The Cello Museum – Composing The Great Experiment: Daniel DiMarino on Cello, Collaboration, Energy, and Voice

What does it mean to write a new piece for the cello—especially for the first time?

In this episode of the Cello Museum Podcast, composer Daniel DiMarino and cellist Dr. Jonathan Simmons take us inside the creation of “The Great Experiment”—a work shaped by collaboration, performance, and a shared search for sound, energy, and voice.

“I described this piece as a study of energy…” — Daniel DiMarino

From its earliest sketches to its premiere, this conversation offers a rare, behind-the-scenes look at how a new work comes into being—and how composers and performers shape it together.

This is not just a story about a composition—it is a story about how music takes shape in real time.

“The Great Experiment” was commissioned to commemorate the USA’s semiquincentennial (250th anniversary).

Daniel DiMarino. Photo Credit: Sasha Kandybin

Daniel has been featured in Strings Magazine and his works have been published by Beckenhorst Press. Listen or watch below to learn more about his composing, including his exciting new piece for cello and piano.

🎧 Listen to the Full Conversation

▶ Watch the Video Version

Prefer video? Watch below.

🎼 Writing for the Cello (for the First Time)

For DiMarino, “The Great Experiment” marked his first concert work for cello and piano—a challenge that required rethinking how sound functions across registers.

The cello’s range, particularly its middle register, presents a unique balancing act. Writing effectively means creating space—allowing the piano and cello to coexist without competing.

Rather than treating the instruments as equals in density, DiMarino approached the duo as a constantly shifting relationship:

the cello carrying melody while the piano provides texture
the piano stepping forward while the cello becomes rhythmic
both instruments moving in and out of shared space

Thinking orchestrally, he imagined a larger sonic world—then reduced it to two instruments.

⚡ A “Study of Energy”

At the heart of the piece is a simple but powerful idea: energy.

DiMarino describes the work as a “study of energy,” shaping its structure around momentum, contrast, and return.

The compositional process was not linear. An early version included a long, slow middle section—but something wasn’t working.

The energy dropped.

So he reworked the form—introducing faster material earlier, building momentum, and allowing ideas to return with greater impact.

Instead of rigid structure, the piece became a journey between musical “worlds,” carefully balanced so that contrast felt intentional rather than disconnected.

🤝 Collaboration: Composer and Performer

Unlike many works, “The Great Experiment” was shaped directly through collaboration.

Dr. Simmons (cello) and Matthew Camastro (piano), not only premiered the piece (2026)—they also contributed to its identity. Dr. Simmons even suggested the title midway through the compositional process.

Matt Camastro, piano and Jonathan Simmons, cello

The result?

A feedback loop between composer and performer:

drafts became more energetic
passages became more technically demanding
the piece evolved in response to real performance

Knowing the performers also gave DiMarino freedom. Writing for musicians he trusted allowed him to push boundaries without hesitation.

The piece was not created in isolation—it was built in dialogue.

The Great Experiment: The Premiere

Watch the premiere performance of “The Great Experiment” (2026) by Jonathan Simmons, cello and Matthew Camastro, piano, below.

Program Notes

Below are Daniel’s program notes for the premiere.

It was a privilege to compose “The Great Experiment” for my friends and colleagues, Jonathan Simmons and Matthew Camastro. This piece has flavors of the late 19th century while also exploring soundscapes prevalent in the later 20th century.

While containing characteristics of a “show piece”, the acrobatics in this work have musical purpose beyond a desire to simply showcase the technical abilities of the performers. I might call this work a “study of energy”, having intended to explore how interactions between the cello and piano act as pushes and pulls with respect to the rhythmic and musical thrust of the music. With the early Hollywood harmonies and textures throughout, it makes sense that Jonathan told me the piece reminded him of the Industrial Revolution, and likened the music, at certain points, to film scores from early American movies. Perhaps my study of and focus on cinematic/film music recently in my career had something to do with the musical choices I made.

I am grateful to Jonathan and Matt for their work on this piece. It was a joy to compose and I am honored to be featured on this program visiting the works of American composers.

Sheet Music

For information about the sheet music for “The Great Experiment,” contact Dr. Simmons.

What Makes Music Sound “American”?

One of the central ideas behind the work was the concept of an “American” sound.

For DiMarino, this isn’t a single style—but a collection of musical tendencies:

harmonic movement by whole steps
open, spacious harmonies
influences from composers like Copland
echoes of early Hollywood film scores

There is also something inherently cinematic in the way the piece unfolds.

Rather than static form, it moves toward destinations—moments of arrival that feel almost like scenes in a film.

This sense of narrative—of forward motion and transformation—is, for DiMarino, a key part of the American musical voice. It is a language shaped as much by storytelling as by harmony.

🎬 Beyond the Concert Hall: A Cinematic Ear

DiMarino’s background extends beyond concert music into:

music production
film and trailer composition
educational and sacred music

These experiences shape how he hears music—not just as notes on a page, but as sound worlds.

Texture, color, and atmosphere play as much of a role as melody and harmony.

It’s this blend—concert tradition with cinematic thinking—that gives “The Great Experiment” its distinctive voice.

🎧 Accessibility and Audience

At the core of DiMarino’s philosophy is a clear priority: connection.

“I’m not particularly interested in my ideas just being my ideas… I want something approachable…” — Daniel DiMarino

For him, writing music is not about isolation or abstraction—it’s about communication.

That doesn’t mean simplifying or compromising. It means:

considering the listener
shaping musical ideas with clarity
creating something that resonates beyond the page

In an era where new music can sometimes feel distant, this approach is both refreshing and necessary.

🔗 Learn More

🎻Daniel DiMarino

Daniel’s Website
Daniel on Instagram: @danieldimarinomusic
Daniel on Facebook

🎻Dr. Jonathan Simmons

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AI Contribution

The Cello Museum AI Assistant helped with this podcast episode and show notes.