Discussion and Pre-College Master Class: Richard Aaron, cello

I. Allegro

Approximate Duration: 0:08

Program Notes: Brahms’s Trio in A minor, Op. 114 (1891), originally written for clarinet, cello, and piano, takes on an especially mellow richness in its alternate version for viola. Composed during his late period, the work carries the introspection and harmonic depth that so captivated Dvořák when the two first met years earlier – a connection that proved pivotal in Brahms’s championing of the younger composer’s career. The first movement is imbued with quiet intensity, the Adagio offers one of Brahms’s most poignant slow movements, and the finale combines passion with gentle resignation. Heard alongside Dvořák’s and Suk’s works of the same year, the trio’s velvety intimacy becomes part of a remarkable 1891 chapter linking German and Czech Romantic voices.

III. Sehr lebhaft

Approximate Duration: 0:08

Program Notes: Schumann’s Cello Concerto in A minor, Op. 129 (1850) reaches a spirited culmination in its third movement, where the introspective tone of the earlier sections brightens into agile, dance-like momentum. Written during his Düsseldorf years, the finale reveals Schumann’s late-style mix of volatility and lyrical warmth: the cello races ahead in buoyant figurations, then pauses for a surprising reflective episode that recalls earlier themes in a quasi-improvised glow. When the main idea returns, its renewed vigor propels the concerto to an exuberant close, giving the work a final sweep of optimism that feels both hard-won and deeply personal.

Described as a “sought-after professor of cello whose methods of teaching have garnered global acclaim,” Richard Aaron is a professor of cello. In fall 2024, he will joined the San Francisco Conservatory of Music. He has served at the University of Michigan and at the Juilliard School since 2006 and 2007, respectively. Previously he taught at the Cleveland Institute of Music and the New England Conservatory.

He has conducted masterclasses in many countries across four continents, including at many of the leading music schools in North America, including Eastman School of Music, Hartt School, Mannes, Oberlin Conservatory of Music, Rice University, The Royal Conservatory of Music in Toronto and the University of Cincinnati.

Since 2003, Aaron has been on the faculty of the Aspen Music Festival. He has also taught at many other summer music institutes including the Indiana University String Academy, Calgary Music Bridge, Peter the Great Music Festival (Groningen, Holland), Aria International Summer Academy (Massachusetts), Innsbruck Summer Music Academy (Missouri), Chautauqua Institution (New York), the Idyllwild Summer Program (California), Heifetz International Music Institute (Virginia), Marrowstone Music Festival (Washington), and The Encore school for strings (Ohio).

A frequent competition judge, Aaron has recently served at the Amsterdam Cello Biennale Competition, Beijing International Competition, Cassado (Japan), ISANG YUN Competition (Korea), Klein Competition, Paulo Cello Competition (Finland), Schadt String Competition and the Stulberg Competition.

Former Aaron students have occupied positions in major orchestras such as Chicago, St. Louis, Seattle, Dallas, Portland, St. Paul, Pittsburg, San Francisco, Utah, and the Metropolitan Opera–to name a few. His students also participate in many award-winning ensembles, such as the Biava, Fry Street, American, Penderecki, Linden, Escher, Telegraph and Aeolus string quartets.

For enjoyment and enrichment, Aaron studies and plays the viola da gamba and baroque cello.