During my early teaching career I was the assistant teacher of Zakhar Bron for 7 years after which I was appointed professor at the Royal College of Music in London and taught there for 13 years. In these roles I have taught many young violinists from all over the world. I also taught young gifted students at the Yehudi Menuhin School and Purcell School - work which I continue in my private studio. At the moment I am taking an indefinite sabbatical from the RCM.

My students have been offered positions in numerous orchestras internationally and have won prizes in the Wieniawski, Sibelius and Queen Elisabeth competitions amongst others. Most of them are active as chamber musicians, some as soloists, and many have become excellent teachers! Whatever my students have achieved, I am always proud of having been part of their musical journey.

My own experience as a violinist includes international concerts with orchestra, worldwide recital tours, and CD recordings.

The KorfkerCradle and KorfkerRest which I invented were launched in 2014 by Pirastro. Since then they have become hugely popular.

For more information please visit: www.pirastro-shoulderrests.com

My philosophy

Teaching the violin is one of my greatest passions. I approach each student as an individual and bring a wealth of experience and creativity to a process which focuses on you and your personal development. An innate understanding of music, a beautiful, projective sound, and an agile left hand are at the heart of this.

What I want to awaken in a student is freedom of expression, a passion for perfection, a strong self-motivation and a creative and dynamic approach towards their path of learning.

I believe that our musical intentions can not be communicated without the help of a holistic command of our instrument and that there should be no separation between music and so-called "technique". This philosophy informs every step of my teaching.

Another important aspect of teaching is learning how to approach various musical styles. Whether we perform Baroque, classical, romantic or contemporary music, this has profound implications on how we use our instrument. Adding this dimension to our work gives us ultimate satisfaction.

What about our body?

The use of the body, freedom of movement and healthy, injury-free practice and performing should be at the heart of every professional approach to instrumental teaching. Students can expect specialised coaching in this respect. My method has been inspired by principles from the Alexander Technique and centres on using less effort while making a fuller, richer sound while becoming less dependent on the shoulder rest.

If you would like to meet for a consultation, please send me a message detailing your background, present situation and goal, and we will take it from there.