Frequently Asked Questions

What is your teaching style?

I believe in teaching every student with maximum care and attention, regardless of whether the student wants to go into music professionally. I teach every student with the same level of focus and systematic approach, whether they aspire to play professionally or simply want to play well for themselves. Rather than teaching students solely how to play specific pieces, I provide a foundation in music and the art of the violin that enables students to learn any piece like an actor might recite lines in a language they already speak. My goal is to ensure that any sufficiently dedicated student could decide at any point that music as a profession is an option.

What ages do you accept into the Chudnovsky Violin Studio?

I generally accept students as young as 8, with no upper age limit. Occasionally, I have been able to establish a good, productive rapport with students younger than 8, but this is best addressed on a case-by-case basis.

How often are lessons and how long are they?

Lessons are a minimum of once a week, though many of the more serious, ambitious students opt for twice-weekly lessons. Lessons are a minimum of an hour long though, in all honesty, I have to confess to frequently running overtime. The last thing I want, especially in a lesson which is producing results, is to keep my eyes glued to the clock.

How do I know whether my child or I are advanced enough for the Chudnovsky Studio?

Short answer? You are. I've taught beginners, competition winners, professionals, and every level in between. The only level of advancement on which I insist is making lessons enough of a priority to avoid casual cancellations. I would prefer working with a beginner who follows through with step-by-step instructions over an advanced player who tends to cancel whenever the stars don't align.

How much should I be practicing?

This is the most frequently asked question but, unfortunately, it is also unanswerable, because it isn't really the right question. The right question is 'how long should I practice to achieve a specific result?' The important thing is attaining some measurable improvement rather than watching a predetermined number of minutes tick by. Even for serious professionals, there is a point at which, if you're still practicing and not seeing any changes, you're not practicing correctly.

Do I need to own a violin to start lessons?

No! While decent student violins can be purchased for as little as $500, for most beginner students, it makes more sense to rent. Most stringed instrument shops offer rental options, which typically run between $35 and $50 a month. A local shop I recommend, Potter's Violins, is experienced in this realm and can provide what you may need (https://potterviolins.com/rentals/). Keep in mind that you will also want to rent a bow! For more advanced students, I am happy to provide guidance regarding higher-end violins.

What styles of music do you teach?

I only teach classical music. However, if you have the fundamentals to play western art music - what most people call 'classical' music - you have ample fundamentals to play any other style. My first star pupil, for example, has launched a successful career as a jazz violinist, and I believe the foundations laid as a student of the classical repertoire helped prepare her to tackle that and any other musical style a violinist might choose to pursue.

What should I expect in my first lesson?

If you've never had a lesson before, we'll go over how to hold the violin, how to hold the bow, how different notes are made on the violin, and how those different notes are written in sheet music. If you have had violin lessons before, your first lesson will be a kind of stock-taking, during which I will explain what I see as your progress so far, what next steps I would advise, and what repertoire I would recommend to begin attaining those next steps.

Do you prepare students for competitions and auditions?

Absolutely! It is actually one of my favorite types of teaching. As a nine-time laureate myself of international competitions, I am well-versed in competition requirements and jury member expectations, and am delighted to share this knowledge with anyone following the same - or similar - path.

Experience World-Class Violin Instruction

Learn from an internationally acclaimed performer with a proven track record of student success. Contact Emil to begin your musical journey.

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Student & Parent Testimonials

