The Cello Sherpa Podcast

Hosted by Joel Dallow

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Episodes

151

Latest episode

Oct 2026

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EN-US

About the show

Do you dream of someday getting to perform at Carnegie Hall, or wonder what it takes to be a professional musician? The Cello Sherpa Podcast is for anyone who enjoys the tales and scales in the life of a classical musician, or for the young classical musician who dreams big! We explore all aspects of the climb to the summit from student to the professional stage! Joel Dallow, the Cello Sherpa, interviews experts in the field covering a wide range of topics surrounding this challenging career choice, and sharing inside stories and advice on every aspect of this storied profession. A resource for many, or a place to tune in for interesting stories about this fascinating way of making a living. For comments, topic suggestions, or more information about the services we provide, please visit www.theCelloSherpa.com You can also follow us on Instagram, Facebook, TikTok, YouTube and Bluesky @theCelloSherpa

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60 recent

October 30, 2026Episode 2236 min

"No Spain No Gain" - An Interview with Cellist Suzana Stefanović, Principal of the Spanish Radio and Television Symphony Orchestra in Madrid

A great music career is rarely the one you planned on paper, and Suzana Stefanović proves it. She grew up in Belgrade in a household full of music, records, and serious training, then left home young to study abroad and eventually became principal cellist of the Spanish Radio and Television Symphony Orchestra in Madrid. Along the way she watched countries shift, borders harden, and opportunities open, and she learned how to keep moving without losing the point of the work. We also go deep into Janos Starker's teaching methods and what “healthy cello playing” really means in the practice room. Suzana describes the atmosphere of his studio, his mix of blunt clarity and kindness, and the technical foundations he insists on: anticipation before every change, circular motion in bow and left hand, weight that flows naturally, and musicianship that never adds empty theatrics. If you care about consistent sound, reliable shifting, and winning trust behind a screen at orchestra auditions, this part is packed with practical cues you can test immediately. From there, we follow her path into the Spanish orchestral world, including how auditions used to work, how they work now, and why competition has become truly global. The closing message is simple and bracing: prepare 200%, take the job seriously without taking yourself too seriously, and stay open minded about geography and career formats because you can always play the cello, even when it is not what pays the rent. Subscribe, share this with a musician friend, and leave a review so more cellists can find the show. For more information on Suzana Stefanović: https://share.google/4tzrr86dUbTDrfuyX You can also find Suzana on Facebook and Instagram: @suzanastefanovicello If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

October 16, 2026Episode 2142 min

“Getting Down to Brass Tactics” – An Interview with Principal Trombonist, Craig Mulcahy and Bass Trombonist Chance Gompert, Atlanta Symphony Orchestra

A top-level orchestra audition after a 16-year break sounds like a nightmare, until you hear how Craig Mulcahy rebuilt his process and walked away with the Principal Trombone seat in the Atlanta Symphony Orchestra. Craig shares what pushed him to look beyond Washington, D.C., how uncertainty around the Kennedy Center changed his risk math, and why “audition shape” is a separate, intense kind of training even for seasoned principal players. Along the way, we get practical about the unglamorous details that actually move the needle: consistency, concept, and the discipline to practice like you only get one shot. Bass trombonist Chance Gompert brings the other side of the story: returning to Atlanta after a Nashville tenure-track experience, and what it takes to grow from a careful, people-pleasing sub into a confident, fully present colleague. He explains how bass trombone sits in a unique spot for doubling, why focusing on one lane can pay off, and how the post-COVID wave of openings created a rare window for audition reps across the country. If you’ve ever wondered how players get enough real audition experience when there’s only one chair, his answer is equal parts timing, documentation, and relentless learning. We also dig into the tools both guests swear by for winning orchestral auditions: recording mock auditions to hear what committees hear, building a feedback loop that sets daily goals, and playing for other musicians to mirror the pressure of performing behind a screen. We close with perspective for anyone feeling discouraged: committees are made of humans who want you to succeed, recovery matters, and every audition can make you better if you extract the lesson. Subscribe for more musician mindset and orchestra audition strategy, share this with a friend who’s prepping excerpts, and leave a review so more players can find the show. What’s the one part of auditions you want us to talk about next? For more information on Craig Mulcahy: https://craigmulcahy.com/ For more information on Chance Gompert: https://www.aso.org/artists/detail/chance-gompert You can also find Craig on Facebook and Instagram: @mulcbone And Chance: @cggompert If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

