Getting to Know Irena Josifoska: A Conversation with the Rising Star of Cello

Photo by Peter Adamik

In this exclusive interview, Irena Josifoska, a cellist whose passion, dedication, and artistry have already made a remarkable impression on the classical music world, sits down with Vuk Stevanović, editor at Krokodil Studio. With an early start to her musical journey and a deep commitment to her craft, Irena offers a unique perspective on what it means to be a modern musician. From her formative years to her experiences on the world stage, this conversation provides an intimate and personal look into the heart and soul of an artist who continues to captivate audiences with both her technical mastery and emotional depth.

Join us as we discover more about Irena Josifoska—an artist driven by passion, curiosity, and the love of music, as shared through this thoughtful exchange.

Vuk: You began your musical journey at such a young age. What inspired you to start playing the cello at the age of five, and how did your early experiences shape your musical identity?

Irena: I come from a family of musicians. Everyone wanted me to play the violin, but I fell in love with the cello and didn't give up for six months, until my mother brought home a small cello! It was love at first sight—and sound! You are right, the beginnings are extremely important in shaping one’s musical identity. I was lucky to have so many opportunities to perform on stage, even as a soloist with orchestras, so I always loved playing for an audience and sharing my emotions, imagination, and colors through music. This made me want to practice and perform more. Even now, if I go more than five days without my cello, I feel lost and have this strong need to pick it up again. That connection, and my love for the stage, have stayed with me since I was very young.

Vuk: You've studied at prestigious institutions like the Hochschule für Musik in Detmold and the Universität der Künste in Berlin. How have these experiences influenced your approach to music and performance?

Irena: At the age of 18, I was very afraid to leave Serbia and move to a new country. I always liked to travel for a week or two, but moving to Germany was a very stressful experience for me. It was the one thing my mother pushed me to do in my life, even though I didn't want to, and I’m so thankful to her for that. These two universities, with my two incredible teachers Xenia Jankovic and Jens Peter Maintz—both extraordinary musicians with so much knowledge and wonderful personalities—were truly life-changing. The surrounding classical music environment at such a high level, learning from the best musicians and performing with them, shaped me profoundly. I gained so much knowledge and a much wider perspective on music. It was truly precious and priceless.

Vuk: You've performed with renowned orchestras and at world-famous festivals. Are there any particular performances or moments that stand out as particularly memorable in your career so far?

Irena: Oh, that's a very difficult question! I've been so lucky to have many memorable concerts and moments on stage. If I started listing them all, no one would continue reading this interview! Haha! But the first things that come to mind are the Ravel Duo with Guy Braunstein in Berlin, where I felt like we were having an incredibly interesting conversation on stage, with so many dialogues and spontaneous moments. Another memorable moment was playing Strauss’s Metamorphosen in Hohenstaufen, where many of us on stage started crying during the performance, which doesn’t happen often.

Vuk: The title of your album, Cogitationes, suggests deep reflection. Can you tell us more about the thought process behind choosing this title and how it relates to the pieces on the album?

Irena: Well, it’s easiest to put random pieces together on a CD, but I had a feeling I needed a story, a connection between the pieces on my debut solo album. Thoughts are personal, but everyone has them. They are always there—sometimes we express them aloud, sometimes we wonder about other people’s thoughts, but we can never truly know them. Thoughts can sometimes seem insignificant, but a single thought can change our lives. This program is all about thoughts—everyone has them, and for each kind of thought, there is a piece. Dall'Abaco’s 11 represents very clear thoughts, with different emotional backgrounds; Hartig presents more messy, fleeting thoughts that are not very clear; and then, in the end, Britten’s work touches on more philosophical thoughts, which we all experience from time to time.

Vuk: How do you navigate the balance between honoring tradition and exploring new musical territory in your work?

Irena: This is a very philosophical question, and I need some "Brittenish" philosophical thoughts to answer it! Haha! Tradition is present in many different ways. It’s about understanding how to play in a particular style, following specific rules, and respecting the knowledge passed down through generations. I try to stick to these traditions as much as possible. But sometimes, tradition can become limiting—like when one person plays a piece much slower than the composer intended, and then everyone else copies that interpretation simply because it's from a famous cellist. I try not to follow that kind of tradition but to find my own path by reading the score and understanding what the composer actually wanted or how I interpret it. However, I always try to add something personal and new to the piece if it makes musical sense.

Vuk: In your performance of Cogitationes, you capture a range of emotions, from introspection to more energetic passages. How do you prepare emotionally and mentally to bring such varied emotions to life through your playing?

