"She prefers to answer questions over e-mail."

This is not what a journalist seeking an interview wants to hear from a publicist.

But when "she" is Midori, this response is a respectful decline, not a brush-off. If ever a musician has earned the respect of writers for her own words, it's Midori, the phenomenally talented Japanese violinist who writes her own program notes, blogs for the Web site www.ArtsJournal.com while touring the world and, after performing at the Rockport Opera House in Maine last week, sat down at her keyboard to answer some questions for the Intelligencer Journal.

For the lucky several hundred people who have tickets to Midori's recital Sunday at Mount Gretna Playhouse, the violinist's comments will serve as a prelude to an evening of music interpreted with intelligence and technical prowess.

Her program is not for the faint-hearted, either in the audience or onstage. Midori and her pianist, Temple University professor Charles Abramovic, will tackle four works for violin and piano: Brahms' stately second sonata, Bloch's schizophrenic second and fantasies by 19th century German composers Schubert and Schumann.

In our recent e-mail exchange, Midori discussed what attracted her to play chamber music in central Pennsylvania and how this concert fits into the grand scheme of her 25-year career.

Intelligencer Journal: Gretna Music said you agreed to come play here under "very generous terms." You like to help chamber music organizations, especially those outside of metropolitan areas, through your Partnerships in Performance program. What attracted you to Gretna Music?

Midori: In this country, there are so many presenting organizations making outstanding efforts to offer high-caliber concerts, such as Gretna Music, that find themselves off the radar of the usual tour circuits. One of my primary goals, which Partners in Performance aims to fulfill, is to keep chamber music alive and accessible throughout America, and particularly in communities without the resources of the major urban centers.

IJ: Charles Abramovic, your accompanist for this concert, presented his own recital at Gretna Music two weeks ago. What makes him a good accompanist?

Midori: Charlie is a brilliant pianist, and we work very well together as recital partners. We see eye-to-eye in selecting repertoire and in rehearsals. The word "accompanist" implies a lesser role, which is certainly not the case; we are equal partners in the music. Particularly in the current program, there is sometimes even more demand placed on the pianist than on the violinist.

IJ: And what are audiences treated to when he plays solo?

Midori: Charlie thinks out his interpretations with great care, and his expressive playing engages the listener in the music. His commitment to the music itself is immense and extraordinarily inspiring.

IJ: Why is it important for a solo violinist of your caliber to remain active in chamber music?

Midori: Variety is the spice of life, is it not? Playing chamber music and recitals is just as enjoyable for me as it is to play with an orchestra, so my schedule is always balanced (between) them. I particularly like the small group collaboration and exchange of ideas that a chamber music setting provides.

IJ: Classical music marketers talk a lot about "big names." Yo-Yo Ma sells out concert halls, yet a theoretical cellist who is just as good, but has an unfamiliar name, will not. You are the biggest name to ever appear at Gretna Music during the summer. (Violinist Gil Shaham did give a recital two years ago during the winter series.) What responsibilities or pressures come with being the only celebrity on a concert series schedule?

Midori: The celebrity label does come with some pressure. A highly anticipatory atmosphere is usually created around a "celebrity" concert. The presenter might expect that the hall will sell out, and whether or not it does could change their impression of a performer for future bookings. As a performer, I have always felt that my commitment to sharing music goes beyond the stage, and community engagement is a key responsibility in every performance. There are some advantages from my perspective, too, in that I might have a little more freedom to program less "popular" pieces.

IJ: And speaking of names, why did you decide to perform only under your first name?

Midori: When I first began giving concerts here, American journalists would often mistake my full name to be Mi Dori. The error was eventually corrected in the press, but the public had not known my surname (Goto) for so long that I came to be known simply as Midori.

IJ: You started touring internationally at such a young age. What goals are still out there for you as an artist?

Midori: I have so many goals, musical and otherwise: learning new repertoire, commissioning music, teaching — the list goes on and on! Not to mention all of the unexpected experiences and lessons that will come along the way.

Midori, Sun., 7:30 p.m., Mt. Gretna Playhouse, $16-$25, half-price for ages 19-26, $1 for 18 & under, limited tickets available, 361-1508.