What do you teach at the Con?
Cello
What genres do you teach?
Classical
What is it that you love about teaching music – particularly at Wollongong Conservatorium?
What I love the most about teaching the cello is guiding my students with their process in the physical understanding and practical mastery of playing the cello. My pedagogical framework is deeply rooted in the European classical tradition, inherited directly through a prestigious lineage of mentors who studied under the legendary masters Paul Tortelier and Gregor Piatigorsky. Bringing that heritage to my students here at the Wollongong Conservatorium is what I find so rewarding, it allows me to pass on a profound musical legacy within a vibrant, supportive community. I love how the Con’s environment provides the perfect space to guide students through that rigorous tradition, turning the technical challenges of the instrument into a genuine, inspired form of personal expression.
Please share a particular career highlight and why it’s special to you.
My work with renowned professors such as Georg Pedersen and composers like Elena Kats-Chernin and Marcel Khalife allowed me to immerse myself in their creative processes at a high level. These collaborations naturally defined my own artistic vision as an educator and performer.
I now take great pride in blending my own folk heritage with Western classical and contemporary performance styles.
What’s one piece of music that you’d recommend people listen to?
Khachaturian’s Cello Concerto in E minor is an underrated masterpiece by Aram Khachaturian, one of my favourite composers. What I find particularly fascinating about this concerto is how Khachaturian masterfully infuses his Armenian folk heritage into a traditional Western symphonic format.
Sharing this with my students highlights a vital lesson: true mastery is about more than just technical accuracy. It is about the ability to adapt, to act as a musical ‘chameleon’ who uses the structural discipline of the European tradition to authentically express the raw, vibrant emotions of any composer’s soul.