Cellist Ignacy Gaydamovich is an active soloist, recitalist, teacher, chamber musician, and a recording artist. His latest CD features cello works by Lukas Foss recorded for the first time in history. Gaydamovich regularly performs in Europe, Lebanon, Japan, and the United States and is a recipient of multiple awards from Austrian, American, and Polish institutions. In 2012 he gave the Albanian premiere of the Korngold Cello Concerto with the National Radio and Tv Orchestra of Albania in Tirana. As an advocate for new music, he gave the American premiere of Cellotronicum for cello and computer by Michal Talma-Sutt, commissioned and premiered a solo work by Alexander Barsov and appeared on a crossover CD Cosmospir. He is a founding member of the Atlas Piano Trio and the principal cellist of the Boston Chamber Orchestra. From upcoming engagements, Gaydamovich will perform Saint-Sanes Cello Concerto No. 1 with Manchester Symphony Orchestra in December of 2017. He collaborated with pianists Janusz Grzelazka, Judith Gordon, Vyacheslav Gryaznov, Jiayan Sun, Mohamed Shams, Cihan Yücel, and Rasa Vitkauskaite; with violinists Arkady Fomin, Fernando Vizcayno, and Gary Capozziello; as well as with cellists Jesus Castro-Balbi and Christopher Adkins.
A passionate teacher and organizer, Gaydamovich has been a frequent guest at the Conservatory Music in the Mountains in Durango, Colorado. He presented masterclasses at the first middle-east orchestra program in Beirut, as well as at festivals in Japan, Poland, Lithuania, and at several American colleges and schools. He served on the cello faculty at the Texas Christian University, Mount Holyoke College, and most recently held the Visiting Assistant Professor title at the Crane School of Music at SUNY Potsdam, as well as organized the first Amherst Cello Camp in June of 2017 and is the director of Amherst Art Academy.
Gaydamovich was born into an artistic family and he spent his formative years in Poland studying piano, cello, and composition. There he also devoted his time as a music director of the Dzien Smierci Mozarta theater and produced a play for light and shadow after Britten's Suite No. 1. After winning several prizes at international competitions in Austria and Poland, he moved to the United States to continue his graduate studies. There his interests expanded to include conducting.
In addition to performance and pedagogical work Gaydamovich is the author of a dissertation about Alfred Schnittke's Cello Sonata No. 1, and cello method Beyond the Octave that expands upon the work of Janos Starker, and has lectured on historically informed performance practices relating to the classical cello repertoire. In his spare time, he likes to make arrangements and transcriptions. Thanks to Chabner Family Foundation Gaydamovich is playing on a modern copy of an Amati The King 1566 cello made by Wojciech Topa, and plays exclusively on Prestans Strings by Presto. Gaydamovich has received degrees from F. Chopin Music Academy, Texas Christian University, Boston Conservatory, Longy School of Music, and the doctorate from the University of Hartford. He has studied with Terry King, Jesús Castro-Balbi, Rhonda Rider, Andrzej Bauer and Kazimierz Michalik.
My teaching addresses modern challenges in cello playing, promotes an integral approach to learning, and supports practice as a result of Informed Intuition through comprehensive cognitive preparation. I have created a method Beyond the Octave which allows students the absolute freedom over the fingerboard by dealing with the extended positions and the advanced use of the thumb. Informed Intuition teaches musicians how to carve their own paths and find their voices on the cello through careful studies of the repertoire, music history, and theory, where the artistic approach to music is based on educated and intelligent choices based on a belief that music always starts from the heart; musician allow themselves to be vulnerable enough to follow their intuition, which should be rich, informed and educated. I'm teaching that there are no permanent solutions and recipes for performing but rather options to play music differently and coherently every time. I am a firm believer that technical ability should not be a goal within itself, but rather a tool to clearly convey a musical thought and I encourage students to keep music at the forefront of their performance by utilizing technique as a service to musical expression.