Tess Remy, D.M.A.

2023 featured Solo Artist on Kitt Wakeley's GRAMMY® receiving CD "An Adoption Story"

2023 CL Shaddock Award, Mississippi Music Awards

2023 Nominated for "The Musician of the Year" of The Josie Music Awards

2023 Inducted into the HALL of FAME, AKADEMIA MUSIC AWARDS

2023  Winner of the International ICMA awards in the category Best Instrumentalist.

2022 GRAND PRIZE WINNER AKADEMIA AWARD HOLLYWOOD Instrumentalist  for CD recording of DAVID MASLANKA"s "Remember me" with the UCO WIND SYMPHONY, conductor BRIAN LAMB

2022 Nominated for Native American Music Award for Best Instrumental Recording

2022 SILVER MEDAL GLOBAL MUSIC AWARD Instrumentalist for Recording of Kitt Wakeley's ASA

2020 National NAPPA AWARD for CD "To Awaken the Sun"

2010-2011 Visiting Fellow Performance at Harvard University, 2011-12 Visiting Scholar at Harvard University.

First-prize winner at the international Carlo-Zecchi Competition in Rome with pianist Dr. Michael Staudt.

First-prize prizes in Germany’s Jugend musiziert, and New York’s International Artist Competition (string division) and 

She has received numerous UCO research, presentation and other grants (Oklahoma Arts Council).

Tess Remy-Schumacher, D.M.A., was born in Cologne, Germany, and has studied with Boris Pergamenschikow, Maria Kliegel, Siegfried Palm, Jacqueline du Pre and William Pleeth. She received her Artist Diploma at the Musikhochschule Cologne: "Kuenstlerische Reifepruefung". As a Fulbright Scholar, she studied with Lynn Harrell in his Piatigorsky class at the University of Southern California, and was awarded her Master of Music in cello performance. As “most outstanding graduate of the year for performance, academic excellence and leadership,” she received her Doctor of Musical arts/cello performance at the University of Southern California, Los Angeles, under the supervision of Eleonore Schoenfeld.

Tess Remy-Schumacher has been a concert soloist for many years performing in Asia, Australia, Europe and the U.S., including the Wigmore Hall in London, Jubilee Hall in Singapore and the Carnegie Recital Hall in New York and Bradley Hall in Chicago. In The New York Concert Review, Edith Eisler wrote about her most recent Carnegie Recital Hall performance, “Remy-Schumacher’s technique is disciplined… Her bow control and mastery of the fingerboard are complete; her intonation is excellent.” Remy also performed at the Brisbane Biennial Festival, the Australian Festival of Chamber Music and the Contempofest (Australia), the Weatherfield Music Festival (U.S.) and the Internationaler Klaviersommer (Germany).

She has been a frequent soloist with the "MELBOURNE MUSICIANS" under conductor Frank Pam.

She has recorded for WDR, NDR and MDR (Germany), WNYC New York, K-USC Los Angeles, ABC National, Australia, MBS-FM Melbourne, Australia and Swiss and Italian television, KMIX Radio Los Angeles, California USA
JXFM Radio Tokyo, Japan, WNYR Radio New York, New York USA, WMBR Radio Rio De Janeiro, Brazil, WCTR Radio Chicago, Illinois USA, KXRL Radio Los Angeles, California USA, KEDG Radio Sydney, Australia, KHSX Radio Houston, Texas USA, WLDN Radio London, United Kingdom, WMIC Radio Miami, Florida USA

Her multiple CDs include her own transcriptions of Robert Schumann’s “Dichterliebe” with Marcus Reissenweber and Christoph von Sicherer, works by “In Sun Cho” for the Contemporary Music Society in Seoul, Korea, Villa Lobos with guitarist Stefan Grasse, the “Ibert Cello Concerto” recorded in 1999 at Radio Hilversum combined with solo cello works by Henze, Lutoslawki, Stahlke, Magrill, and the Rachmaninov Sonata in g-minor with pianist Michael Staudt. She has released two CDs of Cello Compositions by Sam Magrill and recorded “Trios” by Brahms, Tchaikovsky, Beethoven and Michael Daugherty, as well as the first volume of the “Suites for Cello Solo” by Johann Sebastian Bach.

Recent CD recording projects include "romanza, pasion y danza" with guitarist Stefan Grasse; a Beethoven CD with Ben Davis, "Music for Peace;" David Maslanka's Cello Concerto "Remember Me," and Carter Pann's Cello Concerto "High Songs" with the UCO Wind Symphony under conductor Dr. Brian Lamb.