October 2, 2026Episode 2032 min

"Suite Beginnings" - An Interview with Cellist Tate Zawadiuk, Viano Quartet

A world-class string quartet can look effortless on stage, but the reality is closer to running a small business with no off switch, and doing it with the same three people for years. We’re joined by cellist Tate Zavadiuk, founding member of the Viano String Quartet, to get honest about how a professional chamber music career is actually built: one relationship, one rehearsal, and one hard conversation at a time. Tate takes us back to his earliest days with the cello, Suzuki training, and the moment performing became the goal that made practice feel worthwhile. We talk about the confidence boost that came from debuting as a young soloist with the Vancouver Symphony Orchestra, plus the mentorship he received at the Colburn Conservatory with Ron Leonard and Clive Greensmith, including the shift from pure technique to a more open, resonant sound that audiences love to hear. Then we dig into the Viano origin story: being matched through short Bach auditions, discovering an “electrifying” first performance, and eventually choosing a name after a long list of vetoed options. Tate shares the quartet’s philosophy of helping each player feel comfortable enough to play like a soloist while still blending into one ensemble voice. We also break down what winning the Banff International String Quartet Competition really changes, why competitions can accelerate growth without guaranteeing a career, and the practical side of touring, scheduling, and communication. If you care about cello, string quartet playing, chamber music, or the mindset behind elite performance, hit subscribe, share this with a musician friend, and leave a review so more listeners can find the show. For more information on Tate: https://vianoquartet.com/tatezawadiuk You can also find Tate on Facebook and Instagram: @tatezcellist If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

September 18, 2026Episode 1938 min

“Something Borrowed, Something Bach” - An Interview with Cellist Jennifer Kloetzel, and Violinist Peter Wilson, The BrickHouse Duo

Bach’s cello suites are some of the most recorded, most studied music ever written, which raises a risky question: can you add anything to them without breaking what makes them timeless? We explore that question with Brick House Duo, cellist Jennifer Kloetzel and violinist Peter Wilson, as they share the story and craft behind their album The Bach Wilson Project and the life partnership that powers it. Peter’s path is anything but standard: he spent 30 years as a Marine violinist with “The President’s Own” United States Marine Band, serving as senior enlisted music advisor and performing for five U.S. presidents. That world demands range, speed, and a willingness to jump styles, from chamber music to pop to specialty ensembles built for White House needs. When the pandemic shuts everything down and distance separates him from Jennifer, a spark from the Bach-Gounod Ave Maria idea turns into a full-scale composition project: six original violin descants written over each of Bach’s cello suite preludes, creating a true violin and cello duet without altering Bach’s original notes. Jennifer tells us what it’s like to play Bach’s preludes with a second voice in the air: less autopilot, a tighter agreement on tempo and phrasing, and a surprising side effect where the new violin line can linger in her imagination even when she returns to solo Bach. We also get into the trickiest writing decisions, including how to handle the fifth suite fugue without “tampering,” plus how they round out the album with smart transcriptions and crossover choices, from Bach’s keyboard duets to the Bach-Brahms Presto and Beatles-inspired tracks like Penny Lane and Here Comes The Sun. If you love Bach, chamber music, arranging, and the behind-the-scenes reality of building a meaningful classical project, hit play now, then subscribe, share with a musician friend, and leave a review so more listeners can find the show. For more information on Jennifer and Peter and to purchase their album: https://peterwilsonmusician.com/the-brickhouse-duo/ You can also find Jennifer on Facebook and Instagram: @jkcellodiva And Peter Wilson: @peterwilsonmusician If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

September 4, 2026Episode 1832 min

"Defining Your Own Voice" - An Interview with Cellist and Composer, Sebastian Plano

