Teaching is central to who I am, and to what I do. I think of myself as an enabler: I work to support young musicians as they deepen their voices and cultivate more meaningful relationships with the music they love. My own work as a cellist is shaped and defined by the conversations I have with my students: breaking down a technical challenge, examining a composer's particular use of notation, or (my favorite) hearing a student's personal, entirely-new reading of a piece I have loved for a long time. On the other end of this, my work as a cellist is equally central to my teaching; the challenge of always deepening my own voice enables me to step forward and teach from a place of ongoing practice and active learning, both physically and musically.

I've taught most recently at the Oberlin Conservatory of Music, where I was Visiting Instructor of Cello as a sabbatical replacement for my old cello teacher, Darrett Adkins; I lived in Oberlin for four months, teaching fifteen students, studio classes, orchestra sectionals, and coaching chamber music. Coming up, I'm delighted to join the faculty of the National Music Festival in Chestertown, MD this June as their Violoncello Mentor.

My teaching is compassionate, joyous, and practical; I encourage each student to use their instincts, alongside devoted score-reading, as guideposts in gathering physical security at the instrument. I want to get my students equipped to tackle technical challenges in major solo, orchestral, and chamber music and - more importantly - feeling confident enough in their artistry to let their voices pour out of the f-holes. So I emphasize and teach a positive relationship with our

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