« I help violinists grow, improve, and finally love the way they sound» Over 10 Years of Teaching & Playing

Learn more about Inesa

• When did you first develop a passion for music and your favorite instrument?

  I didn’t choose the violin — the violin sort of chose me. I was five when I first held one, and even though it squeaked and shrieked at first, I felt something click. It wasn’t about “loving music” — it felt more like understanding a language I hadn’t spoken yet.

• Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  Oh, absolutely. Type O Negative and HIM. Dark, dramatic, unapologetically emotional — I could live in those soundscapes for weeks and still want more. Also, a bit of Bach never hurts. Especially when life feels like chaos — he brings mathematical peace.

• Explain to us the most difficult or riveting course you could personally give to a student of music.

  A course called “Rewiring Your Playing: From Tension to Flow.” It’s not about pieces or notes — it’s about breaking bad habits, reprogramming posture, and finding ease in the hard stuff. Most students don’t need more practice time — they need to stop fighting with their own body.

• What do you think is the most complicated instrument to master and why?

  The violin, hands down — and I say that as a violinist. It has no frets, no shortcuts, and zero tolerance for tension. Your intonation, tone, and bow control are all dancing on a tightrope. You can’t fake it — the violin calls you out.

• What are your keys to success?

  Curiosity, ruthless reflection, and rest. I ask “why” a lot — in music and in life. I reflect on what doesn’t work, and I don’t glorify burnout. Rest is a strategy, not a luxury.

• Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  Peter Steele — for poetic sarcasm and existential conversations.
  
  Niccolò Paganini — because I have questions. A lot of them.
  
  Hildur Guðnadóttir — for her deep, cinematic sensibility and the way she turns silence into sound

• Provide a valuable anecdote related to music or your days at music school.

  In music school, a teacher once stopped me mid-performance and said: “You’re playing the notes, but where’s your story?”
  
  That was the moment I stopped being a violinist and started being a storyteller.

• What are the little touches that make you a Superprof in music?

  I teach the how, not just the what. I notice the tension in a student’s pinky before they do. I explain technique like it’s poetry — because it can be. And I never let a student feel like they’re “not talented enough” only that they haven’t found the right way yet.