"In my career of pursuing advanced violin study, Emil was definitely one of my most important mentors for his beautiful playing, outstanding teaching technique, patience and inspiring thoughts about music. One of his greatest characteristics in violin teaching is his ability to simplify complicated concepts into very easy ones. Oftentimes, when students follow his step-by-step approach to difficult passages, they find there the easiest ways of practicing and are then able to reach a level of playing they had never before attained. Emil always pours his passion, his intellect and his sense of humor into his playing. As his listener / student, I feel fortunate to be able to study and perform on this wonderful instrument whenever I hear him play."
Dr. Shu-Ting Yao
MM, Peabody Conservatory Professional Music Study, Mannes College of Music DMA, Catholic University
"Mr. Chudnovsky is a dedicated teacher who exudes passion, knowledge, and care. He consistently spends time outside of his teaching hours to help me work through difficult passages. He is generous in sharing both his musical passion and abundant knowledge, offering deep insight and context into the music we study. My favorite part of our lessons is when he accompanies me on the violin, helping me view the music more holistically and learn the art of collaboration. He holds strong opinions about musical interpretation and shares them frequently, demonstrating with great musicality to inspire me. He pushes me to find my limits and maintains high standards for each and every one of us."
Eleanor Shen
BM Juilliard '23 MM Juilliard '25
"Emil didn't stop at teaching me all the core tenets of technique—which of course he did, emphasizing the ways in which technique is the foundation and the doorway to the beauty and truth of music—but he taught me how to love music and understand and appreciate the poetry of it. It was Emil who taught me how to hear a color change in a phrase, how to understand the voicing in Bach, how to grasp the narrative landscape of a concerto. I learned to listen such that genuine feeling was induced in me, and then from him I learned to play such that I could induce that feeling in others. Emil's love of music and art is infectious. And so was the faith he had in me—despite the continual setbacks and crises of ego that come with playing music, Emil unwaveringly believed that I was an artist, with room for growth, and that made me believe it, too."
Samantha Cody
BA Princeton '17 Iowa Writers' Workshop '22
"This teacher helped me greatly at a difficult time for me. For a long time I had not had lessons with my main instructor and, at a certain moment, I found that I had lost my sense of boundaries, between good and bad. I didn't know what to take up. Emil Chudnovsky very quickly set me upon the necessary path. I finally understood what to work on and how to work on it. At his lessons, there is no oppressive atmosphere of tension and fear – which frequently arises in studies with other teachers. Offering critiques and giving suggestions he leaves [the student] the possibility of playing in one's own way, which is very valuable. He always explains his point of view. Thus, you don't feel yourself to be some machine, doing what it is told to do, but a performer who has not lost the ability to think. And when – after a lesson that seems to fly by in a single breath – you return home and want to start practicing, you don't stand in bewilderment by your music stand, uncertain of where to begin. All the comments are so well, clearly and precisely explained and worked through [at the lesson] that the work at home gives only pleasure, instead of tortured attempts to recall what was said at the lesson. Emil Chudnovsky, aside from his pedagogical talent, is also a remarkable, intelligent person and musician-performer. And those who have had the opportunity to meet him, work with him, and learn from him have had a stroke of great good fortune."
Elena Provozina
Central Music School of Moscow '11 Lausanne Conservatory '14
"We feel incredibly fortunate to have Emil Chudnovsky as our daughter's violin teacher. From the very beginning, he has created a space where technical excellence and personal expression go hand in hand. His guidance goes far beyond just teaching notes and rhythms; he encourages his students to explore their own interpretations, to listen deeply, and to find their own voice through music. What truly sets Mr. Chudnovsky apart is his ability to mentor, not just instruct. Under his mentorship, our daughter has not only developed as a musician but has also gained confidence, independence, and a genuine love for the violin. We are deeply grateful for the impact Mr. Chudnovsky has had on our daughter's journey, and we couldn't ask for a more inspiring teacher and role model."
Sujitha Panavally
Parent of student
"Studying with Emil isn't just about learning to play the violin. He hails from the Old World salon tradition of intellectual exchange, where students listen to each other's lessons while he imparts knowledge of life beyond the purely violinistic, and during which they are encouraged to express themselves. Of course there is high-level instruction in violin technique and musicality. But it's enveloped in references to music, literature, art and current events, which greatly enhance the student experience."
Marie Caumont
Parent of student
"In my freshman year of high school, I worked on the Mendelssohn Violin Concerto in E Minor and stagnated on the same double-stop passage for months. I told my parents I wanted to quit, as I wasn't improving with my previous teacher, and that's when I was recommended to Emil by a family friend. I was surprised when he got me started working on Elgar's Salut d'Amour, but I was incredibly grateful because it led me to shift my mindset from solely wanting to learn technically demanding pieces to also growing to love the therapeutic process of experimenting with tone, timbre, and color. I am now a senior in high school and excited to continue my musical pursuits in college. If it weren't for Emil, I wouldn't have fallen in love with music-making and pursued music all throughout high school; I was a first violinist in the MCYO Philharmonic orchestra, the concertmaster of my high school's orchestra, and placed in many string competitions such as the Charleston International Spring Music Competition and FMMC HS String Competition. I have Emil to thank for all of this, and would 100% recommend him for anyone interested!"
Daisy Wang
Poolesville HS '25
"While studying with Emil during his two week residency in New Zealand, I felt that I personally achieved a lot. Emil brought a new perspective to many different areas in my playing, such as posture, bow technique and sound quality. He gave very direct and honest comments about my playing as well as realistic advice concerning the big 'music world.' For a student, Emil's extensive knowledge in music and culture, as well as his experience as a performer is very inspiring and stimulating."
Natalie Lin
University of Houston '10
"As a parent I had the opportunity to observe my daughter's lessons with Emil each week. As he taught, I saw in Emil a great sense of care. He taught in such a way as to help my daughter create an associated visual image of what she was playing – and she responded to his helpful instruction. My daughter was under a lot of stress preparing for college auditions and Emil helped her through that. He clearly explained what she was up against, what she should expect and whom she should consider as a good match for a teacher. He also supported her in her successes. It meant so much to us all. He is a great teacher!"
Lori Britton
Parent of student
"Mr. Chudnovsky represents a precious part of my musical experience. He challenged me to reach my best both technically and emotionally. If something did not work, he always found a new way to solve the problem. During one of my lessons, I was trying to produce a completely stable tone without any break, scratches, or other imperfections. I had put a great deal of effort into avoiding imperfect tone to no avail. Mr. Chudnovsky suggested that I imagine sinking my bow into a thick mass of honey so that the contact of the bow hair feels like cutting a smooth groove into the honey strings. It worked immediately. On the whole, studying with him helped me develop discipline, endurance, and most importantly, passion for music."
Yang Jiao
Lower Merion High School '08

