The Exuberant Joy of Abel Selaocoe

By Leilani Polk 

In his debut concerts with the Seattle Symphony, performing a co-commission of his original work, Four Spirits, cellist Abel Selaocoe serenaded the audience, encouraging everyone to sing and harmonize along as he took us on a lively musical journey and uplifted us along the way. His joy was infectious, his passion and enthusiasm heartfelt, and his dynamic style felt fresh and electrifying in a concert environment that is traditionally somewhat reserved. His percussive cello-playing technique added vibrant texture to his sound, his creativity and love for what he does overflowing from the stage to leave us all awash in a feel-good glow that lasted well after the concerts were over.  

He’ll be returning to perform with the orchestra on February 6 & 8, 2025, in the Selaocoe & Tchaikovsky program with conductor Giancarlo Guerrero at the podium, and brings three more of his compositions to the stage along with a work by Giovanni Sollima, a cello contemporary that he greatly admires. 

Selaocoe grew up in Sebokeng, a township south of Johannesburg that was established by South Africa’s apartheid government in 1965. His older brother Sammy, who played bassoon and took classes at the African Cultural Organization of South Africa (ACOSA), introduced Selaocoe to classical music. Soon enough, Selaocoe started attending ACOSA too, picked up recorder, then studied violin, flute and tuba before making his way to cello. He was drawn to the cello because it could be both melodic and percussive. When he didn’t have access to an instrument during the week, Selaocoe practiced on a broomstick with a paper drawing of the cello strings that Sammy made for him. The school ultimately recognized Selaocoe’s potential and provided him with an instrument to take home, allowing him to devote his after-school time to practicing.   

By age 9, he’d learned the fundamentals, though his roots in Bach and Baroque music were absorbed alongside the hymnal music and spiritual ancestral music of his African culture, which is full of singing and was a big part of his upbringing.  

Selaocoe released an incredible debut album in 2022. Where Is Home (Hae Ke Kae) resonates with his diverse influences, from traditional South African and Tanzanian music to J.S. Bach and the Italian baroque composer Giovanni Platti. In his own compositions, he often uses a form of South African overtone singing called umngqokolo, intoning in deep guttural sounds while improvising on his cello. He’s described his musical journey partly as a merging of his dual identities as a classical musician and African man: “I’ve had to learn to allow classical music and my culture to live in one space rather than separate them.”  

Selacoe releases his sophomore album, Hymns of Bantu, on February 21 via Warner Classics. We caught up with him last fall while he was on the road playing some dates in the U.S. with his Bantu Ensemble. 

During your performance of the Four Spirits co-commission, there were moments where you encouraged the audience to sing and harmonize along. Is this something that is usual in your concerts, or was it specific to this work? Do you usually try to find ways to engage with your audiences, even in the more formal symphony settings?   

There is no formula to an audience, only an agreement that this listening experience is not passive! I love making the audience part of my music and it really depends on the spirit of the evening. 

You will be performing three of your own compositions with the Seattle Symphony: Qhawe (Hero), Kea Morata (I Love Them So) and Lerato (Love). Can you share a bit about the inspirations behind each of these songs? 

Qhawe is a super rhythmic and guttural feeling, about the curiosity of children and the purpose our ancestors passed on to us. Kea Morata is an ode to giving love to those that are still here with you. Do it now! Lerato is about an eternal love for peace amongst all beings. To understand that there are others that seek safety while we are likely in a privileged place ourselves. 

What was the significance of including those Bach works [Cello Suites Nos. 3 & 5] alongside your own works on your 2022 debut album, Where Is Home (Hae Ke Kae)? 

It speaks to how I learned the cello. Some of the music is seemingly simple but over time, evolves into a much deeper exploration. It’s like reading an amazing text that changes shape with your growth. 

You collaborated with Yo-Yo Ma on Where Is Home. What was it like working with him? What were the takeaways that stayed with you or advice he gave you? 

It felt like finding the source or feeling of the music was more important than the notes themselves. That was just part of the process. Kindness in collaboration is also very important. 

What made you choose the Giovanni Sollima work (Selections from  When We Were Trees) to play alongside your own works in the Seattle Symphony concerts? 

He is a rock star of our time! He needs to be known in the cello world and further. Such sincere music with an intention to dazzle, too. 

Abel Selaocoe’s performances are generously sponsored by Stephen and Rebecca Whyte.