Rebecca Merblum

About Rebecca Merblum

Rebecca is very much involved in mentoring and working with students in Nairobi as a part of the Art of Music Foundation. Her efforts with the students of Ghetto Classics continue to expand as she is now Co-Artistic Director of the Kenya International Cello Festival. A dedicated teacher, Rebecca served as the Chair of the String Department at the Pasadena Conservatory from 2014-2016 where she was a member of the cello and chamber music faculties.

Based in Minneapolis, Rebecca is a frequent substitute with the St. Paul Chamber Orchestra and the Liquid Music series. In addition, she was a guest artist with the acclaimed Cavani Quartet in 2018 and 2019. Ms. Merblum also enjoys performing engagements with the Cincinnati Symphony, Los Angeles Chamber Orchestra and has performed in the past as a guest artist with the Salastina Chamber Music Series, Sundays at LACMA, the Green Umbrella Series (Los Angeles Philharmonic) and Classical Encounters. Rebecca was also a substitute with both the LAPhil and LAOpera from 2010-2016 and can be heard on several film soundtracks. Rebecca studied at the Cleveland Institute of Music and New England Conservatory of Music where she went on to earn her Bachelor and Masters Degrees respectively.

The Evolution of Family – Introducing the Kenya International Cello Festival

The inaugural Kenya International Cello Festival will take place January 3-12, 2022 in Nairobi, Thika, Nyeri and Nanyuki Kenya. Born out of a deep dedication to the students of Korogocho and Ghetto Classics, the festival’s classes and performances will speak to a wide tapestry of compositional voices - all in the hopes of reflecting the interwoven cultural fabric of Kenya. Robert Howard and Rebecca Merblum, Artistic Directors. Anthony R. Green, Composer in Residence. It began so simply. One phone call to Elizabeth Njorge. Within two days I was working with students. And within a week I was part of the family. I should say that I had followed Ghetto Classics for quite some time and was keenly aware of Quartuor Ebène’s visit on their Beethoven World Tour. That said, I [...]

Sing. Paint. Dance. (Part 2)

Sing. Paint. Dance. (Part 2) Yes, we can place the bow one inch above the bridge and play various phrases for the purposes of mapping and sensory awareness. We can also take one step back and go about it from a different angle. As we listen to repertoire we can place a brush to canvas or a pencil to paper and emulate phrase length with our hands. We can isolate passages in the score and literally paint them. Feel the duration of notes, their inner lives, through your brush. See the color sustain or fade. Watch the brush as it moves up and down according to contour. For me, although away from the cello, this type of association is the most direct connection to gesture. Let’s be clear, this [...]

Sing. Paint. Dance. (Part 1)

Sing. Paint. Dance. (Part 1) Sing. Paint. Dance. I am often reminded of a statement made by Tabea Zimmerman that alluded to the idea that all instrumental problems have non instrumental solutions. With that in mind I often advocate a number of non instrumental solutions to any issues that may arise in the course of music making. Each can be connected to one of three wings : Singing. Painting. Dancing. On the occasions that I played with the LA opera, I was around Placido Domingo as both conductor and singer. The latter is clearly his identity in spades. But to hear him sing every vocal line in a rehearsal always echoed quartet life for me. Listening with a sense of integration -each voice existing within the context of the whole. [...]

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