Dr. Ignacy Gaydamovich
Cello, Chamber Music and more
Dr. Ignacy Gaydamovich is an active soloist, recitalist, teacher, and a chamber musician. Born into an artistic family, he spent his formative years in Poland studying piano, cello and composition. There he also devoted his time as a music director to the theater Dzien Smierci Mozarta 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.
Dr. Gaydamovich performs in Europe, Lebanon, Japan, and the United States. He 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 Xonor Piano Trio, principal cellist of the Boston Chamber Orchestra.
A passionate teacher and organizer, Dr. Gaydamovich has been a frequent guest at the Conservatory Music in the Mountains in in Durango, Colorado. He has given masterclasses at the first middle-east orchestra program in Beirut in 2015, as well as at festivals in Japan, Poland, Lithuania, and at several American colleges and schools, and is a co-founder of the Promisek Bach Workshops in Bridgewater, Connecticut. During the Fall of 2015 he served on the cello faculty at the Texas Christian University in Fort Worth.
Dr. Gaydamovich has received degrees from F. Chopin Music Academy, Texas Christian University, Boston Conservatory, Longy School of Music, and University of Hartford. He has studied with Terry King, Jesús Castro-Balbi, Rhonda Rider, Andrzej Bauer and Kazimierz Michalik.
In addition to performance and pedagogical work, Dr. Gaydamovich is the author of a dissertation about Alfred Schinttke’s Cello Sonata No. 1, as well as the author and publisher of a 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, Dr. Gaydamovich is playing on a modern copy of an Amati "The King" 1566 cello made by Wojciech Topa. Gaydamovich plays exclusively on Presto Strings.
TEACHING PHILOSOPHY- THE CELLO INSTITUTE
The Cello Institute approach addresses modern challenges in cello playing, promotes integral approach to learning and supports practice as a result of Informed Intuition through comprehensive cognitive preparation. As a part of the program’s curriculum I have created the 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. The method is pushing the boundaries set by Janos Starker and was enthusiastically received by him. The Institute includes group classes on various techniques, aural memorization, theoretical and historical elements of a diverse cello repertoire, allowing students to draw on all aspects of their music education to perfect their performance craft.
Informed Intuition is another aspect of my philosophy, teaching 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; the musician allows themselves to be vulnerable enough to follow their intuition, which should be rich, informed and educated. This is done through thorough studies. To avoid players trying to hide their lack of serious understanding behind “correctness” of technical executions, I encourage practicing an integral approach to studying music. Achieving a satisfying performance includes explorations in history, harmony, structure as well as knowledge of the technical devices.
Becoming a better musician cannot happen without becoming a better person. Therefore, the most important aspect of being a mentor, is to carefully look into students as human beings: draw out their best qualities, address the weaknesses, while allowing them to grow and mature as both people and musicians. My teaching approach focuses equally on student’s personality and musicianship, while promoting a deep understanding of music, creating an ever-vulnerable feeling of positive self-criticism and striving to excel on technical and musical planes.
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. As a teacher, I prefer to teach principles, rather to give solutions that work only in the specific context. My goal is to educate students that eventually not only can think for themselves in the future, but also can become inspiring teachers to others.