a performing group that played together in synagogues, schools, at open-air fairs—anywhere they could get a hearing. After nine months of teaching in Baltimore, Berkovich invited the director of the Peabody Conservatory's preparatory division, Lynn Taylor Hebden, to come to a performance. After the concert, Ms. Hebden offered scholarship aid at the Peabody Preparatory to the students and a part-time teaching job to Berkovich, with her initial responsibility being to continue teaching those students under the auspices of the Prep. In September 1980, Berkovich was assigned her first English speaking students and became a regular part-time instructor at the Peabody Preparatory. Shortly thereafter, she found a second part-time position, this one giving violin lessons to talented students from several public schools in Baltimore at two locations: City College High School and Roland Park Elementary School. This teaching was part of the program of the Baltimore Talent Education Center (BTEC), a city-wide magnet program. Travel was required between the two locations, so at age 52 Mrs. Berkovich bought a used car and learned to drive. Her part-time status lasted less than a year. In May 1981, both the Peabody Prep and BTEC invited her to join their faculties as a regular teacher and offered her full benefits. In addition she maintained a studio of private students in her home, and in 1984 she added summer teaching when she joined the faculty of a Baltimore children's workshop called the Bryn Mawr String Camp. In the summer of 1985, one of the smallest students in her elementary class at the camp was a 5-year-old Suzuki beginner named Hilary Hahn, who a few months later entered Berkovich's studio at the Peabody Preparatory. Approach to teaching Hilary Hahn would later describe Berkovich's teaching in interviews. "I studied with her for five years at Peabody Prep. She taught me how to draw my bow, how to play double stops, vibrato, pizzicato—basically everything you need to know to play the violin. She also taught me the basics of phrasing, so I knew what to do with a phrase and how to make something interesting." Among other things, Berkovich used to tell Hahn, "You only have to practice on the days you eat," and "what shows a true musician is that you can sustain a long line in a slow section." Others recalled Berkovich speaking to children about upcoming performances: "When you perform, you're the hostess. The members