Cello Quotes

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 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 am a singer, first and foremost, but the medium happens to be the cello.

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.

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

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

I’ve spent some time in Edinburgh before. I used to go up there to busk and actually went to the Fringe a few times as a teenager with my cello.

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.

I’m interested in directing attention and focus, explored through playing cello.

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.

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.

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.

When I die, I’d like to come back as a cello.

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

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.

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

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.

I’m a sucker for emotionally exploitative cello.

I studied the cello for a long time, from when I was little up through college.

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 enjoy singing, and the instruments which truly move me are the horn, the trumpet and the cello.

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.

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.

I love Bach cello suites, I love punk music, I love old blues, negro spiritual quartets, Muddy Waters’ ‘You Need Love.’ There is a simplicity but also a bite that connects all that music, from the growl in the cello to the timbre in Muddy’s voice.

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 was the good girl. The straight A student, on the honour roll, part of the choir… I played the cello badly. I did plays.

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.

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.

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.

I love the name ‘Stella McCartney.’ It’s a beautiful name the way it rolls off the tongue. A couple of years ago, I wrote a cello concerto and used that as the basis for the rhythmic and melodic structure of the main motif of the cello part.

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 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 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.

We knew we wanted to have our own tone for the show. And then the big instrument that actually we came up with was the cello. It has a big range. It can play really low. It can play high. And it has a dark sound, and ‘Game Of Thrones’ is obviously – it’s a dark show, and the cello became the featured instrument.

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.

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 played cello in my high school orchestra.

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

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!’

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.

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 play guitar, bass, drums, piano, and pretty much any sort of stringed instrument – besides violin or cello.

When I started learning the cello, I fell in love with the instrument because it seemed like a voice – my voice.

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

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.