Violinist Jinjoo Cho is redefining what it means to be a classical artist in the 21st Century as a charismatic soloist, dynamic and engaging chamber musician, dedicated teacher, innovative artistic director, and published writer.

Jinjoo’s technical and artistic skills have been tested and proven as 1st Prize Winner of the world’s most prestigious competitions such as the International Violin Competition of Indianapolis and Concours musical international de Montréal in addition to the Buenos Aires, Schoenfeld, and Stulberg Competitions. She performs regularly in renowned international venues and festivals such as the Carnegie Hall, Aspen Music Festival, La Jolla Music Society, Herkulessaal in Munich, Schwetzingen SWR Festspiele, Seoul Arts Center and Teatro Colón in Buenos Aires. Jinjoo appears as a soloist with distinguished orchestras around the world such as The Cleveland Orchestra, Orchestre symphonique de Montréal, Deutsche Radio Philharmonic, Seoul Philharmonic, Orquesta Clásica Santa Cecilia de Madrid, and Phoenix Symphony, collaborating with conductors James Gaffigan, Michael Stern, Kent Nagano, Jaime Laredo, and Mathieu Herzog.

Passionate about pedagogy, Jinjoo has taught at some of the most reputable conservatories in the United States such as the Cleveland Institute of Music and Oberlin College and Conservatory. Since 2018, Jinjoo has held the position of Assistant Professor of Violin at the Schulich School of Music at McGill University in Montreal and serves as the Founding Artistic Director of the ENCORE Chamber Music Institute, a summer festival that offers young musicians an experience of true immersion as chamber musicians. Jinjoo’s dedication to nurturing the next generation of young musicians stems directly from the influence of her mentors Paul Kantor and Jaime Laredo.

Jinjoo is a consummate recording artist and writer. Her previous recordings including La Capricieuse (SONY Classical), The Indianapolis Commissions (Azica Label) and Jinjoo Cho (Analekta Label) garnered critical acclaim worldwide and commercial success in her home country of Korea. In 2021, a new Saint-Saëns album was released by Naïve Classical with Ensemble Appassionato, conducted by her dear friend Mathieu Herzog. Jinjoo published her first book, Would I Shine Someday in 2021, and continues to write editorials for various magazines, newspapers, and webzines in Korea.

Parker Ramsay’s career, unique in its integration of in contemporary music and historical performance, defies easy categorization. He is equally at home on modern and period harps, being dedicated to invigorating the existing canon while delving into new and underperformed works. In 2020, the recording of his transcription of Bach’s Goldberg Variations for the King’s College, Cambridge label was praised as “remarkably special” (Gramophone), “nuanced and insightful” (BBC Music Magazine), “relentlessly beautiful” (WQXR), “marked by keen musical intelligence” (The Wall Street Journal) and “a resounding success” (The Independent). His essay on the transcription process, “Is Bach Better on Harp?” was published in The New York Times, and followed up with further insights in VAN Magazine and on his blog, Harping On: Thoughts from a Recovering Organist.

In the 2021-22 season, he made is D.C. debut at Phillips Collection, premiering Omolu, a new solo work by Marcos Balter (commissioned by the Miller Theater at Columbia University), and his Lincoln Center debut at Alice Tully Hall, performing Mozart’s Double Concerto alongside flutist Emi Ferguson and the American Classical Orchestra. In April 2022, he gave the world premiere of The Street, a new concert-length work for solo harp by Nico Muhly (Two Boys, Marnie), with texts by Alice Goodman (Nixon in China, Death of Klinghoffer). He will perform the US premiere in his debut appearance at the Spoleto Festival this coming June.

Parker will undertake a residency at IRCAM in Paris throughout the 2022-3 season, working with composer Josh Levine on Anyway, a new solo work for harp and live electronics. He will also join forces with Latitude 49 to premiere a chamber concerto by Jared Miller, commissioned by the Canada Council for the Arts. Other forthcoming commissions include works by Sarah Kirkland Snider, Matthew Ricketts, Alyssa Weinberg, Tom Morrison, Saad Haddad, Aida Shirazi and inti figgis-vizueta.

As an historical harpist, Parker also is co-director of A Golden Wire, a period instrument ensemble devoted to French and English music from the seventeenth century. He has appeared with the Shanghai Camerata, the Academy of Sacred Drama, Ruckus, Teatro Nuovo and Apollo’s Fire.

A native of Nashville, Tennessee, Parker began harp studies with his mother at a young age before moving to the UK at age 16. He served as organ scholar at King’s College, Cambridge from 2010-13 under Stephen Cleobury. After receiving his bachelor’s degree in history at Cambridge, he pursued graduate studies in historical keyboards at Oberlin Conservatory. In 2014, he was awarded First Prize at the Sweelinck International Organ Competition. He then studied modern harp at The Juilliard School, under the tutelage of Nancy Allen. He lives in New York City.