Kealia Grace Smith, a cellist and pianist, is a junior at the Marine Academy of Technology and Environmental Science in Ocean County, New Jersey. She began her musical journey at age six on piano, adding cello two years later.
A cello student of Thomas Kraines, she is a member of the Philadelphia Youth Orchestra and the cellist in Settlement Music School’s Advanced Study Edward L. and Gail W. Snitzer String Quartet. Kealia is a Philadelphia Music Alliance for Youth (PMAY) Artist, and she was recently a featured soloist with the Monmouth Symphony Orchestra as the winner of their concerto competition. Kealia is a 2025 recipient of the Bruce Montgomery Foundation for the Arts Springboard Grant and the Union League of Philadelphia and Founding Forward Good Citizenship Award.
Kealia studies piano with Marcello De Vita and conducting with Rosalind Erwin. She has performed in numerous master classes and has attended the Heifetz International Music Institute, the Ascent International Cello Festival, the Credo Chamber Music Festival at Oberlin Conservatory, and the Music and Mindfulness Camp.
She has been featured on local television and radio stations for her arrangement, recording, and video of the Ukrainian National Anthem, which helped to raise money for those impacted by the conflict.
Kealia enjoys volunteering for Project Terrapin and as a Schoolhouse SAT tutor, is a defense attorney on her school’s Mock Trial competition team, and served as Miss Stafford 2023 with a platform of bringing classical music to her community.
10 Questions with Kealia Grace Smith:
1. What’s your favorite part about playing cello in an orchestra?
I love getting to collaborate with so many other musicians who share the same passion for sharing their gift with others. Being a member of an orchestra serves as a constant reminder of just how much we can accomplish when working toward the same end goal!
2. For Play On Philly's recent Jubilee Concert, you were featured on the world premiere of Autumn Fantasia, the double concerto written by composer Kevin Day. What was it like to perform a piece that had never been performed before?
It was truly an honor to premiere Kevin Day’s double concerto! Usually, when I’m learning a new piece, I’ll find the score to follow along and listen to multiple recordings, but this time, I only had the cello sheet music to work (with) before the first rehearsal. I also loved being able to work with the composer directly, especially since I could confirm that my interpretation and phrasing was how he intended it to be! It’s also exciting to think that I got to be the first cellist to help bring this music to the world through our debut performance.
3. How would you describe the sound of the cello?
I would describe the sound of the cello as extremely versatile and voice-like; it can produce such a wide range of notes, which makes its repertoire so exciting! Since the cello’s range corresponds with the range of the human voice, the cello can create a rich, resonant quality that mimics that of a singer. Having sung in choir and theatre, it’s helpful to be able to relate my vocal training to my cello playing.
4. What was one thing about your instrument that surprised you when you started learning to play?
When I started learning cello, I was so surprised by the size of the calluses I’d need to build up in order to play, especially in thumb position! It used to take so much effort to hold the strings down without it feeling uncomfortable, so I kept practicing in order to build up my calluses and develop more stamina. (I have a noticeable bump on my left thumb now, but it’s 100% worth it!)
5. What are some differences between your musical experiences as a pianist and cellist?
Nearly all of my collaborative experiences so far have been as a cellist, since there are so many more orchestral and chamber opportunities for strings compared to piano. Most of my time as a pianist has focused on solo works, but I’ve had plenty of vocal-piano experience as well, from singing in church to impromptu karaoke with friends! I hope to incorporate more piano accompaniment into my future career. As for the instruments themselves, I love how I can use one to help the other: piano gives me a greater awareness of the multiple moving parts in chamber settings, and the natural phrasing of the cello helps me create stronger phrasing on the piano. Being a pianist is also extremely beneficial for playing orchestral scores to improve my conducting!
6. Do you have any hidden talents?
Outside of music, I’m an attorney for my school’s Mock Trial competition team. I made it to the county finals with my team this year, representing the defense. I’m also awaiting my biliteracy certification in Spanish and am an aspiring polyglot; I love learning a variety of other languages!
7. What was an experience that was impactful to you in your musical journey?
One experience impactful to me was getting to work with soloist Sheku Kanneh-Mason in a masterclass last December. He has been one of my greatest inspirations since hearing him perform at the royal wedding (only a few months after I started playing the cello); I admire not only the incredible emotion in his playing, but also him as a person and his passion to make music accessible to everyone. Getting to perform and receive feedback from him was such an amazing experience, and I continue to work on incorporating his advice into my interpretations of the Bach Cello Suites.
8. What are you currently reading?
Right now, I’m currently reading Musicophilia by Oliver Sacks for fun and Shakespeare’s Macbeth in English class!
9. What advice would you give your 9-year-old self?
I would tell my 9-year-old self to keep believing in herself and persevering through any setbacks. There were plenty of circumstances and interactions that made me doubt my ability and potential growing up as a musician, so I truly wish I could’ve reminded her to trust what she knows she’s capable of achieving, regardless of anyone else’s actions.
10. Do you have any advice for people just getting started with learning an instrument?
Never let anyone or anything - be it your location, age, etc. - inhibit your growth as a musician and artist. As someone who felt like I lived too far away from the music scene and started playing the cello much later than my peers, it was very difficult for me to see my potential at times. If there’s one thing I’ve learned throughout my musical journey, it’s this: let your passion for sharing your gift always come first, because that’s truly what is most important; that passion will eventually lead you to where you’re meant to be!
Kealia's Recommended Playlist:
