Rebecca Merblum

Rebecca Merblum

About Rebecca Merblum

Rebecca Merblum, originally from Connecticut, has been dedicated to chamber music throughout her life as a cellist.  The Hartt School gave life to this connection as Rebecca worked with the Emerson String Quartet and Mitchell Stern (American String Quartet). It continued through her studies at the Cleveland Institute and the New England Conservatory where she went on to earn her Bachelor and Masters Degrees respectively.

Rebecca joined the Artaria Quartet for the 2016-2017 season. This was a renaissance of sorts given her history with the Azmari Quartet. As a founding member of the Azmari Quartet, she participated in the Graduate Quartet Residency at Northern Illinois University under the tutelage of the Vermeer Quartet. The Azmari Quartet served as the Corbett String Quartet in Residence at Northern Kentucky University from 2004-2009.

During the 30th anniversary season with the Artaria Quartet, Rebecca enjoyed collaborations with Andres and Roberto Diaz, Geoff Nuttal and several former members of the Artaria Quartet family. The quartet performed throughout the Twin Cities while remaining dedicated to nurturing the growth of students at the Artaria Chamber Music School and Stringwood, the summer festival directed by the ensemble.

Rebecca also enjoyed frequent appearances in the cello section of the St Paul Chamber Orchestra during her first season in Minnesota. This included a recording project with the ensemble in the Spring of 2017. She has continued to perform regularly with the Grammy Award winning SPCO and toured with the ensemble in the Spring of 2018 as well

Ms. Merblum also enjoys performing engagements with the Los Angeles Chamber Orchestra and has performed in the past as a guest artist with the Salastina Chamber Music Series, Sundays at LACMA, the Green Umbrella Series (Los Angeles Philharmonic) and Classical Encounters. Additional chamber music performances involved collaborations with Michele Zukovsky (LAPhil), Martin Chalifour (LAPhil), Ronald Leonard (LAPhil), Andrew Schulman (Los Angeles Chamber Orchestra) and Panic Group, an ensemble dedicated to the presentation of new music. Rebecca was also a substitute with the both LAPhil and LAOpera from 2010-2016. Several film soundtracks also feature Ms. Merblum.

A dedicated teacher, Rebecca served as the Chair of the String Department at the Pasadena Conservatory where she was a member of the cello and chamber music faculties. Her students have gained recognition in numerous competitions and festivals including the Piatigorsky International Festival.

Sing. Paint. Dance. (Part 2)

Sing. Paint. Dance. (Part 2) Yes, we can place the bow one inch above the bridge and play various phrases for the purposes of mapping and sensory awareness. We can also take one step back and go about it from a different angle. As we listen to repertoire we can place a brush to canvas or a pencil to paper and emulate phrase length with our hands. We can isolate passages in the score and literally paint them. Feel the duration of notes, their inner lives, through your brush. See the color sustain or fade. Watch the brush as it moves up and down according to contour. For me, although away from the cello, this type of association is the most direct connection to gesture. Let’s be clear, this does [...]

Sing. Paint. Dance. (Part 1)

Sing. Paint. Dance. (Part 1) Sing. Paint. Dance. I am often reminded of a statement made by Tabea Zimmerman that alluded to the idea that all instrumental problems have non instrumental solutions. With that in mind I often advocate a number of non instrumental solutions to any issues that may arise in the course of music making. Each can be connected to one of three wings : Singing. Painting. Dancing. On the occasions that I played with the LA opera, I was around Placido Domingo as both conductor and singer. The latter is clearly his identity in spades. But to hear him sing every vocal line in a rehearsal always echoed quartet life for me. Listening with a sense of integration -each voice existing within the context of the whole. [...]