Following her appointment at James Cook University from 1992-98, she is now a professor for cello, chamber music and historical performance practice at UCO. She is the co-founder of the UCO Outreach Music program together with Dr. Chindarat Charoenwongse (now the director).

Remy was a Visiting Fellow Performance at Harvard University 2010-11. For the academic year 2011-12, she was appointed Visiting Scholar at Harvard University. She also reviews for the national ASTA magazine and is a voting member of the "Grammy Foundation".

With Dr. Ted Honea, she is the co-founder and general program coordinator for the Brisch Center for Historical Performance at UCO.

Tess Remy-Schumacher, D.M.A., teaches undergraduate and graduate applied cello, applied baroque cello, applied cello pedagogy, chamber music and the online class, Western music appreciation.

She is also the founder and general coordinator (2012-22) of the Brisch Center for Historical Performance at UCO.

Music, People, Reading, Scuba diving and Nature.

You are always welcome! But please check before that I am not teaching.

Dr. Tess loves working with public school students and performing for the local community.

• Community concerts have included:
• McDowell Club and Ladies’ Music Club
• International Armstrong Cultural Foundation   
• Virginia Campbell Concert Series
• local Church Concert Series
• Schools and Retirement homes
• Fund raising house concerts

Dr. Remy-Schumacher was a Visiting Fellow Performance at Harvard University 2010-11. For the academic year 2011-12, she was appointed Visiting Scholar at Harvard University.

She has published 20 CDs. Most of these CDs are available on Amazon, iTunes, CDBaby.com and through XOLO, Germany:

https://store.cdbaby.com/Search/dGVzcyByZW15LXNjaHVtYWNoZXI%3d/0

https://www.amazon.com/s?k=tess+remy-schumacher&ref=nb_sb_noss

Reviews include:

• “…Remy-Schumacher’s technique is disciplined…her bow control and mastery of the fingerboard are complete, her intonation is excellent”
  Carnegie Hall/Weill Recital Hall May 7, 2005
  Edith Eisler – New York Concert Review
• “Remy-Schumacher’s Italian sound, feeling for phrasing, technical accuracy and extroverted musicality were musically overwhelming”
  Music Review – Koelner Stadtanzeiger
• “Tess A. Remy-Schumacher demonstrated exceptional qualities of sound, intonation, _expression, creativity and feeling for style.”
  Rome, Italy – International Carlo Zecchi Competition Rome
• “Artistic ability from heaven, energetic playing and big sound …. fight of passion in Beethoven’s Sonata op. 5/2 …”
  Bad Kreuznach, Germany – Allgemeiner Anzeiger
• “…elegance and stylistic discernment…fluency and proportion….The Remy-Schumacher/Hodos collaboration brought forth its [Shostakovich Sonata in D Minor, Op. 40] humor, satire and lyrical pathos splendidly.”
  Carnegie/Weill Recital Hall Debut, June 1995
  Harris Goldsmith – New York Concert Review
• “Sheer excellence…best violoncello-piano combination to perform in Bangkok….highest level of musicianship…Remy-Schumacher rendition of the ‘Adagio’ was so plaintive one felt emotionally drained at its conclusion. ..Compelling…”
  Panya Panichsrisuk – Bangkok Nation
• “Stefan Grasses neueste ‘Gitarrennacht’ – Der Höhepunkt des Abends kam allerdings schon zu Beginn durch die Cellistin Tess Remy-Schumacher und Stefan Grasse an der Gitarre. Insbesondere Remy-Schumacher, deren Vibrato vorher bei Villa-Lobos oder Albéniz verschwenderisch ausfiel, bewältigte die extrem schwierige Bogenarbeit in dem Stück des gebürtigen Bolivianers Zenamon sichtlich solide. Ein ganzes Programm des Gitarrenmusik-Neuerers Zenamon würde man in der Zukunft gerne von Grasse hören.”
  Music review Germany – Abendzeitung Nurenberg
• “Ein sanglich schwelgendes Cello wurde in süßen Melancholien auf diskret akzentuierten Gitarrenharmonien präsentiert wie ein Juwel auf einem Samtkissen. Gelegentlich trat die Gitarre mit Flamenco-Temperament und perkussiver Rhythmik aus der Begleiter-Rolle heraus. Jeder Bariton kann die Frau Professor um Timbre, Klangschönheit und Nuancenreichtum ihres Cello-Tons beneiden – und um die Begleiterqualitäten ihres Partners, der all dies in schönster Selbstverständlichkeit zum Leuchten bringt.”
  Music Review Germany – Frankenpost

The life of a musician and teacher is a life of service to mankind, to the music and composer, the audiences, and most of all students. Music creates a better life for people who have access to it. Music provides a channel for people to get in touch with their own spirit and emotions. I want to install passion in my students for music and for sharing their music with the world to give back. The most important part of music making is to play with heart and soul to be able to touch people's life.

