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Coleman Itzkoff

@colemanplayscello

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cellist • mover • groover
member of @runningamoc @twelfthnightensemble
@ruckusearlymusic

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Rameau’s Le Rappel des Oiseaux, plus two very photogenic Riverside Park pigeons by @colemanplayscello

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8 days ago

Two cellists and a Klimt painting come to life.

With @perkynscello and @alysapires at the @nycballet gala. Such a joy to play Jocelyn Morlock’s double cello concerto ‘Aeromancy’ alongside Stephen, and to be part of the world Alysa has created around this music.

Come hear us—and see her beautiful work—tonight, October 2, and October 4, 6 & 14. 🖤 taken in New York City Ballet by @colemanplayscello

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15 days ago

How does a skateboarding mind-set translate to playing music in high-stakes contexts? This excerpt with cellist Coleman Itzkoff from a recent episode of my podcast Conversations with Musicians, with Leah Roseman. @colemanplayscello : "That's very interesting. I hadn't thought about that. There's a thing in skateboarding when you're trying something new for the first time, let's say you're approaching a set of stairs and you're trying to do a flip trick down the stairs. There's the first maybe 10, 15 tries, you're not committing to it. You're rolling up, you're jumping down, and you're kicking the board away, and you're not really trying. And then there's this moment when you have to say, "Screw it, I'm just going to commit. I'm just going to let my body do what it does. I know how to do a kickflip on flat ground.
I'm sure I can do it down this stair set," and you just go for it. You just let go, and something clicks in your mind, and you get into a kind of flow state, and it happens like magic. Yes, maybe there's something about having those experiences again and again and again and again as you're progressing on a skateboard that translated to going out into a competition and saying, "This is not about being careful, about being accurate, about any of that. It's about let it go. Let your body do what it needs to do, what it knows how to do, and let it flow and let rather than try to control, just let it through you." That maybe helped in those early competitions, that sort of mindset of performance." #flowstate #conversationswithmusicians #trustingyourself #performancemindset #classicalmusicians #cellists by @colemanplayscello

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a month ago

Life-changing moment in this clip from the episode, Coleman Itzkoff’s first dance experience with Or Schraiber.
@colemanplayscello @or_schraiber @runningamoc
Coleman Itzkoff:
I had never worked with dance before, so that was a revelation. There was one moment early on when Zack @winokurz put me and Or Schraiber, ...he put the two of us into a dance studio and said, "You have an hour, make a piece. The only rule is you're not allowed to play your cello." And the two of us didn't really know each other, but there was an immediate flow between the two of us, this language of movement of body that I'd never experienced before, but felt completely natural and intuitive. And in an hour, we had come up with a piece about 15 minutes long.
 I'm not sure what it was about, but it was strangely compelling and it involved me moving, involved me dancing alongside Or. I think it begins with him holding the cello and just sort of slowly making his way towards me and me doing a series of movements, and it finishes after 15 minutes, the cello finally with me in its natural position, and right before I hit the string, it's over. So we stuck to Zack's instructions and thus began the major left turn of my life, which was to delve into the realms of dance and theater, which I had not predicted, had not even dreamt of, but is now a significant part of my life.
You can watch the video on my YouTube or listen to the podcast, and I’ve also linked the transcript. Have a look at the show notes of this episode on my website, where you’ll find all the links! LeahRoseman.com Linktree @conversations_with_musicians by @colemanplayscello

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a month ago

I met Coleman Itzkoff @colemanplayscello when he was on stage playing cello and dancing for the contemporary ballet “Procession” with @nationalballet ; he’d also curated the music and I was immediately curious about his path. I was also aware that he performed quite a bit with a previous guest of mine, Clay Zeller-Townson @czellert of @ruckusearlymusic . I got into a chat with Coleman backstage @nac.cna @nacomusicians about his interest in new music, baroque music, dance and theatre. When we got to this interview several months later I was intrigued to learn about his youth as a serious skate boarder, and you’ll hear us explore several connections between that athleticism and both playing the cello and dancing. You’ll hear Coleman share how he became a co-founder of AMOC @runningamoc , insights about some of the ways he’s been able to access higher levels of creativity, and tributes to many of his mentors including Ralph Kirshbaum, Bobbi Jene Smith @bobbijenesmith and Or Schraiber @or_schraiber . We start the conversation with some beautiful connections with his very musical family.
You can watch the video or listen to the podcast, and I’ve also linked the transcript. Have a look at the show notes of this episode on my website, where you’ll find all the links! LeahRoseman.com Linktree in bio @conversations_with_musicians

Photo: @titilayoayangade by @colemanplayscello

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a month ago

A little snippet of @colemanplayscello from our film, THE FINAL BOW!!

