A Quote by Julia Kent

I'm always anxious in introducing sounds that don't originate with the cello. — © Julia Kent
I'm always anxious in introducing sounds that don't originate with the cello.
I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
I played tennis. My older brother, Joseph, was a cello player, and I played the cello, but he was better than me at the cello, and he was also a better tennis player than me, so I was always like, 'I wish there was something that only I did!'
As Ludwig von Mises conclusively demonstrated in 1912, money does not and cannot originate by order of the State or by some sort of social contract agreed upon by all citizens; it must always originate in the processes of the free market.
I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
People tend to eat through the cello. They tend to take out the things that make it beautifully cello-y sometimes.
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.
I keep saying if I ever get a good amount of quiet time that I want to learn to play cello. It's a very warm instrument. The tone of the cello and the movement - I don't know what is; I love it so much.
There are a lot of ways to be expressive in life, but I wasn't good at some of them. Music, for instance. I was a distinct failure with the cello. Eventually, my parents sold the cello and bought a vacuum cleaner. The sound in our home improved.
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.
The cello is a hero because of its register - its tenor voice. It is a masculine instrument, whereas the violin is feminine because of its soprano pitch. When the cello enters in the Dvorak Concerto, it is like a great orator.
I think I'll always feel a little in awe whenever I see someone in their 20s or 30s carrying a cello or violin case - because I know, if they're doing it professionally, how many years of practice have gone into being able to make music with them. And the sounds they can make just hit me very hard, and feel full of limitless complexity.
I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.
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 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.
This site uses cookies to ensure you get the best experience. More info...
Got it!