Top 123 Cello Quotes & Sayings - Page 2

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.

Electric guitars are an abomination, whoever heard of an electric violin? An electric cello? Or for that matter an electric singer?

I love the cello, I love the physical sense of an instrument that's about the size of your body that vibrates enough that even if you play an open string, you feel it.

If I were to run around the world playing just the cello concertos - and believe me, I love playing them - I would be counting my entire repertoire from year to year on my two hands.

I am dying: it's a beautiful word. Like the long slow sigh of the cello: dying. But the sound of it is the only beautiful thing about it.

I belong to an improv group, I play cello, I have these phases - fencing, tae kwon do, baseball, ice hockey, boogie boarding in the summer, snowboarding in the winter.

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.

I used to play cello. My mother kept me out of school a whole year to study music and counterpoint. She thought I had ability, but I was absolutely without talent.

I remember a moment when the Prince went back to his old school, Grammar School in Melbourne, and slightly to his horror his old music teacher produced a cello.

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.

The paintings are more about physicality and gesture than meditation. I'd compare it to playing scales on the Cello - each sound (pitch and intensity) depends on the manner in which you hold and apply the bow. The same goes for the gesture of applying paint to a surface.

I think a double bass for me would be too much effort. But the cello, you're really engaged and the sound is kind of right here. So, it feels like being merged, married to an instrument.

What I like about 'Game of Thrones' is that there's such a wide range. We have everything from very small, just solo instrument pieces, just the solo violin or solo cello, and then we go all the way to these bigger action moments.

I played the cello from when I was ten, and then I bought a guitar from the father of some friends of mine and played that for a while. And then when I was fourteen or so, I bought a guitar - a real nice one - in Durham, North Carolina, that I worked with up until I was about twenty-five.

Actually, music gave me the support when I needed it. I would never have gone to college unless I'd gotten a piano scholarship. And now I'm so glad I got to learn to play the cello, which is a different experience, you're flexing a different muscle, but it's beautiful because it is music.

Now, we are still learning how to approach girls, you know, learning what to say, etc., because the practice we've had was with our other girl, the cello. If you noticed, it has the shape of a female.

When I was four, we had to choose a musical instrument to play at school, and I chose the cello. I played until I was 18, and although I found it nerve-racking to play solo, I loved playing in an orchestra. When I left school I didn't carry on with it, which I regret.

I would like to learn to play the cello. I would like to paint. I would like to fully understand the concept of pi.

Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.

I learned playing cello in 'Cantabile' and Go in 'Reply 1988.' In 'Moonlight Drawn by Clouds,' I learned horse riding and Geomungo. It's fun to learn new things.

It's like an electroacoustic, surround-sound cello gamba. It embodies everything that fascinates me the most - acoustics, playing instruments, digital processing, movement of sound. Somehow, everything is combined in Ómar.

And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack, I saw him looking up at her and what she was doing the way the eyes of saints are painted when they are looking up at God when he is doing something remarkable, something that identifies him as God.

We get so many kids telling us that they've taken up the violin or cello. It's really special, and it wasn't really our intention in the beginning.

I read a lot of autobiographical stories, and I write plays and prose. And I play piano and cello. A lot of my downtime is devoted to that.

Oh, a man with a guitar is nothing compared to a man with a cello! Girls really like the way that we handle our instruments.

I don't want to discredit people's opinions of me, but you talk about the violin or the cello or lead guitar where you have to learn tons of chords, that's much more difficult.

A cello was there 400 years ago and will still be here in 400 years.

I don't even want to say I'm trying to necessarily popularize classical music, I just want to take this thing, this cello, this sound, and make it artistic so people can understand it today.

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

It's like the piano and the cello are being poured into my body, the same way the IV and blood transfusions are. And the memories of my life as it was, and the flashes of it as it might be, are coming so fast and furious. I feel like I can no longer keep up with them but they keep coming and everything is colliding, until I cannot take anymore. Until I cannot be like this a second longer.

We have a lot of people onstage. We have a live violin, live cello, live drums played on this kind of massive electronic kit with some acoustic elements built in.

