Seoyoen Min’s Journey to Principal Chair
When Principal Cello Seoyoen Min begins to play, something in the orchestra’s sound shifts; the room seems to warm, the texture deepens, and the music takes on a distinctly human glow. Her voice within the ensemble is unmistakable, shaped by a life of curiosity, discipline, and an instinctive connection to the instrument she first picked up at five years old. But behind that voice is a remarkable journey that began with a mother’s dream, a sibling connection, and a young musician who never imagined she would one day lead an American orchestra’s cello section or step into the spotlight to perform one of the most electrifying concertos in the repertoire.
For Seoyoen, music has always been a family affair.
“My mom is a music lover and an amateur pianist,” she recalls. “I think she originally dreamed of having a family piano trio with her daughters. My older sister started playing the violin, so it was natural for me to pick up the cello.”
It wasn’t long before she discovered that her mother’s dream had set her on her own lifelong path. “I’ve always loved the natural, human sound of the cello,” she says. “It still amazes me how beautiful it can be. Also, listening to my sister practice Mozart’s Violin Concerto No. 5 about fifty times a day made me realize how lucky I was to have half as many notes as she did,” she laughs.
What began as a sibling compromise became a calling. Music was the constant language of her childhood, a way to understand herself and the world around her. “Music was always part of my everyday life,” she says. “It gave me a sense of belonging and purpose early on. Whether I was practicing alone or performing with others, it always helped me feel connected to people and to myself.”
Min’s decision to pursue music professionally crystallized during her university years in South Korea. She vividly remembers the first time orchestral music moved her beyond words.
“Our university conductor, Hun Jeong Lim, really showed me the power of orchestral music,” she says. “Performing the last movement of Mahler’s Third Symphony was unforgettable. It felt almost like an out-of-body experience and made me realize how deeply I wanted to keep doing this.”
That sense of transcendence has guided her ever since, through years of rigorous study and competition, across continents, and ultimately to her current home on stage at Boettcher Concert Hall.
But it was the moment she learned she had won the audition for Principal Cello of the Colorado Symphony that marked a new chapter.
“I was over the moon…Joining the Colorado Symphony felt like the perfect combination of doing what I love and being part of a community of amazing musicians.”
“I was over the moon,” she says, smiling. “Who wouldn’t love living in Colorado and getting to make music for a living? Joining the Colorado Symphony felt like the perfect combination of doing what I love and being part of a community of amazing musicians.”
As Principal Cello since 2019, Min anchors the orchestra’s rich, resonant sound while also guiding her section with quiet confidence.
“I really love our section and trust them completely,” she says. “I try not to micromanage but to offer guidance when it’s needed. The most important thing is remembering that we’re one team, and that listening and trusting each other always come first.”
Her approach to leadership reflects her belief that artistry and technique are inseparable. “For me, technique and expression go hand in hand,” she explains. “The more comfortable I am technically, the more freely I can express myself. I always try to make the cello feel like part of my own voice so the music comes through naturally.”
That philosophy extends to her work with Music Director Peter Oundjian, a collaboration she describes as both inspiring and humbling. “Peter is such an inspiring musician. I grew up listening to his recordings with the Tokyo String Quartet, so it’s really special to now work with him in person. He brings so much experience and insight to every rehearsal. Making music with him and with my colleagues here is truly a privilege.”
This season, Min takes center stage for her solo debut with the Colorado Symphony, performing Shostakovich’s Cello Concerto No. 1. The program, conducted by Oundjian, will also feature works by Debussy and Dvořák, a fitting pairing for a cellist whose playing combines lyrical sensitivity with steely precision.
“I feel so grateful for the opportunity to perform with my colleagues in this way,” she says. “One of the best parts about playing with your own orchestra is the trust that already exists between everyone. That kind of connection makes it easier to take risks and create something special together.”
For Seoyoen, the Shostakovich concerto is not just a virtuosic showcase, but a deeply personal musical statement: raw, intense, and vulnerable. “It’s a piece that pushes you emotionally and physically,” she says. “You have to dig deep, but that’s what makes it so powerful.”
Away from rehearsals and performances, she finds balance in the simple pleasures of daily life. “Finding balance is always tricky in this field, since it’s easy to never stop working,” she admits. “I try to take days when I don’t think about the cello at all and just enjoy life. I love watching movies, spending time outside, and giving myself space to reset so I can come back to music feeling fresh and inspired.”
She also enjoys exploring new creative outlets, including a starring appearance in CU Anschutz’s “Never Dream Alone” marketing campaign which featured an exhausting 12-hour video shoot in Boettcher Concert Hall. “It was such an interesting experience,” she says. “Seeing how a film crew operates up close was fascinating. It gave me a new appreciation for all the creativity and teamwork that go into telling a story in a different medium.”
Whether leading her section, performing chamber music, or stepping forward as a soloist, Seoyoen’s artistry is grounded in the same values that first drew her to music as a child: connection, honesty, and expression.
“I really love playing small chamber music,” she says. “It’s so personal and honest, and I love the close connection that happens when a few musicians are truly listening and responding to each other. Some of my favorite musical memories have come from those kinds of moments.”
It’s that same spirit of listening and collaboration that defines her work with the Colorado Symphony and that audiences will feel when she performs the Shostakovich Cello Concerto No. 1 in February.
“Music has always helped me feel connected,” Min reflects. “That’s what I hope people feel when they hear us play — that sense of being part of something beautiful together.”
