February 1, 2025
Four Questions For
Violinist Tessa Lark
Tessa Lark makes her debut at the San Francisco Symphony with a Shenson Spotlight Series recital, February 19.
Tessa Lark is increasingly in demand in the classical realm and is also a highly acclaimed fiddler in the tradition of her native Kentucky. In 2020 she was nominated for a Grammy in the Best Classical Instrumental Solo category for her performance of Michael Torke’s violin concerto, Sky, written for her. Lark’s most recent album, The Stradgrass Sessions, features an all-star roster of collaborators and composers including bassist Edgar Meyer, pianist Jon Batiste, mandolinist Sierra Hull, and fiddler Michael Cleveland.
Tell us a little about what you’re playing in your SF Symphony Spotlight Series recital.
It’s simply a program of music I love and music that Amy Yang and I love playing together—and it’s music I’d personally want to go hear performed, which is my main litmus test when I’m programming a show.
The real feature, I’d say, is John Corigliano’s Violin Sonata, which closes out the show, and is what fiddlers might call a “barn-burner.” I still can’t believe how much happens in every split second of that piece. It’s resplendent chaos, it’s suave, it’s heart-on-sleeve, it’s devastating, it’s incandescent…and it’s incredibly challenging to play. But it’s so rewarding, and an unbelievable live experience.
Amy and I have opened many a concert with Bartók’s Romanian Folk Dances, which is always a fun, folksy way to start off a performance.
I’ll have a little solo set when I’ll play Eugène Ysaÿe Sonata No. 4, a magical piece beloved by violinists that seems to transform the violin into a full orchestra at times. Ysaÿe dedicated that sonata to his friend, violinist Fritz Kreisler, so Amy and I will play a few of Kreisler’s charmingly sentimental tunes. I’ll also play a couple of pieces I wrote myself—my own sort of homage to Ysaÿe and Kreisler and their musical lives as both violinists and composers.
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Tell us a little about what you’re playing in your SF Symphony Spotlight Series recital.
It’s simply a program of music I love and music that Amy Yang and I love playing together—and it’s music I’d personally want to go hear performed, which is my main litmus test when I’m programming a show.
The real feature, I’d say, is John Corigliano’s Violin Sonata, which closes out the show, and is what fiddlers might call a “barn-burner.” I still can’t believe how much happens in every split second of that piece. It’s resplendent chaos, it’s suave, it’s heart-on-sleeve, it’s devastating, it’s incandescent…and it’s incredibly challenging to play. But it’s so rewarding, and an unbelievable live experience.
Amy and I have opened many a concert with Bartók’s Romanian Folk Dances, which is always a fun, folksy way to start off a performance.
I’ll have a little solo set when I’ll play Eugène Ysaÿe Sonata No. 4, a magical piece beloved by violinists that seems to transform the violin into a full orchestra at times. Ysaÿe dedicated that sonata to his friend, violinist Fritz Kreisler, so Amy and I will play a few of Kreisler’s charmingly sentimental tunes. I’ll also play a couple of pieces I wrote myself—my own sort of homage to Ysaÿe and Kreisler and their musical lives as both violinists and composers.
Story continues below...
What inspired you to pursue a career in music? Were there any particular artists, teachers, or compositions that had a significant impact on your decision?
My parents say I explicitly declared myself a violinist when I was seven years old, but I can’t truly recall a life in music ever being a decision for me. I’m sure it’s eye-roll-y to hear a musician say they need music, that they can’t do anything else—but that’s honestly it for me. Like, we all need to drink water; I need to be involved in music.
Alison Krauss is one of the first sounds I remember falling in love with and relating to. Catherine McGlasson was my first teacher, and her violin tone was very dark and rich, which I’m sure subconsciously influenced my own tendencies. Edgar Meyer was and continues to be a huge influence.
You're well-versed in both bluegrass and classical music traditions. How do you think your work in one sphere influences your work in the other?
The biggest thing it does, probably, is keep me humble and curious. There are endless ways to approach the violin and music in those two styles alone, so it keeps me searching for more ways to expand my interpretive toolbox. And with bluegrass music, the culture is to learn the music with others, by ear—and that inextricable link of human connection with the music is something I try to convey in my classical shows, too.
What are some of your interests outside of music and how do they influence your creativity and artistic expression?
It’s funny—I swear I’m not boring, but I always blank when I’m asked this question, I think because my brain is always buzzing with music and wild ideas, and that’s usually more than enough to entertain me! I love drawing, painting, pulling espresso and making mediocre latte art, soaking up nature, writing, puzzle games, deep conversations, comedy, bad puns… I just love trying to understand stuff, and any new understanding I come to inevitably seeps into the music I make.
My parents say I explicitly declared myself a violinist when I was seven years old, but I can’t truly recall a life in music ever being a decision for me. I’m sure it’s eye-roll-y to hear a musician say they need music, that they can’t do anything else—but that’s honestly it for me. Like, we all need to drink water; I need to be involved in music.
Alison Krauss is one of the first sounds I remember falling in love with and relating to. Catherine McGlasson was my first teacher, and her violin tone was very dark and rich, which I’m sure subconsciously influenced my own tendencies. Edgar Meyer was and continues to be a huge influence.
You're well-versed in both bluegrass and classical music traditions. How do you think your work in one sphere influences your work in the other?
The biggest thing it does, probably, is keep me humble and curious. There are endless ways to approach the violin and music in those two styles alone, so it keeps me searching for more ways to expand my interpretive toolbox. And with bluegrass music, the culture is to learn the music with others, by ear—and that inextricable link of human connection with the music is something I try to convey in my classical shows, too.
What are some of your interests outside of music and how do they influence your creativity and artistic expression?
It’s funny—I swear I’m not boring, but I always blank when I’m asked this question, I think because my brain is always buzzing with music and wild ideas, and that’s usually more than enough to entertain me! I love drawing, painting, pulling espresso and making mediocre latte art, soaking up nature, writing, puzzle games, deep conversations, comedy, bad puns… I just love trying to understand stuff, and any new understanding I come to inevitably seeps into the music I make.