He had the conservatory training, the orchestral chops, and the “proper” classical path laid out ahead of him, but Sebastian Plano couldn’t ignore the stronger call: make his own music. We sit down with the Grammy-nominated cellist and composer to trace the real turning points, from leaving Lisbon on a one-way ticket to Boston, to realizing that interpretation alone was not enough, to building a creative life where the cello becomes both voice and laboratory. We dig into the craft behind his signature approach: studying scores, sneaking into composition spaces, then recording his early work by layering parts until he could “make the orchestra” himself. Sebastian also tells the unvarnished post-school story, including what happens when you order 1,000 CDs and suddenly need an audience. His answer was simple and brave: play. He busks in the San Francisco subway, takes gigs anywhere, and learns how direct connection, repetition, and community can become both income and momentum for an independent artist. Then we shift to Solo, his newest solo cello album with no electronics, no multitracking, and nowhere to hide. He explains why stepping out of his safe zone felt necessary, how travel and transformation shaped the music, and why he wants other players to take these pieces and make them their own. If you care about contemporary cello, modern composition, independent music production, or choosing a nontraditional musician career, this conversation offers practical insight and a lot of honesty. Subscribe for more interviews like this, share the episode with a musician who needs a nudge, and leave a review so more listeners can find the show. For more information on Sebastian: https://www.sebastianplano.com/ You can also find Sebastian on Facebook and Instagram: @sebastianplano YouTube: @sebastianplanoofficial If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

August 21, 2026Episode 1734 min

"The Hair of the Frog" - An Interview with Bowmaker Evan Orman, Denver Violins

Your bow is the only part of your rig you touch every second you play, yet most of us shop for one like we’re guessing in the dark. We sit in a room, try ten options, get overwhelmed by “better” and “worse,” and somehow leave with more confusion than we started with. That’s why we brought on Evan Orman, a working cellist who became a full-time bowmaker and now spends his days repairing, restoring, and building bows for real players. We talk through Evan’s path from serious conservatory training to realizing performance wasn’t the only lane that could keep him close to music. He explains what drew him into bow making, why the craft is so hard to learn without a formal school, and how the Oberlin bow workshop became a turning point. Then we get concrete: pernambuco selection, cambering, and why the frog and adjuster can be the majority of the work. If you’ve ever wondered what you’re paying for when you buy a bow, this clears it up fast. From there we zoom out to the buying decision. Evan breaks down modern bows versus antique bows, the placebo and prestige “wow effect,” and the most reliable tests for feel and performance, especially that smooth engagement from end to end. Joel shares a personal story of finally finding a bow that delivers both sound and athletic control and realizing the limitation wasn’t always the player. If bow shopping has you stuck, this conversation will help you move forward with better questions and calmer ears. Subscribe, share with a string player who’s hunting for a bow, and leave a review so more musicians can find the show. For more information on Evan: https://www.ormanbows.com/ You can also find Evan on Facebook and Instagram: @ormanev If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

August 7, 2026Episode 1633 min

"Audition Methodology: Cracking the Code" - An Interview with Cellist Charles Zandieh, Baltimore Symphony Orchestra

The audition screen can make great players feel powerless, but it also reveals something encouraging: the results often go to the musician with the most repeatable process. We’re joined by cellist Charles Zandieh, fresh off a one-year position with the Atlanta Symphony Orchestra and heading into a tenure-track role with the Baltimore Symphony Orchestra, to talk about what actually moves the needle in professional orchestral auditions. Charles walks us through his real audition path. From the moment he chose stability as a goal after COVID, to what he learned from both wins and first-round cuts. We dig into his standout London Symphony Orchestra experience, from a video submission through the website "Musical Chairs" to a three-week trial playing full concert cycles, and how to handle the hardest part of the trial process: getting no feedback and still moving forward with confidence. Then we get intensely practical about cello audition preparation: daily metronome routines for standard excerpts, metronome displacement to lock time, drone practice for intonation, and a grounded approach to tuning that works in a mixed-instrument audition committee setting. We also talk about performance anxiety, how to walk behind the screen without rushing, how to “invite” nerves instead of fighting them, and how to plan your weeks when the excerpt list is brand new, like an opera audition. If you’re chasing cleaner rounds, stronger finals, and a calmer mindset onstage, this one is built for you. Subscribe, share the episode with a friend prepping auditions, and leave us a review so more musicians can find the show. For more information on Charles: https://www.charliezandieh.com/ You can also find Charles on Facebook and Instagram: @charlezandieh If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

July 24, 2026Episode 1531 min

"Shut Up and Play" - An Interview with Cellist Natasha Brofsky, Chair of The Juilliard School Cello Department