Professor Testimonials

"I write to you to recommend Prof. Emil Israel Chudnovsky to your attention. I have known about Prof. Chudnovsky through mutual professional acquaintances and always with high respect. A few years ago I was privileged to meet him, when we were both jury members in the Chengdu International Violin Competition. I heard him perform in the Jury's concert and was impressed with his artistic and virtuoso qualities of his playing. I was later exposed to some of his recordings, including live recordings which demonstrated a consistency of his high quality of playing. Prof. Chudnovsky is an "old school" violinist, in the best sense of the word. He does not shy from the most technically difficult pieces and brings a superb sensitivity to sound one rarely hears this days. I was impressed with the way Prof. Chudnovsky analyzed the pros and cons of each candidate of the competition, sensing immediately what the next rounds will bring from each performer. His assumptions proved true with astounding accuracy, yet even when talking to the candidates about their mistakes and misconceptions, Prof. Chudnovsky never lost his humanity and it was obvious that any criticism voiced was meant to improve the future of each candidate, not simply criticize his/her efforts. Despite the language barrier, he managed to bring his ideas and ideals to the fore and the results were immediate and apparent. This is a sign of a true pedagogue. Finally, on a personal note, I find Emil to be a warm, kind, knowledgeable and enthusiastic individual who is keen upon improving his already incredible skills. I wholeheartedly recommend Prof. Chudnovsky for any institution of higher learning."
Prof. Eyal Kless
Violinist Israel Haydn Quartet Buchmann-Mehta School of Music
"Emil Chudnovsky is a brilliant young violinist with a wonderful list of accomplishments. He is currently a part-time faculty member here at The Catholic University of America where he is distinguishing himself with excellent teaching. As a performer he has won more than a dozen prizes in national and international competitions, has made six CDs, and has performed in 30 countries. His commitment and enthusiasm as a teacher are demonstrated by the fact that his students have won admission to prestigious conservatories as well as prizes in competitions. It is a pleasure to recommend this outstanding artist and teacher for a position at the university or conservatory level. I'm happy to answer any questions about his work."
Mr. Jody Gatwood
Faculty Catholic University of America Washington, DC
"It is with pleasure that I write this letter of recommendation on behalf of Emil Chudnovsky, a concert artist with brilliant virtuoso technique, beautiful and expressive sound and natural and captivating musicality. Along with his successful concert activity, Mr. Chudnovsky dedicates lots of his time to teaching and during last few years he has developed a large following as a gifted and already experienced teacher. I have no doubts that a musician of Mr. Chudnovsky’s caliber as a performing artist and pedagogue would be a real asset for your school and recommend him without any reservations."
Victor Danchenko
Faculty The Curtis Institute of Music Philadelphia, PA
"The young and extremely talented violinist, Mr. Emil Chudnovsky, may be applying for teaching positions at institutions of higher learning in the near future. I have been privileged to play a part in his early training at Yale University, and to watch his growth as a superlative artist following his studies with me. He is a mature and very accomplished musician now, with a formidable technique and expressiveness of the highest order. His performances as soloist with orchestra, chamber musician, and in recital as well as the production of several CD recordings has made his international reputation a secure and powerful force in music. In the New York City area and Baltimore–Washington, D.C. territory, he has gained invaluable teaching experience as a respected pedagogue. He would be a welcome addition to any given cultural institution."
Sidney Harth
Director of Orchestral Activities Professor of Violin, Yale University, Ret.

