis” generously loaned to me from Bein and Fushi. Playing on that instrument taught me a great deal about violin playing and it has been incredible to perform on a piece of history. 

CB: Who have been your most important mentors, and why?

FCM: My teacher Chen Zhao has been an incredible mentor to me. I have only known him for a year but in that time I have grown so much as a musician in terms of artistry and experience. He has gone above and beyond for me in order to make sure that I am the best that I can be. I also need to mention my father because he was my first and longest running mentor. Although he is not a classically trained musician, he spent the last two decades learning alongside me in order to support me. I am very grateful for everything that he has done for me.

CB: What are your earliest musical memories? How did it all start for you?

FCM: Music has always been in my family. One of my uncles was a theory teacher at the Royal Irish Academy of Music and another performs traditional Irish music in a band. My father plays the piano and accordion as well. I began playing the violin at age 3. My mother had a full sized violin, bigger than I was at the time, and I gravitated towards it. I was lucky enough to be enrolled in lessons for both classical and Irish traditional music and it went from there. 

CB: What would be your advice for young musicians? In particular, how do you deal with frustration or adversity?

FCM: When I feel frustration in the practice room, I know I am doing something right. In order for performing to be enjoyable and free, practicing must consist of hard work and sometimes hard work can feel frustrating. A lot changed for me when I learned to push through my frustration and be patient with the learning process. 

CB: Who are your favorite composers/works, and why?

FCM: This is a hard question! For violin repertoire, I am a fan of exciting show pieces, which is why Carmen is perfect. In terms of symphonic repertoire I love Rachmaninov and Shostakovich, for example Isle of the Dead and Shostakovich’s Piano Concerto no. 1. I spend a lot of time listening to French Impressionism, especially for solo piano repertoire and chamber music. There is so much incredible music out there it is impossible to pick just one. 

CB: Tell us about Hubay and his extraordinary Carmen Fantaisie. What should people listen for in this piece?

FCM: Carmen, the opera, is an iconic work that has infiltrated almost every instrument’s repertoire. For violinists, there are three well-known Fantasies each with their own set of challenges and excitement. The Hubay Carmen is less frequently played in comparison to both Sarasate and Waxman’s. If you are familiar with the opera, you will hear the motifs weaved into the technical passages. It can be fun to pick out the melody in these sections. Often during these passages, I am focusing on the melody instead of each individual note. 

CB: What's your most memorable orchestral experience? Any fun facts to share? 

FCM: My recent debut is my most memorable orchestral experience. I have always loved performing and not only was that my biggest concert to date, it was also the most fun I have ever had!

CB: Thank you Fiona, I look forward to making music with you and introducing you to our audience members!

FCM: Thank you so much, I am honored to collaborate with you and the incredible members of this orchestra!

Violinist Fiona Cunninghame-Murray, a rising talent born in Marin and raised in Baltimore, studied at the Peabody Pre-Conservatory with Lenelle Morse and earned her Bachelor's degree under David Halen, Concertmaster of the St. Louis Symphony, at the University of Michigan. Currently, she is pursuing her Master's degree at the San Francisco Conservatory of Music, studying with Chen Zhao, violinist of the San Francisco Symphony.

During her summers, Cunninghame-Murray has participated in prestigious music festivals, including the Meadowmount Festival, where she studied with Gerardo Ribeiro, Sally Thomas and Kikuei Ikeda of the Tokyo String Quartet, and the Aspen Music Festival under Robert Lipsett. Her performances include sharing the stage with Gil Shaham and the Aspen Festival Orchestra and collaborating with Wynton Marsalis and the Jazz at Lincoln Center Orchestra.

Cunninghame- Murray has also participated in masterclasses with distinguished artists Hilary Hahn, Midori Goto, Daniel Ashalamov of the American String Quartet and Daniel Phillips of the Orion String Quartet.

Fiona Cunninghame-Murray recently made her debut with Joshua Bell and the Academy of St. Martin in the Fields in this special program presented by the San Francisco Symphony as part of the Great Performers Series.

Elisa Jeon in Conversation with Christian Baldini

This Saturday, March 29, I will have the pleasure of collaborating with violinist Elisa Jeon as our soloist in Sacramento for Ernest Chausson's Poème, with the Camellia Symphony Orchestra. I had the chance to ask Elisa some questions, and here are her answers:

Christian Baldini: Elisa, welcome! I look forward to performing this beautiful work with you, and I can't wait to share your talents with our audiences. Tell me, if you could describe Poème in one sentence, what would that be? And how do you personally interpret the overall character and emotional arc of this piece? Do you envision a particular narrative or imagery while performing this work?

