Raphael Weinroth-Browne is a cellist currently studying at Toronto’s Glenn Gould School; he has contributed his musical talents to Kristine St.-Pierre’s album Call Me Crazy, as well as Woods of Ypres’ Juno-award winning album W5: Grey Skies and Electric Light. He is a gifted composer and performer in his own right, having released music as part of the musical duo The Visit and the “Canadian Neofolk” band Musk Ox. Weinroth-Browne spoke to The Varsity about how important a musical education actually is, and what music students can do if they wish to succeed.
The Varsity: Have you always been attracted to music?
Raphael Weinroth-Browne: I have always been consumed by music. My parents listened to an incredibly wide and eclectic variety of music from all over the world. Around the age of 10, I began taking cello lessons. After spending my mid-teens torn between classical cello, metal guitar, drums, and flamenco guitar, I found myself entering university for cello performance.
TV: You are now studying in Toronto [in the Glenn Gould School] — how is this experience different from your undergraduate degree [at the University of Ottawa]? What prompted you to continue your education?
RWB: I am halfway through an Artist’s Diploma program at the RCM’s Glenn Gould School. Being at a conservatory is different from university in that all of the course material is strictly geared towards music, and all students are performance majors.
For musicians in their early twenties, such as myself, the window of time for improvement and growth is shrinking, and we feel the need to take advantage of that fleeting period to make as much progress as possible.
TV: You have done a lot of collaboration with spoken word artists. What’s that like?
RWB: It is an extremely rewarding experience, and when the tone of a poem and a piece of music are unified, the results are very powerful and compelling.
TV: What are you working on now? Any exciting projects on the horizon?
RWB: I am juggling a number of exciting projects at the moment. I will be composing more metal-influenced chamber music for solo cello, cello and piano, and cello and strings, as well as a suite of compositions for cello ensemble. I am co-composing the music for a spoken word album with another multi-instrumentalist. I will also be writing and performing drums and cello for the sophomore album from Portland, Oregon-based project Self Spiller.
TV: Do you have any advice for aspiring musicians?
RWB: For those who are self-taught, learn as much about music theory as possible. For those in university or conservatory programs, be sure to spend time improvising and composing. “Messing around” and “noodling” is actually just as important as focused practice in that it enlarges our own personal musical vocabulary. Be open to creating new outlets for your talent and skills. Institutions will not offer you a job at the end of your degree.
This interview has been edited for length and clarity.