Student Performance Videos

Prokofiev Concerto No. 1, 1st mvmt.

Eleanor Shen - Competition Performance

Samantha Cody - Brahms Concerto (Studio)

Samantha Cody - Brahms Concerto (Church)

Samantha Cody - Chausson Poeme & Ysaye Ballade

Audrey Weeks - Beginner to Advanced Progress

Teaching Philosophy

My goal as a teacher is to produce students who make progress at the fastest rate possible for each. For some students, this means simply learning new works and expanding their technical capabilities more efficiently than they would otherwise. For more motivated students, this entails a radical improvement in their playing to the point where successful competitive playing, from international competitions to orchestral auditions, can be a realistic goal. Most of all, for every student, my aim is to have them improve – much more swiftly than they ever would without guidance, and hopefully even more swiftly than if they studied elsewhere – by teaching them how to practice efficiently, intelligently and rationally.

My general beliefs about teaching come from the years I have spent working with students of all ages and all levels, from preschoolers to adults, from beginners to players aspiring to the highest levels of competition playing and professional careers. These beliefs are also informed by my observations of the educational methods and results in the US in comparison with the methods and results of other countries, most notably Russia's outstanding conservatories of Moscow and St. Petersburg.

The first, and possibly most fundamental, belief that my observations and experiences have instilled in me is that no teacher, however gifted, can ever force learning into a pupil who is not receptive and who does not earnestly seek out that knowledge. The teacher is a resource, and should be used as such. After all, no person would expect a gold mine to spontaneously mine itself. It is essential for students to participate actively in their own learning by being careful listeners and seekers of knowledge rather than passive recipients of it. For it is when students ask for clarification, when they direct the teacher's attention to areas that give them exceptional difficulty and apply new information from the lesson in the practice room, that a collaboration between an enthusiastic student and an experienced, knowledgeable teacher produces results that are nothing short of startling.

The second tenet of my teaching philosophy is that musical training – that is, training to become a competent, musically literate professional – is no more mysterious than car engine repair. Nonetheless, this training often becomes obscured behind a sort of maudlin mysticism, as a result of which many aspects of practicing and performing take on an aura of faith rather than reason. My goal, by contrast, is to show students practice methods which fix specific problems by means other than mindless repetition and hopes for improvement. Furthermore, I always seek to explain as clearly as possible the underlying principles of both the specific error and the exercise designed to correct it.

My final conviction regarding teaching concerns performance. While I do not believe that the highest aspects of artistry can be taught, I do believe that students' acquisition of musical fluency can be accomplished by surrounding them with good examples of such professionalism. The height of artistry is more than the sum of its parts and, as such, it cannot be transmitted piece-by-piece with the reductionist approach that is so useful for specific technical issues. I do believe in the existence of talent – and that it is the presence of talent which separates the artist from the journeyman – but talent is not necessary for the competent instrumental mastery necessary to obtain professional employment. Anyone with functioning hands and ears can be trained to attain competence on a musical instrument, if he or she truly desires such an accomplishment and collaborates with the teacher towards that goal. My goal as a teacher is to help them on that journey to the best of my ability and of theirs.

Ready to Experience Emil's Teaching?

Join the many students who have achieved their musical goals under Emil's guidance. Schedule your consultation today.

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