The Cello Sherpa Podcast

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

The Cello Sherpa Podcast is a arts podcast hosted by Joel Dallow, with 148 episodes on record and a Required Pod Score of 80.

Joel Dallow hosts The Cello Sherpa Podcast, a arts show with 148 episodes published.

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  Episode #19

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

  Sep 18, 202639 minS6

  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

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  Episode #18

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

  Sep 4, 202633 minS6

  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

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  Episode #17

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

  Aug 21, 202635 minS6

  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

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  Episode #16

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

  Aug 7, 202633 minS6

  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

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  Episode #14

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

  Jul 10, 202639 minS6

  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

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