French Cellist Juliette Herlin’s ‘Dialogue’ Taps into Debussy and Schumann

By Greg Cahill | From the November/December 2025 issue of Strings

The goal was simple enough: Rising star cellist Juliette Herlin set out to record an album that invites listeners to explore the subtle connections between the music of Romantic-era giants Robert Schumann and Claude Debussy, whose works, the liner notes to Dialogue (Orchid Music) point out, “though separated by time and geography, share a profound musical intimacy. Drawing on both composers’ affinity for the art of song and the expressive possibilities of the cello, Dialogue offers a unique perspective on these enduring masterpieces.”

Mission accomplished.

Herlin, 34, accompanied by the sublime pianist Kevin Ahfat, alternates the works to give the listener the sense that these legendary composers are, indeed, engaged in a nuanced musical conversation. So, Schumann’s tender Liederkreis, Op. 39, No. 1, is followed by Debussy’s charming Nuit d’étoiles, L. 4, which, in turn, is followed by Schumann’s playful Fantasiestücke, Op. 73, and so on. Along the way, Herlin and Ahfat demonstrate just how richly rewarding a cello and piano pairing can be.

At 16, Herlin entered the Conservatoire National Supérieur de Musique de Paris. She obtained her bachelor’s and master of music degrees studying with Jérôme Pernoo. She later pursued studies at the Juilliard School with Richard Aaron and received a doctor of musical arts degree from the University of Southern California under the guidance of Ralph Kirshbaum. Herlin currently holds the position of assistant professor of cello at the Texas Christian University School of Music in Fort Worth, and is the co-founder and director of the Texas Chamber Music Institute. But her abilities stretch beyond her classical training: She has collaborated with the late jazz saxophone legend Wayne Shorter and bassist Esperanza Spalding, and has studied Baroque cello with Bruno Cocset and Phoebe Carrai.

Her cello is Italian, circa 1800, and is attributed to Pietro Pallotta. She plays with a bow by Victor Fétique and uses Larsen strings.

Strings asked Herlin about the recording of her impressive debut album.

What drives the universal theme to the music on Dialogue?

What connects all the pieces on Dialogue is both composers’ pursuit of a musical language defined by interiority, emotional depth, a sense of fantasy, and a common affinity for the art of song.

How did you select this particular repertoire?

For my debut album, I was drawn to composers who not only shaped my artistic identity, but who also feel intertwined with my personal and musical roots. Schumann’s music has accompanied me since childhood—its soulfulness, fantasy, and striking contrasts have always spoken to me. Debussy, on the other hand, embodies a cultural connection to my home country, France. Beyond that, Debussy was a major focus of my father’s work as a musicologist, which naturally made him a central figure in my musical upbringing.

What led to the idea of alternating these works to create a dialogue between two composers known for intimate compositions?

I was interested in creating a musical journey where the works of Schumann and Debussy could speak to each other across time, style, and tradition. While their musical languages are distinct, alternating their pieces allowed me to highlight unexpected resonances: moments where their sensibilities align, or where one composer’s voice casts new light on the other. This dialogue invites the listener to hear both the contrasts and the subtle continuities in the works chosen.

Tell me about the Liederkreis song cycle. It is a conversational piece addressed to one’s beloved. That can be far-ranging. How do you approach it emotionally?

For both Schumann and Debussy, the art of song was a deeply personal genre, often linked to a loved one. In Schumann’s case, [his wife] Clara was not only the inspiration, but also the recipient. The dialogue between the voice and the piano in his songs reflects their relationship. The text and the words—in how they relate to the harmonies and melodic line—were essential in guiding my interpretation and in trying to capture the essence of each song.

That piece was written at a time that is known as Schumann’s ‘Year of Song.’ It is some of the era’s most beautiful music. How does the song-like quality of his work appeal to you? 

Having grown up listening almost daily to Schumann’s song cycles, Dichterliebe in particular, I’ve always been drawn to their depth of expression and the way he treats vocality. Even though the poems were a source of inspiration for the performance, I also find the idea of “song without words” quite powerful.

Fantasiestücke, Op. 73, II, especially offers a more playful side of Schumann. How did you approach that, and what does it say about the composer?

The playful side of Schumann’s music is present throughout his works and is reflected in the title of this piece: Fantasiestücke, or “Fantasy Pieces.” This sense of fantasy echoes the humor and mischievousness found in the second movement of Debussy’s Cello Sonata, as well as the lightness of his Intermezzo. This aspect of Schumann’s writing is often described as being embodied in the figure of Florestan—playful, fiery, and rhythmically driven—who stands in contrast to Eusebius, the more dreamy and introspective side of his personality. These two characters represent the emotional dualities that run through his music and are especially present in the shifting moods of this piece.

The opening passage of the Cello Sonata in D minor, CD 144, II, has such wonderfully woody acoustic tone. It’s like your violin melded with the piano. Tell me about the duo relationship and how it flourishes so perfectly here.

Kevin Ahfat and I first met over a decade ago at the Music Academy of the West, playing the Ravel Trio. From the very beginning, we felt a natural musical connection, along with a shared love for French repertoire. Over the years, we’ve had the opportunity to explore this music in depth, including premiering a newly discovered Sonata for Cello and Piano by Saint-Saëns and through multiple performances of the Debussy Sonata, among other works. Our interpretation of the Debussy has continued to evolve over time, and this recording feels like the culmination of that duo partnership.

Did you use the Heifetz violin arrangement of Beau Soir?

I did not use Heifetz’s arrangement. Instead, I tried to stay as close as possible to Debussy’s original version for voice and piano. The cello’s wide range allowed me to explore different registers and enhance the natural vocal quality of the instrument. My hope was to give the piece a sense of amplitude and depth while preserving its intimate, song-like character. 

You close with a dreamy rendition of Debussy’s Rêverie. What is your connection to this work?

I came across this arrangement of Rêverie by [Ferdinando] Ronchini—the only piece on the CD that I didn’t arrange myself —and immediately felt it was the perfect way of ending the album on a poetic and contemplative note. It also further reinforces the idea of transcending instrumentation, since many of the works on the album were not originally written for cello.

You have to be pleased with the results—it’s an elegant and enchanting album. What do you hope listeners take away from this recording?

I hope listeners will be drawn to the subtle connections between Debussy’s and Schumann’s music, and that their intertwined musical worlds offer a fresh perspective on both composers’ works. Most of all, I hope that this invitation to experience their intimate dialogue—as well as the one between the cello and piano—resonates with listeners as deeply as it has with me.