From the tiniest “twinkler” to budding young artists, adults and professionals, I've spent nearly two decades pursuing parallel careers as a concert artist and pedagogue. I've worked with students around the world through workshops, masterclasses, festivals, outreach programs and the online teaching studio I founded in 2012. My goal is always to inspire students deepen their love of the violin, develop solid technical foundations and succeed in meeting or surpassing their goals (and all with a healthy dose of humour and encouragement!). I hold a Doctorate in Violin Performance from l’Université de Montréal, am a certified Suzuki Teacher and a member of the Royal Conservatory of Music’s College of Examiners. I teach everything from Twinkle to Tchaikovsky every week, and have a passion for helping violinists solve technical challenges.

Teaching Philosophy

For young students:

With a basis in Suzuki’s talent education method and the belief that all children can learn, lessons draw upon the influences of of Galamian, Flesch, Paul Rolland, Mimi Zweig, Maria Montessori, Dalcroze, Orff and others. The ultimate goal is to educate happy, healthy and well-rounded young musicians who have the technical, theoretical and expressive means to enjoy a lifetime of music, regardless of which path or profession they choose.

For pre-professional lessons and pro coaching:

My approach to violin teaching is strongly influenced by the legacies of my own
teachers as well as the technical philosophies of Galamian and Flesch. I have found that tailored, methodical teaching based on precise short and long-term plans, logical pedagogical sequencing of repertoire, constant technical evolution and well-placed, attainable goals has proven to be a winning combination for student success. As good teaching goes far beyond just refining the technical skill of playing the violin, I see each lesson as an opportunity ignite curiosity, encourage discussion and dig deeper into the informed performance and poetic interpretation of the repertoire at hand. My ultimate goal is to form thoughtful musicians who can handle the violin’s technical demands with ease, efficiency and understanding, and who are well-equipped with the practical skills they will need in order to rise to the challenges auditioning as well as of their careers as a 21st century musicians.

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Canadian violinist Mary-Elizabeth Brown enjoys parallel careers as a performer and pedagogue. In concert, she has delighted audiences around the world and earned accolades for her “ability to unfold bittersweet magic” (Rhein Main Presse) and “impeccable precision” (Le Devoir). In recent seasons, she has appeared as an invited soloist with orchestra more than forty times in Europe, Asia, North and South America, and has appeared with esteemed chamber music colleagues at numerous festivals including Festival Campos do Jordao (Brazil), Mozarteum Uruguay, The White House (USA), the Aldeburgh Festival (UK), Arts and Letters Club of Toronto, Indian River Festival, Elora Festival and Banff Summer Arts Festival (Canada). Her recording of the last 3 Mozart Violin Concerti for the newly-released Mozart Effect recordings were released worldwide in 2017.

Equally at home as a concertmaster, critics have praised Mary-Elizabeth as “superbly confident in her role as leader” (Norfolk Times) and “…an outstanding concertmaster” (El Adelantado, Spain). To date, she has led nearly 1000 concerts on 4 continents under the direction of some of the most noted conductors of our time: at the invitation of Lorin Maazel, she led orchestra of the Young Artists from the Met production of Rape of Lucretia; recorded Verdi’s Requiem under the baton of Placido Domingo; toured South America playing Scherezade with Carlos Miguel Prieto, led multiple performances of Shostakovich with Vasily Petrenko, and was the solo violinist for the recording of John Burge’s Flanders Fields Reflections that won the 2009 Juno for best composition. She served as concertmaster of YOA Orchestra of the Americas from 2006-2008, and led the Britten-Pears Orchestra from 2007-2009. From 2006-2015, she was Associate Concertmaster of Orchestra London Canada, Concertmaster of the award-winning chamber orchestra Sinfonia Toronto from 2007-2016, and currently holds the Ottawa Symphony Orchestra's Bielak-Hartmann Concertmaster's Chair. She plays on a 1766 Giuseppe Gagliano violin on permanent loan from an anonymous donor.