Violinist Sean Lee has captured the attention of audiences around the world with his lively performances of the classics. A recipient of a 2016 Avery Fisher Career Grant, he is one of few violinists who dares to perform Niccolò Paganini’s 24 Caprices in concert, and his YouTube series, Paganini POV, continues to draw praise for its use of technology in sharing unique perspectives and insight into violin playing. He has performed as a soloist with orchestras including the San Francisco Symphony, Israel Camerata Jerusalem, and Orchestra del Teatro Carlo Felice, and his recital appearances have taken him to Vienna's Konzerthaus, Tel Aviv Museum of Art, and Carnegie Hall’s Weill Recital Hall. As a season artist at the Chamber Music Society of Lincoln Center and an alum of CMS’s Bowers Program, he continues to perform regularly at Lincoln Center and on tour. Originally from Los Angeles, Lee studied with Robert Lipsett of the Colburn Conservatory and legendary violinist Ruggiero Ricci before moving at the age of 17 to study at the Juilliard School with his longtime mentor, violinist Itzhak Perlman. Lee performs on violins made by Samuel Zygmuntowicz in 1995 and David Bague in 1999, with bows made circa 1890 by Joseph Arthur Vigneron and circa 1910 by W. E. Hill & Sons.

Violinist Daniel Phillips enjoys a versatile career as a chamber musician, solo artist, and teacher. A graduate of Juilliard, his major teachers were his father Eugene Phillips, Ivan Galamian, Sally Thomas, Nathan Milstein, Sandor Végh, and George Neikrug. Since winning the 1976 Young Concert Artists Competition, he has performed as a soloist with many orchestras, including the Pittsburgh, Houston, New Jersey, Phoenix, San Antonio, and Yakima symphonies. He appears regularly at the Spoleto USA Festival, Santa Fe Chamber Music Festival, Chamber Music Northwest, Chesapeake Music Festival, the International Musicians Seminar in England, Marlboro Music Festival, and Music from Angel Fire, where he is co-artistic director. He has served on the faculty of the Heifetz Institute and the St. Lawrence String Quartet Seminar at Stanford. He was a member of the renowned Bach Aria Group and has toured and recorded in a string quartet for Sony with Gidon Kremer, Kim Kashkashian, and Yo-Yo Ma. A judge in the 2022 Leipzig Bach Competition and 2018 Seoul International Violin Competition, Phillips is a professor at the Aaron Copland School of Music at Queens College and on the faculties of the Mannes College of Music, Bard College Conservatory, and the Juilliard School. He lives with his wife, flutist Tara Helen O'Connor, and their two dachshunds on Manhattan's Upper West Side.

Nicholas Canellakis has become one of the most sought-after and innovative cellists of his generation, praised as a “superb young soloist” (New Yorker) and for being “impassioned . . . the audience seduced by Mr. Canellakis's rich, alluring tone” (New York Times). A multifaceted artist, Canellakis has forged a unique voice combining his talents as soloist, chamber musician, curator, filmmaker, and composer/arranger. His recent highlights include solo debuts with the Virginia, Albany, Bangor, Stamford, and Delaware symphony orchestras; concerto appearances with the Erie Philharmonic, the New Haven Symphony as artist-in-residence, and the American Symphony Orchestra in Carnegie Hall; Europe and Asia tours with the Chamber Music Society of Lincoln Center; and recitals throughout the United States with his longtime duo collaborator, pianist-composer Michael Stephen Brown. An alum of CMS’s Bowers Program, Canellakis is a regular guest artist at many of the world’s leading music festivals, including Santa Fe, Ravinia, Music@Menlo, Bard, Bridgehampton, La Jolla, Hong Kong, Moab, Music in the Vineyards, and Saratoga Springs. He is the Artistic Director of Chamber Music Sedona in Arizona and is a graduate of the Curtis Institute of Music and New England Conservatory. Filmmaking and acting are special interests of his; he has produced, directed, and starred in several short films and music videos. Canellakis plays on an outstanding Jean-Baptiste Vuillaume cello, circa 1840.