In the Practice Room with Michael Haber

Michael Haber

What’s on your music stand right now?

What is the first thing you do on the cello every day?

Why do you practice? What drives and motivates you?

What do you enjoy the most about practicing? What inspires you?

How do you cultivate inspiration in the practice room?

In your mind, what is it that makes an effective practice session?

Is there a particular practice method that you swear by?

What are the best ways to prevent injury?

What is your balance between technique and repertoire?

How do you manage lots of repertoire at the same time?

How do you start learning a new piece?

How has your practicing evolved over the years, or even recently?

Is there anything we haven’t discussed that you feel is vital to productive, creative practice sessions?

 

AUTHOR

Michael Haber

Cellist Michael Haber graduated with high academic honors from Brandeis University with a degree in European History. He did his graduate work at Harvard and at Indiana University. His principal cello teachers were János Starker, Mihaly Virizlay and Gregor Piatigorsky.

Mr. Haber was a member of the Cleveland Orchestra under George Szell and the Casals Festival Orchestra under Pablo Casals.  With the Orpheus Chamber Orchestra, he toured and recorded throughout Europe, the USA and Asia. He was  the cellist of the Composers Quartet, in residence at Columbia University in New York City, and of the Gabrielli Trio.

Among the schools and festivals where he has been on the cello and chamber music faculties are Oberlin College, Indiana University, the New England Conservatory of Music, the Eastman School of Music, Boston University, the University of Akron, Aspen, Marlboro, Yellowbarn, Aria and the Manchester Festival. For 10 years he was the coach for the cello section of the New World Symphony in Miami Beach and has presented masterclasses at universities throughout the USA, and in Australia, New Zealand, Egypt, Turkey and Switzerland.

Among the comments for Mr. Haber’s performances, the New York Times spoke of “the lyricism and perfection of his playing.” The London Times called him “ a romantic cellist “ and The Cleveland Plain Dealer called him “ a superb musician.”

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