Come see him perform live at @americandream Performing Arts Center in NJ this Sunday, Aug. 23 at 4pm - and then catch THE FINAL BOW screening along with an amazing lineup of short films!! Stick around after for a Q&A with us!

We’re forever grateful to Coleman for his talent and time playing for us then and now. You won’t want to miss this!
RSVP for free at the link in bio.

@nonfictionhotpicks @yahoo @yahoofinance @yahooentertainment by @colemanplayscello

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2 months ago

Enjoy this snippet of Clara Schumann’s Piano Concerto in A minor, Op. 7 performed by Adam Golka and Coleman Itzkoff

Watch the full Brahms & The Schumanns concert at the YouTube link in bio! by @colemanplayscello

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2 months ago

🌈 🐐Mozart’s sublime Adagio from the D Major quartet with this trio of rockstars was pure heaven!! A princess moment singing out from her castle for sure!

I love this piece so much and it’s always a highlight to play, but this one was really special. And this movement, gosh don’t get me started. You get to be the soprano singing along to the most incredible three person lute.

Mozart Flute Quartet in D Major, K.285
Emi Ferguson, flute
Nathan Meltzer, violin
Ulrich Eichenauer, viola
Coleman Itzkoff, cello

Day 51

#mozart #flute #pizzicato #chambermusic by @colemanplayscello

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2 months ago

Chambers Street @nowness

Director @scottdkeenan

Choreography by @maxcookward

Starring @_louisa.fernando_ and myslef

Cello @colemanplayscello

Produced by Robert Ravenscroft
Cinematography by Calvin Laszakovits
Steadicam: Franz Brun
AC: Brian Ansel
Gaffer: Eric Hora
Key Grip: Greg De Seve
Sound: Cu
rtis Henderson

Stylist: Emily Drake
@em2drake

HMU:
@kalitaylor

PA: Annalisa Noel

Edited by Alison Grasso

Sound Mix and Design by Curtis Henderson

GFX by Josephine Florance

VFX by Keith Regelman Color by Andrew Ceen

loved making this come to fruition, thank you for the time by @colemanplayscello

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3 months ago

A “Double Concerto” like you’ve never seen before - Laurie Niles reviews the premiere of Christopher Cerrone’s new concerto for violin and cello “Selah” last weekend with Anthony Marwood and Coleman Itzkoff and the Los Angeles Chamber Orchestra with Jaime Martin. https://www.violinist.com/blog/laurie/20265/30748/ taken in Colbert School Zipper Concert Hall by @colemanplayscello

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5 months ago

Simple ingredients = luminous results.

Composer / “chef” @chriscerrone has cooked up an exhilarating and rhythmic double concerto for @anthonymarwood and @colemanplayscello with LACO.

🎶Come hear it live 🎟️ at 🔗 in bio

#christophercerrone #composer #behindthemusic #contemporaryclassical taken in Zipper Concert Hall by @colemanplayscello

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5 months ago

Photo from last night’s first orchestral rehearsal for “Selah,” a new double concerto for violin, cello, and chamber orchestra. No matter how many times I’ve done this — and this is my 14th orchestra piece — the terror doesn’t go away. You prepare all you can, orchestrate with care, but there’s always that quiet fear that none of it will work, that you’re going to bury the soloists, and that writing for orchestra is always, to some degree, educated guesswork.

And then, within a matter of minutes, the relief that it’s all going to work floods over you. “Selah” is my first orchestra piece since my son Matteo was born, and his existence — the sheer urgency of it — has pushed me toward the most direct and emotionally clear version of myself I’ve ever been as a composer. That directness is all over this piece. So is the input of @anthonymarwood and @colemanplayscello , who from the very beginning demanded both virtuosity and clarity from their parts, in equal measure

Having those two as your soloists, musicians who have given themselves so completely to the work, makes all the difference. And playing for an orchestra of soloists like @lachamberorchestra , with @jaime_martin_conductor at the helm — you feel it immediately.

World premiere run: May 14 at Renée and Henry Segerstrom Concert Hall (Costa Mesa) · May 16 at Zipper Concert Hall (downtown LA) · May 17 at the Wallis Annenberg Center (Beverly Hills). by @colemanplayscello

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5 months ago