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André Emelianoff
A member of the Pre-College faculty
since 1990, New York native André Emelianoff joined the College
Division faculty in 1992. He performs with the Naumburg Award-winning
Da Capo Chamber Players and has been solo cellist with the
New York Chamber Symphony since 1982.
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| André Emelianoff, at age 3, in Russian costume. |
When did you first know you wanted to be a musician
and how did you come to know it?
Around age 14, I decided I was going to Juilliard and into
music with the cello. I never considered any other goal.
Who was the teacher or mentor who most inspired you
when you were growing up and what did you learn from that
person?
Many fragmented influences—early on, my father's singing Russian
songs with guitar and balalaika, with love.
What was the first recording that you ever bought?
What was its significance to you?
When I was about 12, I discovered a beautiful mahogany Victrola
record player in the attic, along with a 78 of Toscanini's
75th-birthday recording of the Brahms First with the NBC Symphony.
Wow—I remember so palpably the timpani blows, the intense
violin lines, then the oboe solo leading to the celli led
by Frank Miller, so toneful, in tune, legato, and eloquently
shaped!
What's the most embarrassing moment you've had as
a performer?
At the Colby College quartet seminars given by the Juilliard Quartet, I tried to catch my falling glasses with my pinky finger at the end of the Schubert Two-Cello Quintet and play the last note at the same time—resulting in a creative crunch of a chord (and a crumpled and crestfallen cellist).
If you could have your students visit any place in
the world, where would it be, and why?
All the beautiful lakes, forests, and mountains where composers such as Brahms were inspired—especially in Austria, Switzerland, Germany, and Czechoslovakia.
What are your non-music related interests or hobbies?
What would people be surprised to know about you?
Writing, reading, reciting poetry, and photography.
I think people would be surprised to know how old I am.
What is your proudest accomplishment in life?
I'm still waiting. Perhaps my last performance.
What's the most satisfying aspect of teaching for
you?
Seeing a student go beyond my words and concepts, to new levels—merging
technique and expression, in the spirit of the composer.
What's the most frustrating aspect of teaching for
you?
Interference with the above—when psychological blocks or political
issues enter in negative ways.
What words of wisdom can you offer young people entering
the field today?
Follow your heart—if you have the passion and gifts, you will know in your heart. Strive to be "authentic" to the spirit of the composer and the time.
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