Dobrawa Czocher is a cellist born in Poland. Her work oscillates between classical and contemporary music and combines virtuosic cello technique with limitless imagination and expression. Ahead of her captivating ‘Circulation’ mixtape, Neil Housego got a chance to chat with Dobrawa about her selection, the emotional power of the cello and the magic of collaboration.   

Where are you based at the moment? 

I am based both in Szczecin where I work as a cellist, in the Philharmonic and in Warsaw where most of my collaborations develop. When I left Warsaw five years ago to study and live in Germany, I never really lost a connection with the city. It feels good to be back there. I enjoy the changing rhythm and perspective from Szczecin to Warsaw and back again. 

Can you tell me a little about the concept behind the mix?

As a string player, I understand the nature of string instruments and wanted to show how composers use the capability of these instruments in their music. My mixtape is a journey through centuries and periods from Baroque to Contemporary. I am infinitely amazed at the huge scale of expression this group of instruments has and how differently composers have explored them through time. Today I observe a tremendous interest in artists using strings in other genres of music, which helps to bring the symphony orchestra to other places, not just the Philharmonic concert hall. In the mix, you can find two recompositions which I find very interesting. To give Bach's Cello Suites or Vivaldi's Four Seasons ‘new life’ requires incredible courage, but if the risk pays off the results can be beautiful. In my opinion, the two recompositions in the mix by Peter Gregson (Cello Suites) and Max Richter (Four Seasons) are proof that it is a risk worth taking. So first you can hear original Courante from Bach's V Cello Suite, played by the amazing Yo Yo Ma and then it's the Gregson recomposition. 

Are there any tracks that are special to you from your selection and why? 

To be honest, each track from my selection is special, but Alfred Schnittke's less well known 'Piano Quintet' stands out. Schnittke has a very recognisable musical language, and I find the constant conversation between darkness and lightness, beauty and ugliness, absolutely compelling. In that composition, the light shines through at the end with a beautiful major chord, and I remember exactly how I felt playing that! Sometimes playing this sort of music is a bit like therapy. This bright major chord is engraved deeply in my heart. I hope it will move you as much as it moved me. I am also in awe of the composition ‘Lisboa’ by cellist Gaspar Claus and vocalist Casper Clausen. When I was in Lisbon for the first time, I felt the same atmosphere as when I listened to this piece. I find it extraordinary when music can paint a picture of a place in your imagination. I would also like to mention a piece composed by my dear friend Hania Rani called ‘Tennen’ where I also play a cello part. I love its speed, spaciousness and pulsation. 

Did you have a musical upbringing?

Yes, I started studying cello when I was barely 7. As there was no Musical High School in my hometown, I moved to a bigger city to live in a dormitory and devote myself to cello at the age of 13. Later on, I moved to Warsaw to continue my studies and then onto Germany to achieve my second Master Degree. On the other hand, I never studied composition. It took me a long time before I composed my first piece for cello. I had to reject some convention that classical education had taught me, and when creativity comes, I try and just go for it!

Why did you pick the cello as your instrument?

I feel like I didn't choose the cello, but the cello chose me. My mother is a violinist, and when she showed me the cello, I just knew. From the very beginning, I loved its sound, so deep, so powerful yet subtle and calming. I will never forget how enthusiastic I was when trying 'vibrato' for the first time - that must have been in my second or maybe third class in Primary School. Vibrato is one of the many amazing tools that distinguish string instruments. It enables a very personal sound where the listener can recognise who's playing without seeing them. I think the reason why that memory at school is so strong is because the expression of emotion was so powerful.

Tell us a bit about your journey as a musician. How aware are you of involving your personal experiences into your creative process?