The fastest way to get better is not a secret scale system or a new bow hold. It’s learning how to think like a musician who can last. We sit down with cellist Natasha Brofsky, chair of the Juilliard School cello department, to trace the real arc of a life in music: early obsession, world-class training, hard choices about career paths, and the daily mindset that keeps artistry alive under pressure. We talk about growing up in New York City, studying with influential teachers, and why she chose Eastman instead of following a pre-set route. Natasha shares why chamber music became her center of gravity, including what makes ensemble rehearsal work when strong personalities and big ideas collide. Her North Star is respect: for your colleagues’ musicianship, for the process of trying ideas honestly, and for building interpretations that evolve over time. On the teaching side, we get practical about conservatory life, Juilliard’s intensity, and the psychology of nurturing talent. Natasha lays out a music-first approach to cello technique, explains how intonation and rhythm create resonance and meaning, and argues that “musical” playing cannot exist without fundamentals. We also unpack resilience, handling rejection, and a timely hot topic: how iPads and reading off full scores can sometimes reduce listening in chamber music. If you care about chamber music, cello practice strategies, conservatory auditions, and building a sustainable professional musician mindset, this conversation will challenge you in the best way. Subscribe, share this with a musician friend, and leave a review so more players can find the show. For more information on Natasha: https://www.juilliard.edu/music/faculty/brofsky-natasha You can also find Natasha on Facebook If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

July 10, 2026Episode 1438 min

"Etiquette Essentials: The Dos and Don'ts for Orchestral Musicians" - An Interview with Cellist Jennifer Humphreys, St Louis Symphony Orchestra

Your audition might win you the seat, but your day-to-day behavior decides whether people actually want to sit next to you for the next 20 years. The Cello Sherpa Podcast Host, Joel Dallow, is joined by cellist Jennifer Humphreys, currently with the St. Louis Symphony Orchestra, to talk about the orchestra etiquette music school rarely teaches: the quiet, practical choices that signal professionalism the moment you walk on stage. From the “fake five” being in your seat early to simple introductions that build instant trust, we dig into what colleagues notice right away. We also get specific about section life. Jennifer explains what it really means to follow bowings (not just directions, but bow placement and length), what to do when you disagree with a principal, and why some “small” habits like phones on stage, gum, or practicing excerpts during service can erode focus and respect. We talk marking parts without creating crutches, how to stay flexible when seating changes, and how tidy pencil work can literally make rehearsal smoother for everyone sharing the stand. Then we zoom out to what makes a section player genuinely valuable: knowing the full piece, listening across the orchestra, understanding when to play out or pull back, and using the right communication chain so questions get answered without derailing rehearsal. Underneath it all is the real challenge of professional ensemble playing: setting ego aside to create a unified sound that no solo player can make alone. If you’re preparing for your first orchestra job or want to level up as a section string player, subscribe, share this with a stand partner, and leave a review so more musicians can find it. What’s one unwritten orchestra rule you wish someone had told you earlier? For more information on Jennifer: https://slso.org/person/jennifer-humphreys/ You can also find Jennifer on Facebook and Instagram: @31jumphreys If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com

June 26, 2026Episode 1335 min

"Last BOW" - An Interview with Carter Brey, Principal Cellist of the New York Philharmonic

Thirty years in the principal chair can look effortless from the audience, but it rarely feels that way from the stage. We’re joined by cellist Carter Brey as he steps back and takes stock of a remarkable run leading the New York Philharmonic cello section and why he’s choosing to retire at the end of the season while his playing still feels strong. We get into what most people never see: how long it can take to truly feel “at home” in a top orchestra job, how you learn to handle pressure and politics without losing your musical center, and how the weekly reset of new programs forces you to stay sharp. Carter also shares how he keeps perspective when repertoire repeats, and why the best nights can be the quietest ones when the orchestra’s precision and trust are on full display. Carter walks us through the very different worlds of Kurt Masur, Lorin Maazel, Alan Gilbert, Jaap van Zweden, and Gustavo Dudamel, and what adapting to each music director teaches you about musicianship, preparation, and leadership. We also talk about defining experiences, including the unforgettable 2008 Pyongyang concert, what he’ll miss most about his “second family,” his retirement plans for travel and sailing, and even the decision to sell his 1754 Guadagnini cello while viewing instruments and positions as things we steward for the next person. If you care about orchestra life, principal string leadership, professional musician longevity, and the psychology of performing at a high level, this conversation is for you. Subscribe for more, share this with a musician friend, and leave a review so more players can find the show. For more information on Carter: https://www.nyphil.org/about-us/artists/carter-brey/ You can also find Carter on Facebook If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.com Follow us on Facebook, Instagram, Threads & YouTube: @theCelloSherpa For more information on our sponsor: www.CLEAResources.com