About Me
I am a Cleveland Heights-based cello teacher and performer. I started my musical studies at the age of six on piano and my cello studies at the age of nine. After two years of cello I began studying with the principal of the National Symphony Orchestra, David Hardy, whom I continued studying with throughout my undergraduate degree in cello performance at the Peabody Institute of the Johns Hopkins University. I received my graduate degree in cello performance at the Cleveland Institute of Music, studying with the principal of the Cleveland Orchestra, Mark Kosower.
I grew up in a musical household and started regularly performing from a young age. I have since performed across the United States and internationally in Canada and France at venues such as the Kennedy Center’s Millennium Stage in Washington DC, L'église de la Madeleine in France, and Pollack Hall in Canada. During my time performing I have had the opportunity to study and take master classes with several renowned musicians and cellists across the world. Musicians include Mischa Maisky, Alban Gerhardt, Pieter Wispelwey, members of the Alban Berg String Quartet, the Emerson String Quartet, the Guarneri String Quartet, and the Borromeo String Quartet.
My teaching career evolved out of my love for the study of cello and an eagerness to give back. Having spent years refining my craft, I wanted to become more involved with education. I am Suzuki certified and use many Suzuki elements in my teaching, though I am influenced by the traditional approaches of cellists such as János Starker, Hans Jørgen Jensen, Leonard Rose, and my teachers. I currently teach private lessons both at the Glaubitz Cello Studio and at the Aurora School of Music.
My Philosophy
My emphasis in lessons is placed on musicality. Every student receives my musical ideas as a start and is encouraged to develop their own sense of musicality. I suggest recordings to supplement the study of repertoire and have critical listening sessions in my lessons to develop an “ear” for musical detail. Musicality is served by a strong technique. When a cellist’s technique works for them, their expression is allowed to be the spotlight. Developing a strong fundamental technique is aided by choices made along the way that are tailored to the individual. Like in any other physical activity, what works for one person may not for another. A student with large hands may have an easy time extending to reach a wide span of notes, while a student with smaller hands may find it easier to shift between those same notes. Playing to one’s strengths within the boundaries of proper technique allows for a smoother road to dependable cello playing.
Virtual lesson with Nichele Abeyesundere
Balanced posture and relaxation are essential aspects of technique that I highlight in my lessons. Even highly successful soloists have to deal with excess tension, which can hinder playing and can eventually lead to repetitive stress injuries. I have worked with musicians and medical professionals to develop a method of playing that reduces tension by incorporating balanced posture and muscle awareness. My goal in lessons is to develop well-rounded and comfortable cellists that won’t be hindered in their pursuit of music-making.