I was actually going to go to a conservatory after I graduated college, now I'm thankful that Pentatonix happened because I'm working with singers in this realm of mainstream music, and to learn about how all that comes together has really helped my cello playing.

I loved the idea of playing cello whilst beatboxing, and I ran with it. I didn't realize that it would put me in front of people like Quincy Jones or Chinese Vice Premier Wang Yang, or even lead me to my current job, being the beatboxer of Pentatonix.

I enjoy practicing law too much to even contemplate retiring, but I often think about engaging in serious study of the history of art, of the intricacies of classical music. I could write a fugue, or perhaps learn to play the cello.

If you look at somebody like Bach, he didn't need collaborators to write for keyboards, cello, violin or anything else. I feel the same way about my music. The times that I have worked with other people, I've been very unhappy with the results.

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 was a rebel and I wanted to do something that nobody else did, and nobody else played the cello. Also, I was also a small kid and I liked the fact that it was big.

There are limits to how much sound a cello can make. That's part of the framing of acoustical instruments. Finding what those limits might be, and then trying to suggest perhaps even the illusion of going beyond is part of that kind of effort.

How could anybody think of Bach as 'cold' when these [cello] suites seem to shine with the most glittering kind of poetry," Casals said. "As I got on with the study I discovered a new world of space and beauty... the feelings I experienced were among the purest and most intense in my artistic life!

I decided that I wanted to explore all kinds of music with my cello, not just the Western classical tradition. I just wanted to try and expand my vocabulary and bring that different kind of music to my audience.

And then Adam Wilde shows up at Carnegie Hall on the biggest night of my career, and it felt like more than a coincidence. It felt like a gift. From them. For my first recital ever, they gave me a cello. And for this one, they gave me you.

Sometimes, because of its immediacy, television produces a kind of electronic parable. Berlin, for instance, on the day the Wall was opened. Rostropovich was playing his cello by the Wall that no longer cast a shadow, and a million East Berliners were thronging to the West to shop with an allowance given them by West German banks! At that moment the whole world saw how materialism had lost its awesome historic power and become a shopping list.

With that incredible voice that he [Alan Rickman] could play like a sort of wonderful instrument, like a cello or something. He played his voice, and he could be the most subtle of actors. And he could also be quite a big actor. He could do the grandiose performances as well.

With 'Game of Thrones,' the most dominant instrument would definitely be the cello. That's something I just felt really captured the mood of the show very well.

My mom says that my dad coerced me into choosing the cello. He says that's not entirely true. I don't remember; I was three.

The cello is such a melancholy instrument, such an isolated, miserable instrument.

I think that I make chords when I paint, so I think you would be listening to the cello. It's deep, and it's resonant. A lot of people have compared me to Brahms - that slightly melancholic sensuality that's highly structured. Well, that describes my work right there.

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.

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.

I remember when I first got my cello when I was 8 years old. I remember the room it was in and what the lacquer smelled like. Instruments have just been something very special to me.

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.

The Third Quartet I made the instruments in pairs - Two different pairs - Violin and viola, and violin and cello. They played very different things from each other all through the whole piece.

My mother adores singing and plays piano. My uncle was a phenomenal pianist. My brother John is a double bassist. I used to play the piano, badly, and cello. My brother Peter played violin.

I did a capella for a year at boarding school and then I stopped because at Yale, I think they really focus more on singing than having a beat behind them. So I just did my cello thing.

My teacher, my great cello teacher Leonard Rose, was such a great cellist, and nurturing man, very patient. But I grew up not only admiring him, but obviously Casals, Rostrotovich, Jacqueline du Pre, and many others, including many of my peers and contemporaries.

If being a gangster were a prerequisite to being a musician, there'd be a lot less cello music, for example.

The cello is like a beautiful woman who has not grown older, but younger with time, more slender, more supple, more graceful.

I don't want somebody who writes like me [in my writing staff]. Because I can write like me. I know what I'm capable of and what my limitations are. If you're going to build an orchestra, you don't want all tubas - you want a violin and you want a cello and you want a drum set.

There's that thing that can happen to you when you meet somebody and you don't consider them extraordinary at all and then they do something like play the cello or write amazing poetry or sing and suddenly you look at them completely differently.

I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.