Cello Quotations

It is an attention-getter. I mean, it's hard to ignore a woman lugging a cello around.

Because in classical music cello is not regarded as a popular choice, it's always playing the long, boring notes.

The cello is such a versatile instrument. It can rock like the hardest rock guitar, and it can sing like the human voice. We couldn't do what we do without the classical training. It's a hard instrument to play. There are no frets, and it takes finesse and technique to play.

A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.

Whoever heard of an electric violin, electric cello or, for that matter, an electric singer?

We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.

I particularly enjoy cello music because our daughter plays the cello. I have listened to her practice for so many hours that I am familiar with the music written for that instrument. I am also fond of the popular music of the 1930s because my future husband and I danced to it so many Saturday nights when we were in college.

Even in classical music, the cello doesn't get a lot of respect because the piano and the violin get it all.

I love music. I still play cello a few times a week.

The range of the cello is so big, it can play as low as the double bass and as high as the violin. It has the perfect shape, and its sound is the closest to the human voice.

People don't think of cello as a rock instrument, really, and we want people to know all the possibilities that the cello can offer.

Cello is my first instrument, then piano, drums, bass, violin, recorder, saxophone, but I'd never play them live!

We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.

We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.

It has endless possibilities, and but what we do with our arrangements, we move the borders of cello playing and discover new ways of new techniques of cello playing.

I'm a pretty good drummer. I'm pretty good at guitar, bass and piano. I can play accordion; I'm not virtuoso. I've played cello before. My sister played it, and I know how to play it, but I'm not the best. Violin is kind of the same thing.

She was some sort of queen of something. I don't know. She probably won a lot of contests. I remember she played the cello particularly well.

If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.

It depends on how good or bad the cello was. She might be better off.

I think this has to be the first time in the history of spring training a cello has been hit.

Walter Grossman was a very handsome and interesting man, and in those years a vital and strong influence in my life. He gave me much love and affection, and shortly after my first months of cello lessons, he was very encouraging. I remember him telling my father that some day my name would be up in lights.

I used to practice cello while watching TV and films. I watched several complete TV series this way, including 'Lost' and 'The Wire.' As a kid, I'd read books while playing.

It started when I was eight years old. I first heard the cello on the radio, and I loved the sound. It was such a magical, beautiful sound. I dedicated my entire childhood to cello, practising like crazy.

Oh, the cello comes in different sizes. I started with a smaller cello. But once I started playing, my teacher noticed that I had the hands for it. I also loved it. I couldn't stop playing.

The cello is the most perfect instrument aside from the human voice.

In celebrating Shostakovich, it's difficult to decide which works not to do. I've decided on two concertos ? the one for cello that Giora conducts and the First Piano Concerto.

I had to learn to play the cello to concert standard.

I record cello Etudes that are fewer than four minutes long and post them on YouTube. How can one execute fully-formed ideas with utmost perfection, yet stay free enough to allow improvisatory nuance? This has immediate application in almost every area of life, but especially in performance.