And, as my old professor Lynn Harrell always said in class: "There are no short cuts."

REVIEWS:

Reviews include:

• “…Remy-Schumacher’s technique is disciplined…her bow control and mastery of the fingerboard are complete, her intonation is excellent”
  Carnegie Hall/Weill Recital Hall May 7, 2005
  Edith Eisler – New York Concert Review
• “Remy-Schumacher’s Italian sound, feeling for phrasing, technical accuracy and extroverted musicality were musically overwhelming”
  Music Review – Koelner Stadtanzeiger
• “Tess A. Remy-Schumacher demonstrated exceptional qualities of sound, intonation, _expression, creativity and feeling for style.”
  Rome, Italy – International Carlo Zecchi Competition Rome
• “Artistic ability from heaven, energetic playing and big sound …. fight of passion in Beethoven’s Sonata op. 5/2 …”
  Bad Kreuznach, Germany – Allgemeiner Anzeiger
• “…elegance and stylistic discernment…fluency and proportion….The Remy-Schumacher/Hodos collaboration brought forth its [Shostakovich Sonata in D Minor, Op. 40] humor, satire and lyrical pathos splendidly.”
  Carnegie/Weill Recital Hall Debut, June 1995
  Harris Goldsmith – New York Concert Review
• “Sheer excellence…best violoncello-piano combination to perform in Bangkok….highest level of musicianship…Remy-Schumacher rendition of the ‘Adagio’ was so plaintive one felt emotionally drained at its conclusion. ..Compelling…”
  Panya Panichsrisuk – Bangkok Nation
• “Stefan Grasses neueste ‘Gitarrennacht’ – Der Höhepunkt des Abends kam allerdings schon zu Beginn durch die Cellistin Tess Remy-Schumacher und Stefan Grasse an der Gitarre. Insbesondere Remy-Schumacher, deren Vibrato vorher bei Villa-Lobos oder Albéniz verschwenderisch ausfiel, bewältigte die extrem schwierige Bogenarbeit in dem Stück des gebürtigen Bolivianers Zenamon sichtlich solide. Ein ganzes Programm des Gitarrenmusik-Neuerers Zenamon würde man in der Zukunft gerne von Grasse hören.”
  Music review Germany – Abendzeitung Nurenberg
• “Ein sanglich schwelgendes Cello wurde in süßen Melancholien auf diskret akzentuierten Gitarrenharmonien präsentiert wie ein Juwel auf einem Samtkissen. Gelegentlich trat die Gitarre mit Flamenco-Temperament und perkussiver Rhythmik aus der Begleiter-Rolle heraus. Jeder Bariton kann die Frau Professor um Timbre, Klangschönheit und Nuancenreichtum ihres Cello-Tons beneiden – und um die Begleiterqualitäten ihres Partners, der all dies in schönster Selbstverständlichkeit zum Leuchten bringt.”
  Music Review Germany – Frankenpost
• FANFARE feature review (James V. Maiello): "As a case in point, the University of Central Oklahoma has just released Kindred Spirits, a recording that highlights not only the institution’s band, but also several outstanding faculty members. The program is eclectic and well chosen for variety, beginning with Carter Pann’s The High Songs. Scored for amplified cello and chamber winds, the five-movement suite features UCO faculty member Tess Remy-Schumacher as the soloist; the piece was commissioned by Brian Lamb and premiered by Remy-Schumacher in 2015. The opening movement is quasi-Minimalist, with repeated motives and generally accessible materials. The ensemble is balanced evenly, never overpowering the soloist or becoming too rough. A big-band-inspired movement follows, framing the middle section’s scherzando passages with gently swinging outer sections. Here, both the band and the soloist are lively and fun. The middle movement, “Passacaglias,” allows Remy-Schumacher to shine, playing a lyrical melody that showcases her liquid high range. After a dance-like fourth movement, the piece closes with a simple song that again brings the soloist’s formidable cantabile playing center stage."

• FANFARE feature review (James V. Maiello): "David Maslanka’s haunting elegy Remember Me follows, a fantasia for cello and winds.Remy-Schumacher’s tone glows as she spins plaintive lines, the winds providing a delicate accompaniment, deftly controlled.