Elisa Jeon: Thank you for having me! If I were to describe Poème in one sentence, I’d say it evokes a sense of unease and anguish, yet also feels lovestruck and dreamy, capturing the emotional intensity and complexity of a love story. Since Poème is inspired by Ivan Turgenev’s novella Le chant de l’amour triomphant, certain sections of the music bring to life the imagery and emotions of the narrative. As I perform, I’ll draw from these elements to convey the emotional journey of the love story through the music.

CB: What makes Poème so emotionally powerful? Is it the harmony, the phrasing, or something deeper?

EJ: Poème is so emotionally powerful because Chausson creates a unique sound world that’s both rich and intimate. The lush harmonies and the way he builds tension make the music feel like it’s constantly searching for something, which gives it a deeply emotional pull. The connection to violinist Eugène Ysaÿe, for whom the piece was written, is also key. Ysaÿe’s virtuosity really influenced how Chausson wrote for the violin, allowing for a personal, expressive interaction between the violin and the orchestra. That partnership helped shape a piece that feels both personal and universally moving.

CB: What is your approach to rubato in general, and in particular in the opening section of this piece? How do you shape the long phrases, and where do you prefer natural breathing points or slight hesitations?

EJ: My approach to rubato is about trying to imitate human emotion and, in some ways, speech. Just as our phrasing in conversation shifts depending on what we want to express, I bring that same flexibility to the music. In the opening of Poème, for example, I pay close attention to the emotional arc of each phrase. If I’m conveying longing, I might stretch a note or pause to let that emotion linger. Similarly, if the emotion is more urgent or intense, I’ll push forward slightly. It’s all about finding where those breathing points and hesitations feel natural, though it can take a bit of trial and error to discover the right moments and balance. It’s a constant process of listening and adjusting, and when it clicks, the music feels more alive and convincing.

CB: Who is your favorite violinist interpretation of Poème, and why?

EJ: Janine Jansen’s interpretation of Poème is my favorite, although there are many other wonderful performances to appreciate. This piece offers plenty of room for freedom, especially in the first two cadenzas, which gives each soloist a chance to make it their own. However, Jansen takes it to another level. I find her playing to be incredibly human, there’s a depth and sincerity in her phrasing that makes the already emotional piece even more profound. Every note she plays feels so intentional, and it’s almost as if she gives words to the music. There’s a daring quality to her performance, a kind of visceral emotion, and even a bit of attitude in how she approaches certain moments. That unique combination of intensity and boldness makes her interpretation stand out in such a compelling way. 

CB: What is the meaning of music to you personally, in your life? How did it all start for you?

EJ: For me, music is about connection, it's a way to share something deeply personal and express emotions that words can’t quite reach. It’s also about creating beauty, whether on my own or with others. My journey started with piano, and then I picked up both piano and violin. But I ultimately chose the violin because I loved playing in orchestras and being part of that community. That’s what really kept me drawn to it.

CB: What's the best advice you've ever received from a mentor or teacher?

EJ: The best advice I’ve ever received is to have fun with the music! I used to get so caught up in hitting every note perfectly that I’d forget the most important thing… It's about making music, not just playing the right notes (although that’s important too). Once I started focusing more on the feeling and expression, everything opened up and became so much more rewarding and enjoyable.

CB: Thank you very much Elisa, we look forward to making music with you!

EJ: Thank you! I’m really looking forward to making music together and sharing this experience with all of you.

Elisa Jeon is an accomplished violinist currently pursuing her studies at the San Francisco Conservatory of Music. A dedicated performer, Elisa has earned recognition for her artistry through performances with prestigious ensembles, including the New World Symphony as a substitute violinist and the National Orchestral Institute Festival Orchestra under Marin Alsop, where she served as Assistant Concertmaster. 

Elisa’s commitment to expanding her musical range has also led to performances at renowned summer festivals, as well as featured recordings under the NAXOS Recording Label. She has played with the San Francisco Conservatory of Music Orchestra and served as a violinist with the American Youth Symphony from 2018 to 2021.

Currently studying with Chen Zhao of the San Francisco Symphony, Elisa continues to refine her craft, working toward a degree in Violin Performance.