Julia Fischer in an interview

"It would be naive to believe that I can do that."

Born in Munich in 1983 to German-Slovakian parents, Julia Fischer is one of today's leading violin soloists. She began her musical journey at the age of almost four and, at nine, was already studying as a junior student with the renowned violin professor Ana Chumachenco. At just 23, Julia Fischer became a professor at the Frankfurt University of Music and Performing Arts. From October 1, 2011, she will be a professor at the Munich University of Music and Performing Arts.

Classicpoint.ch: You practiced piano and violin with equal intensity for 10 years. Do you still give concerts on both instruments?
I still play piano in concert occasionally – about once a year, usually chamber music, or I accompany a colleague.

What ultimately tipped the scales in your favor?
I have no idea. I've often thought about it, and there are various explanations. My brother was already a pianist (though he's an engineer now), the violin is portable, my teacher Ana Chumachenco (on the violin)... but honestly, I don't know.

You were already giving numerous concerts all over Europe while you were still in school and taking your A-levels. Was there any envy or resentment from your classmates and teachers?
There were certainly one or two isolated cases, but looking back, it all seemed normal to everyone, since everyone grew up with it. I was simply the violinist who was on stage more often than in school, and somehow that was just how it was for everyone. I was also lucky because there were several musicians at our high school. The cellist Johannes Moser, for example, also went to my school and was three years ahead of me.

At nine, you were at the music academy, and at 23, you became Germany's youngest professor—did you ever get the feeling that it was all happening much too fast?
I've only ever known it this way, so I can't compare it to any other life.

You get asked questions about your success at such a young age in every interview. Does that bother you, or do you understand the media's recurring questions?
I understand. And it's a difficult topic — what's too much, what's too little? And there's probably no ideal scenario.

Is it important to you to control your own image in the media?
It would be naive to think I can. I can only try to protect my privacy and my family.

You yourself have already achieved an astonishing artistic maturity at a young age. Is that something that can be learned? How do you try to teach it to your students?
I'm afraid artistic maturity is the one thing you can't teach. Artistic responsibility, however, can be taught.

You became a mother young. How do you manage all the traveling and numerous concerts with a child?
It's rather strange that we live in a time when becoming a mother at 26 is considered "young"... It's just as much of a balancing act as it is for any other mother (or father).

With your "Rhapsody in School" project, you visit classrooms to promote music education. What is your experience with today's children regarding classical music?
Sometimes curious, sometimes annoyed, but in the end, we always have a lot of fun, and at least the children then know that Bach, Beethoven, and Brahms were German composers.

Aside from your talent and success, why are you a musician?
Those weren't the reasons I became a musician. For me, music is simply the primal form of expression that connects all people. That's why I wanted to dedicate my life to it.

Matthias Pintscher has written a violin concerto for you, which you will premiere on September 11th, this coming Sunday, at the Lucerne Festival. How did that come about?
Matthias and I have known each other for many years. Four years ago, he attended one of my concerts with the New York Philharmonic in Frankfurt, where I played Brahms. Afterwards, he approached me and said he'd like to write a concerto for me. We then discussed where, how, and with whom we would like to perform it. Since Vladimir Jurowski conducts a great deal of Matthias and is highly regarded by both of us, I asked Vladimir if he would be willing to do it with me.

Did Matthias Pintscher consult you during the composition process?
No. Matthias knows exactly what he wants. But at the moment (that is, a week before the performance), we are still discussing tempi and minor violinistic details...

How have you found studying the work?
I'm finding it very interesting, and I'm now very excited and curious about the first rehearsal.

Interview by Florian Schär | Classicpoint.ch | September 5, 2011
Photo: Felix Broede/Kasskara

Next concerts

July 22, 2026 - Julia Fischer (violin), Lena Neudauer (violin), Eva Zavaro (violin), Valerie Steenken (violin), Nils Mönkemeyer (viola), Wen Xiao Zheng (viola), Maximilian Hornung (cello), Benjamin Nyffenegger (cello)
July 24, 2026 - Julia Fischer (violin), Lena Neudauer (violin), Valerie Steenken (violin), Eva Zavaro (violin), Nils Mönkemeyer (viola), Wen Xiao Zheng (viola), Maximilian Hornung (cello), Benjamin Nyffenegger (cello)
July 29, 2026 - Julia Fischer (violin), Quartissimo, Deutsche Kammerphilharmonie Bremen, Omer Meir Wellber (conductor)
September 30, 2026 - Julia Fischer (violin), Chamber Orchestra of the Bavarian Radio Symphony Orchestra, Radoslaw Szulc (conductor)
30.11.2026 - Julia Fischer (violin), Orchestre National de France, Cristian Măcelaru (conductor)
05.02.2027 - Julia Fischer (violin), Berlin Radio Symphony Orchestra, Vladimir Jurowski (conductor)
11.02.2027 - Julia Fischer (violin), Berlin Radio Symphony Orchestra, Vladimir Jurowski (conductor)
11.03.2027 - Julia Fischer (violin), Yulianna Avdeeva (piano)
08.04.2027 - Julia Fischer (violin), NDR Elbphilharmonie Orchestra, Alan Gilbert (conductor)
27.05.2027 - Cristian Măcelaru & Julia Fischer
28.05.2027 - Cristian Măcelaru & Julia Fischer