A profile of violinist Tessa Lark, winner of a 2016 Avery Fisher Career Grant Award.

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GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PAULA ZAHN AT THE TISH WNET STUDIOS AT LINCOLN CENTER.

TOOK PLACE IN MARCH AT THE JEROME L. GREEN PERFORMANCE SPACE AT WQXR.

THESE INDIVIDUAL GRANTS OF $25,000 GIVE PROFESSIONAL ASSISTANCE AND RECOGNITION TO TALENTED INSTRUMENTALISTS WHO HAVE GREAT POTENTIAL FOR SOLO CAREERS.

A NATIVE OF RICHMOND, KENTUCKY, TESSA LARK BEGAN PLAYING VIOLIN AT THE AGE OF SIX.

SINCE THEN SHE HAS PERFORMED WITH ORCHESTRAS ALL OVER THE WORLD.

AND WHILE SHE IS A DEDICATED CHAMBER MUSICIAN, HER PASSIONS ALSO INCLUDE PERFORMING BLUEGRASS AND APPALACHIAN MUSIC.

SHE IS CURRENTLY EARNING HER ARTIST DIPLOMA AT THE JULIARD SCHOOL.

I WAS BORN AND RAISED IN KENTUCKY, AND THAT IS, OF COURSE, THE BLUEGRASS STATE.

I HAD ALL SORTS OF MUSIC PLAYING IN THE HOUSE.

BOTH OF MY PARENTS ARE MUSIC LOVERS AND MY FATHER ACTUALLY PLAYS BLUEGRASS BANJO.

THE FIRST INSTRUMENT I ACTUALLY PLAYED WAS NOT THE VIOLIN BUT THE MANDOLIN.

I WANTED TO PLAY THE PIANO, BUT SINCE WE DIDN'T HAVE AN ACTUAL PIANO THE TEACHER WE FOUND SUGGESTED I START THE VIOLIN.

APPARENTLY EIGHT MONTHS LATER AT THE AGE OF SEVEN I DECLARED MYSELF A VIOLINIST.

THE VIOLIN I WILL BE PLAYING FOR THE NEXT FEW YEARS IS THIS X GINGOL STRATIVARIUS.

IT WAS MADE IN 1863 AND IS OWNED BY THE INTERNATIONAL VIOLIN COMPETITION OF INDIANAPOLIS.

THIS IS THE FIRST VIOLIN THAT PLAYS ME MORE THAN I PLAY IT.

I HAVE BEEN VERY AFFECTED BY THIS AMAZING INSTRUMENT.

WHEN I WAS TOLD THAT I RECEIVED AN AVERY FISHER CAREER GRANT, IT DIDN'T REGISTER FOR A WHILE.

I MEAN EVER SINCE I WAS A CHILD I HAVE READ ABOUT INSTRUMENTALISTS WHO HAVE RECEIVED THESE GRANTS, SO WHEN I GOT THIS PHONE CALL I WAS JUST SO ABSOLUTELY HONORED.

IT IS REALLY A DREAM COME TRUE.

THE PIANIST THAT'S PLAYING WITH ME TONIGHT IS AMY YANG, AND SHE HAS BEEN A COLLEAGUE OF MINE THAT I'VE ADMIRED FOR SO LONG.

SHE IS JUST A FANTASTIC PERSON AND SUCH A POETIC ARTIST.

THE PIECE I'M PLAYING TONIGHT IS REVEL ZAGON.

ZAGON COMES FROM A WORD THAT MEANS GYPSY.

ONE OF THE REASONS I LOVE REVEL IN GENERAL IS HE IS INSPIRED BY ALL TYPES OF MUSICAL CULTURES.

YOU CAN NEVER TRUST THAT THE MUSIC IS GOING TO STAY IN ONE PLACE FOR TOO LONG, AND IT IS JUST SO STREAM OF CONSCIOUSNESS, SO EXCITING AND FLAVORFUL, AND I ABSOLUTELY LOVE PLAYING THIS PIECE.

I THINK MY UPBRINGING IN BLUEGRASS STYLES AND APPALACHIAN STYLES DEFINITELY INFORMS PERFORMANCES OF PIECES LIKE THE ZAGON.

WITH REVEL, THIS PIECE, HE IS SO DETAILED.

THE PIECE DOESN'T NEED MUCH DONE TO IT.

BUT WITH MY BLUEGRASS TRAINING I FEEL THAT IT MAY HELP A LITTLE BIT IN THAT EVEN WHILE I'M TRYING TO MAINTAIN INTEGRITY TO THE SCORE, IT CAN STILL INFUSE IT A LITTLE BIT WITH SOME DOWN HOME AND LOW KEY PAIR DOWN SQUARE.

IT'S IN BASICALLY TWO PARTS THERE'S VERY EXTENDED VIOLIN CADENZA.

IT SEEMS LIKE THIS AMAZING THING OF A GYPS FINALLY IN THE STREET, TRYING TO LET EVERYTHING OFF HIS OR HER CHEST.

AND, FINALLY, WHEN THAT ENDS THERE ARE ALL OF THESE TRILLS AND JUST A SPOOKY ATMOSPHERE AND THE PIANO COMES IN WITH THE DIMINISHED HARMONIES, AND THE REST OF THE PIECE GETS STARTED FROM THERE.

IT IS A TOTAL ROMP ALL THE WAY TO THE END.

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