Irena: It’s very important for a musician to also have a full and varied life, because that’s how you gather all those emotions to channel through your music. I will always play better if I’ve had different life experiences (good and bad) recently, than if I’ve spent a few “empty” days just practicing without experiencing life outside the music.

Vuk: What do you hope listeners take away from this album?

Irena: If I managed to inspire someone or touch their emotions, then this album will have been a success.

Vuk: You’ve worked with many renowned artists and ensembles. How have these collaborations influenced your development as a cellist and as an artist?

Irena: At a certain point in one’s development and career, these collaborations are just as important as lessons with your teacher. Working with such fantastic, experienced musicians pushes you to elevate your own playing. Many times, I’ve been so inspired by someone I’ve played with that I’ve said to myself, “Okay, I have to rise to their level and play this theme as well as they did.” It’s not always easy, but it has helped me grow a lot.

Vuk: As someone who has achieved so much at a young age, do you ever feel pressure to continually push the boundaries of your artistry? How do you stay inspired and keep growing as a musician?

Irena: How did you know?! Exactly, that’s the tricky part! Of course, it’s amazing to achieve a lot at a young age and many people envy you for that, but it’s not easy at all—neither for yourself nor because of the expectations from others. But whenever I feel the pressure, I remind myself of why I’m doing this and how much I love it. Love always wins over pressure. In the end, this is one of the most wonderful jobs you can have on this planet. 😊

Photos by Peter Adamik

Vuk: You’ve been recognized with numerous awards throughout your career. Which achievements or awards do you hold most dear, and what do they mean to you on a personal level?

Irena: I was never a fan of competitions, to be honest. As Bartók said, "Competitions are for horses, not artists." I completely agree with that! However, as my very dear cellist friend Marcio Carneiro once told me, "The competition process is important for you until the moment you step on stage. After that, it doesn't matter anymore." I learned a lot through preparing for competitions—especially in terms of repertoire and learning how to juggle multiple pieces at once. This has been invaluable in my life as a "real" musician. However, the awards I hold most dear aren't from competitions. It's the recognitions I’ve received from festivals—especially from the Verbier Festival—and foundations. These honors are more about your overall musicianship, personality, and being as an artist. That being said, the "Gabrielli Competition" was very dear and meaningful to me, as well as the "Queen Elisabeth Competition," because they introduced me to a wider audience and opened many doors for me.

Vuk: Are there particular composers, musicians, or life experiences that have shaped your artistic vision and approach to performance?

Irena: It’s a combination of everything you experience, whether it’s a good or bad experience, a fantastic or disappointing concert, or a piece you liked or didn’t like. Of course, my biggest influences have been my teachers and the people I’ve played the most with—these have all been the best possible experiences. As a young person, I was also influenced by some recordings—Yo-Yo Ma, for example, had a huge impact on me. But in the end, it’s a combination of all of these things that help you find your own voice and path.

Vuk: What are your plans for the future? Are there any upcoming projects or collaborations you're particularly excited about?

Irena: I’ve never been one to plan too far ahead (even though my next 10 months are fully planned, haha). You never know where life will take you, but I know what I want and what I don’t want. I try to stay open to whatever life offers. As for upcoming projects and collaborations—there are so many things to look forward to! A few CD recordings with ensembles, some wonderful festivals with fantastic musicians, concerts, travels... As I said, this is one of the most wonderful jobs!

Vuk: Is there a particular dream or goal you have yet to achieve in your musical journey?

Irena: I love teaching, so I really hope that, sooner or later, I will have the opportunity to hold a university position and pass on all the knowledge and experience I’ve gained.

Vuk: For aspiring cellists or musicians who look up to you, what advice would you offer as they navigate their own artistic paths?

Irena: There is space for everyone in this world, and everyone has their own path. Believe in yourself and push boundaries every day. Let others inspire you, but always compete only with yourself. Don’t envy anyone—you never know what is happening "behind the scenes" of someone else’s life. Learn, travel, stay open, and listen!

As Irena Josifoska continues to evolve as an artist, we invite you to follow her journey and experience the passion and dedication she pours into every performance. Stay connected with her through her social media channels, where she shares updates, performances, and glimpses of her life as a musician. By supporting artists like Irena, you are not only enriching your own musical experience but also helping to nurture the future of quality music. Keep listening, stay inspired, and continue supporting the artists who bring meaningful, heartfelt music to the world.