I believe that when you create or perform, it is impossible to disconnect yourself, your experiences, your character, from the way you see the world and the art you present. Even when it comes to music, the most abstract form of art - you play, sing or compose about yourself in the end. It's about your emotions, energy, the way you are, happy or melancholic. The way you love or miss someone, your entire perception of the world, even though we may not be aware. It can be a few sounds without special meaning for you, but another person could play, sing or compose them in a completely different way. Because generally - we feel, see and live different stories. Following this trail, I believe everything can inspire. Every meeting, conversation, place, journey, sound, feeling, touch, gesture and other artists work, including music, books, paintings, movies, and choreography, can be valuable. I want to approach life in a way where I am open to all its intricacies, details and contradictions. 

Which musicians and artists do you feel most inspired by?

There are lots of artists I admire for different reasons, but there are a few that I consider my heroes. Marina Abramovic is special to me. She touched the other side of fear and brought that experience into her art. Personally, that blows my mind, and I believe it's something more than courage. I can't even put into words how much she impresses me. She has developed exercises which force you to be hyper-focused (separating lentil's grain from rice for instance) when experiencing art. This is what we need nowadays; it's like experiencing something after meditation - a revitalised perception. 

In the movie world, I must mention Paolo Sorrentino. His spirit, frivolity, virtuosity, sometimes weirdness, mixed with such deep sensitivity and compassion for human nature is exciting. I love the way he presents characters in a story, even the smallest roles. Someone who appears only once in a movie can be a key to understanding the whole scene. 'Young Pope/Two Popes' are just freaking mastery. I love the sense of humour too. It's tough for me to say who is my number one in the world of music, but Thom Yorke is often the first person that comes to mind. I don't know how it's possible, but every album, every collaboration, everything he touches turns to gold and resonates deeply with me. His music has this dark side which makes me wonder and ask philosophical questions. Powerful and brilliant!

How important is collaboration in your creative endeavours?

Collaborating is a crucial part of my musical endeavour. I see a significant meaning in finding soulmates to create music with. I have seen many amazing solo concerts, but the most beautiful magic happens when at least two souls understand each other and let their energies flow together on stage. The power of a performance like that is unspeakable. It is rare and very precious, so if you experience that sooner or later, you are lucky! A few years ago I was fortunate to find a duo with my good friend Hania Rani. This story is almost like a dream. We were just two students focused on classical music and practising when out of the blue we were asked to make compositions for a festival commemorating the death of the fantastic Polish rock star, Grzegorz Ciechowski. Happy to do something new we didn't have any idea that this festival would lead us on an incredible journey and give us the opportunity to release an album together. That moment was the starting point for creating something outside of the conventions of classical music, and now we await the release of our second album. I also play in many chamber groups, and I always love to play in the orchestra. I consider myself as a person who seeks creating with others. 

What are the key ingredients to a Dobrawa Czocher track?

I wonder how to describe that in terms of composition and the recording process, but the truth is I just have to 'believe the music'. It has to be well played, carefully recorded and mixed; without that, music is not clear for the listeners. But the main reason I want to share my compositions with others is to connect with them on a deeper, emotional level. 

Do you ever think about the visual element of your music while you're making it? Album art, videos, etc.?

I tend to think of the story. I am fond of watching movies, so storytelling and pictures come to me naturally. The mix has a lot of soundtrack music in it for the simple reason that I admire how music can either strengthen or cool down the atmosphere of a story, and string instruments are the perfect tool for doing that. 

What's on the horizon for you? 

I am delighted that I have finally found a balance between me as a classical cellist and me as a cellist-composer and have more time for making my music. I am working on pieces which are beginning to form my first solo album. As mentioned earlier, the second album from myself and Hania is upcoming, which is super exciting. I can boldly say that I am proud of what we have created and cannot wait until the music is out in the world! For now, I can only say this, 'It is something very different from our first 'Biała Fflaga' album and speaking of the magic of collaborations...you will definitely find that there!'. 

‘Within’ by Dobrawa Czocher is Out Now on the ‘String Layers’ Compilation.

You can listen to the ‘Circulation’ Mixtape here: