Violin faculty at CIM

November 24, 2004 at 07:01 AM · Hi guys,

I'm auditioning for the Cleveland Institute of Music for next year, among other schools, and I'm wondering what the many of you who go there or have gone there can tell me about the violin faculty aside from Paul Kantor and David Updegraff. Those two are my top choices on the application, but I want to make a good choice for the third choice person, since I might not get in to either of the above studios. I don't just want to choose based on name recognition, as that can backfire... so what experience do you have of the teaching of Mr. and Mrs. Cerone, William Preucil, Stephen Rose, and the other violin faculty at CIM?Thanks in advance for any help you can give me.

Replies (13)

November 24, 2004 at 10:28 AM · If you ever want to play in an orchestra professionally, then I'm sure Bill Preucil will help tremendously.

November 24, 2004 at 03:36 PM · I've only heard good things about the Cerone's and William Preucil's teaching. :)

Good luck with the audition!

November 24, 2004 at 04:28 PM · the cerones. they're really really good.

November 24, 2004 at 08:37 PM · Well, both Mr. Cerone and Mrs. cerone are excellent teachers. Somebody less known, both certainly not less of a teacher is Steve rose. I had orchestra class with him and it was incredible. He is very solid and can help a great deal.

Mr. Preucil is a trip, he is so incredibly musical and sometimes I think he must be some far relative of Kreisler. He can charme while playing!

My absolute all time favorite teacher at CIM is Mr. Updegraff. If you can get into his studio, run with it. He is a great teacher and a great human being and even after not having studied with him for several years, I still feel very much a student of his. CIM is a great place to be. enjoy! oh, and whatever teacher they will offer you. The committee seems very good at placing the right student with the right teacher. trust their advise. Good luck on your audition!

November 26, 2004 at 03:47 AM · Thanks, everyone. This is very helpful and comforting.

November 26, 2004 at 11:37 AM · I agree with Carla about the Cerones and about Mr. Rose. I have studied with all three before, and they are all wonderful teachers. I currently study with Linda Cerone and Steve Rose, and they are both fantastic, and have their own unique, wonderful teaching methods. Also, Mr. Preucil is a great person, I had some string sectionals with him last year, and he is quite a great violinist. I would recommend trying to get a lesson with a couple of teachers to see who you work best with.

December 5, 2004 at 06:34 PM · Jude,

I started studying at CIM with Mr. Russell 5 years ago, and have concurrently studied with him and Mrs. Cerone for the last 2 years.

I can't imagine finding a more perfect blend. Mr. Russell instilled in me a sense of taste, class, and a certain kind of elegance that comes with performing, and Mrs. Cerone built on that ( albeit using tactics ranging from very sweet to drill-sergeant-esque). Mr. Russell has expansive knowledge of the repertoire, and going through Ysaye, Chausson, Tchaikovsky, and Brahms with him is a real treat. Mrs. Cerone, after cracking me up with a couple spunky comments, will whip me into shape with a couple Paganini and Locatelli Caprices, Devil's Trill, Carmen Fantasy, etc.

I hope these comments helped.

December 29, 2004 at 03:47 AM · I'm a Kantor student, and I just have to say that, if your top choice doesn't accept you, you have a very small chance of getting into the other teachers' studios. Even if you're amazing, I think many teachers only take students who listed them as their first choice. So with that, good luck and don't sweat that third choice teacher. Paul Kantor is amazing!

January 9, 2005 at 05:23 PM · I've heard that Preucil tends to be relaxed with technique...probably a really good teacher if you're ready for someone to help you along as a musician (more than as a violinist).

January 9, 2005 at 06:45 PM · Mr. Preucil is great if you already have a soild technical background. He has a huge bag of tricks and is a wonderful fiddle player.

Steve Rose is a great person to work with. He is a very refined player, but I am not crazy about his fingerings since he has such long fingers - he advocates a lot of "creeping around" fingerings, which I don't care for but some might.

Mr. Updegraff was a teacher I was very impressed with. His knowledge of the instrument is vast and knows how to help pretty much anyone. He is great for the less experienced and the experienced alike.

January 9, 2005 at 07:30 PM · out of curiosity Kevin what is a creepy fingering?

January 9, 2005 at 11:44 PM · Greetings,

creepy finger is another way of referring to delayed shifts.

It is also the reason women only carriages are available at peak time on the Japanese underground,



January 27, 2005 at 03:33 AM · I went to CIM for five years, and during that time had as primary teachers Mrs. Cerone, Mr. Majeske (now gone), and Mr. Preucil. However, I also played for Mr. Rose, Mr. Updegraff, and continue to play for Mr. Weilerstein (now in Boston/NYC). The CIM faculty is great and extremely knowledgeable. Basically they fall along the typical lines that seem to be increasingly apparant these days: they are either full-time pedagogues (Cerone, Updegraff, Kantor, Russell) or they are performing faculty members, who have another (Cleveland Orchestra) major occupational commiment (Rose, Preucil). If you are seeking help specifically for excerpts, I would recommend Rose and Preucil. They simply cannot be beat for this literature. During my time with Mr. Preucil we literally covered just about every single excerpt out there, and he really knows how to approach these things from a practical pt. He also continues to be a great friend and help post-graduation, whether that be about string advice, recommendations, or otherwise (he's even coming out and doing a masterclass for some of my students this spring). As a school, I enjoyed CIM because it really trained me equally in solo, chamber, and orchestral rep. You leave the school feeling very well-rounded and versatile as a musician, and now, post-graduation, I see the immense benefit of that. In fact, I consider that versatility, as well as other versatility (social, academic, communicative, etc.) to be the major factor in determining employability in our field nowadays. It is an expensive school (no full-rides for graduate students, like at Juilliard, or for undergrads, like Curtis), but it is well worth the price. The faculty, staff members, and administration really do care there. And they know who you are, for better or for worse! I guess to encapsulate in a too general and admittedly unfair way: Cerone taught me technique, performance strength, and repertoire, Majeske taught me humanity, humility and heart, Preucil taught me brilliance, detail, and the importance of milking everything you can out of music, and Weilerstein has taught me depth of sound, abstract/spiritual concepts, and the importance of listening to your body and using it during performance. Hope that helps!

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