Hometown:
Newcastle, Washington
Education:
San Francisco Conservatory of Music, Bachelor of Music (2023)
University of Massachusetts Amherst, Master of Music (2025)
Bio:
Daniel Ryu is a cellist and recent graduate who studied under Edward Arron, previously working with Amos Yang at the San Francisco Conservatory of Music and with Efe Baltacigil and Eric Han of the Seattle Symphony. He won First Prize in the Concerto Artist International Virtuoso Competition and was offered full membership with the Civic Orchestra of Chicago. Ryu has attended Aspen Music Festival twice and the Bowdoin International Music Festival.
What inspired you to become a musician?
My decision to become a musician was shaped during high school, over ten years after I first began cello at age eight. At that time, I volunteered with Seattle Music Partners, an after‑school program providing free music instruction and mentoring to elementary students from low‑income schools. Through this experience, I saw firsthand how limited access to instruments and quality instruction obstructs many children’s opportunities to engage with music, yet also how transformative learning to play an instrument can be when those barriers are removed. Witnessing a student produce their first sound and grow in confidence made the impact of music tangible and deeply meaningful. Working closely with a student with a hearing impediment reinforced my belief in the power of individualized attention and adaptive teaching to unlock a student’s potential, regardless of background or ability. This experience convinced me that being a musician involves not only developing one’s own craft but also expanding access to music education and inspiring others to pursue their musical paths.
Name your favorite composers and/or pieces:
A favorite composer of mine is Robert Schumann, and the piece that resonates most personally with me is Myrthen, Op. 25, a song cycle he composed in 1840 as a wedding gift for Clara Wieck. Its expressive melding of love, hope, and emotional complexity reflects the depths of human experience that I seek in music. Another composer who profoundly influences me is Johannes Brahms, particularly his Piano Trio No. 1 in B major, Op. 8. Written in his early maturity and later revised, this work embodies a synthesis of youthful energy and reflective depth, capturing both the intensity of artistic growth and a contemplative sense of resolution.
What is an interesting fact about you and/or your instrument?
My cello has its own remarkable history — it survived circumstances more precarious than I ever have. Made around 1923 as a German copy of a Stradivarius, it narrowly escaped destruction during the Allied bombing campaigns in Germany in 1945, a time when countless instruments and cultural treasures were lost or displaced during the war. After that, it eventually made its way to New York City, where it was restored and passed through several hands before becoming mine. Its journey gives me a connection to the past when I play.
When taking a break from music-making, what is your favorite thing to do?
When taking a break from music-making, I enjoy watching historical documentaries, particularly those exploring ideological and societal developments from the nineteenth century through the late twentieth century. While this interest is somewhat separate from music, I find that understanding historical context often deepens the way we interpret art and connect with the people and ideas behind it. Outside of that, I also enjoy gaming, participation in UNO-ranked card tournaments, and skiing when I have the opportunity.
Why did you choose the NRO?
I chose the National Repertory Orchestra because it offers an exceptional immersive orchestral experience that aligns directly with my goals as a developing orchestral musician. The NRO brings together a wide range of core orchestral repertoire and provides intensive performance opportunities alongside highly talented peers, world‑class conductors, and dedicated section leaders – an experience that mirrors the demands of professional orchestral life.
In addition to frequent concerts and rehearsals, the program’s masterclasses, sectionals, and community engagement initiatives deepen both musical and interpersonal skills essential to a sustainable career in music. The chance to perform a diverse program in a concentrated period – and to do so within a supportive, highly focused professional environment – will strengthen my ensemble playing, expand my repertoire, and prepare me for the realities of full‑time orchestral auditioning and performance. By participating in the NRO, I aim to broaden my artistic perspective and build connections that support my long‑term aspiration to contribute meaningfully to the orchestral field.