Sharon can often be seen creating some sort of noise in public. Her 2018 season included lecture concerts and master classes in which she convinced audiences that she was imparting interesting musical knowledge and wisdom; in 2017 she completed an artist’s residency with Chamber Music Silicon Valley, collaborating and performing with so many musicians and ensembles that the number of group texts on her phone exploded beyond control. (That is her excuse for why she hasn’t gotten back to you.) She has also loosed her ivory-mashing** scheme on unsuspecting audiences outside of the United States, most recently at the Amalfi Coast Music Festival in Italy, where listeners either said very nice things about her playing, or said mean things while smiling very nicely. (It should be noted that Sharon does not speak fluent Italian.) Once in a while she turns her nonsense into good by playing benefit concerts for charitable causes. In 2012 she appeared with the University of the Pacific Symphony Orchestra performing Prokofiev’s Third Concerto. She holds a very decorated multi-degree in music which is either extraordinarily useful or completely pointless, depending on the occupation of the person you’re asking.
**Not literal ivory, as pianos are now produced with plastic key covers.
In addition to her work at the piano, Sharon also has a great deal of experience making sounds of varying pleasantness on the violin, having studied with Cecilia Huang and Ann Miller. Her misguided but heartfelt sawing on the instrument in multiple orchestras has earned her the right to claim that she is not always an egotistical soloist, and is capable of being a dedicated and humble ensemble musician.
She is also particularly passionate about music history (the professional term for this is “nerd”) and has professionally presented her research on Beethoven and recorded period music on the fortepiano for research by historian Sarah Waltz. This work led to Sharon being mentioned in a book for some reason. She has written numerous research papers on topics in music history that she still reads herself, despite having access to a library with presumably better reading material. Her non-musical work in the visual arts has fooled the media into thinking that she is someone of importance, and she was named on an Internet list as a top American artist to follow. (As this is the Internet, you can do so on Twitter, Instagram, and Facebook.)