Violin, String Ensemble
B.M., Texas Christian University; M.M., Hartt School of Music

Jessica Meyer Foskitt, violinist and founding member of the West End String Quartet, has performed solo and chamber music throughout the United States, Central, and South America. Highlights of Mrs. Foskitt’s career include performing with the Musica Las Marinas ensemble in Angara dos Reis, Brazil, collaborating with the Orquesta Sinfonica de la Toluca in Toluca, Mexico, and soloing with a chamber orchestra at the Hartt School of Music.

Currently an active performer in the Springfield area, Mrs. Foskitt has performed in the Hartford, Springfield, New Haven, and Eastern Connecticut Symphony Orchestras with artists including Joshua Bell, Arlo Guthrie, Don McClean, Michael W. Smith, and Jodi Benson. Mrs. Foskitt has also performed at Soundfest Quartet Institute, Bravo! Vail Music Festival, Round Top Festival Institute, Mimir Chamber Music Festival and Brevard Music Festival, and in master classes for Vadim Gluzman, Daniel Phillips, Isabel Trautwein, and Pamela Frank. 

Mrs. Foskitt began studying the violin at three years old. In addition to classical training, her formative musical influences came from her mother’s singing and ragtime piano, Itzak Perlman on Sesame Street, and playing fiddle tunes with her grandmother on the guitar and in jam sessions as she was growing up. Mrs. Foskitt’s formal education includes completing a M.Mus in violin performance with an emphasis in Suzuki Pedagogy from The Hartt School of Music, and a B.Mus in violin performance from Texas Christian University.  Her primary teachers include Burton Kaplan, Katie Lansdale, Mickey Reisman, Curt Thompson, Delmar Pettys, and Stephanie Arado. In her chamber music studies, Mrs. Foskitt has been coached by members of the Miami String Quartet, Lion’s Gate Trio, Adaskin String Trio, and by Ida Kavafian, Jeffrey Ziegler, Steve Rose, José Feghali, Heidi Castleman and Jorja Flezanis. 

A dedicated teacher and chamber music coach, Mrs. Foskitt is committed to enriching her students’ lives by developing their technique, ability, and artistry. She combines many different pedagogical influences in order to meet the specific needs of her students and ensembles.