Noémie Raymond-Friset: Beyond the Printed Score

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To cellist Noémie Raymond-Friset, music is just as much about heart as it is about technique. For her, the cello is a means of forging profound connections—with collaborators, audiences, and even communities worlds away.

Born to music-loving parents who filled her early life with the sounds of Bach suites, Raymond-Friset picked up the violin at the age of four. But it was the cello that resonated with her three years later. “I found my instrument,” she recalls. “Something about the tone, the sound, and the register really spoke to me.”

In her early career, mentors like violinist superstars Midori and Pinchas Zukerman helped her see the significance of looking beyond the printed score. Her involvement with a community program in Boston, dedicated to “bringing music to places where it truly makes a difference,” led to an opportunity to join Midori on a tour. Together, they visited underserved communities in various countries, beginning with Cambodia.

Raymond-Friset initially questioned the purpose of playing Mozart in environments with so many other pressing problems. “At first, it felt silly,” she admits. “But it’s really all about the connection. That experience changed how I approach music and concerts.” Today, before performing, she always speaks to her audience to create a shared experience. “The music connects us, but the human connection is just as important.”

Photo: Tam Photography

Now a teacher and mentor herself, her experience as a performer deeply informs her approach to guiding young musicians. She emphasizes introspection, encouraging students to explore the deeper meaning of music. “That’s basically what I did in my own career,” she says, “asking a lot of questions.”

This philosophy is central to Dialogues, her latest CD release with pianist Zhenni Li-Cohen. The album explores the sonatas of Sergei Rachmaninoff and Rebecca Clarke, works that lived with the duo for years before recording. “It’s about more than the two instruments,” says Raymond-Friset. “It’s about the dialogue between us, the pieces, and the audience.” The album’s title reflects the duo’s approach to collaboration. Rather than focusing solely on technical precision, they prioritize the exchange of ideas and emotions.

“We’re not really technical rehearsers,” says Raymond-Friset. “It’s about asking the bigger questions: How do we bring the music to life? How do we interact with each other?” The result is a performance that feels less like a recital and more like a conversation, where each voice is heard and every nuance explored.

Looking ahead, Raymond-Friset is excited to bring her and Li-Cohen’s artistic vision to new stages. In March, they will perform Dialogues at Carnegie Hall, where they will also première a new sonata composed specifically for them by Canadian composer Christian Thomas.

For young musicians, her advice is simple: “Put yourself out there and connect with people. More than ever, the audience wants to know the performer personally.”