I've never heard anything that so clearly suggests the agony of primitive man as your attempt to play the cello.
Yo-Yo Ma will play the cello. Alice Waters will cook. Joel Coen will chat about "True Grit," and Meryl Streep will do a reading.
All this from playing the violin and the cello.
When I picked up the cello in my early twenties, people were really bewildered by that.
That morning we woke up, turned on the TV and, as I recall, saw someone playing the cello instead of the customary programming.
Read “The Cello Suites”—preferably with their melodious hum in the background—and you will never look at a cello in quite the same way again.
He looks like he's in great agony when he plays the cello, probably because he was dramatically ripped off when he bought it.
Then came Yo-Yo Ma ’76, swaying and ecstatic, playing sonorous Bach on his cello. Afterward, President Drew Faust joined him on the tented stage in front of the Memorial Church.
They would thenbe free to bow out, burn their Guevara posters, take up thatlong-neglected cello again and talk about something moreintriguing than the Asiatic mode of production.
A cello prodigy at the age of four, he entered the prestigious1 Juilliard School in 1962.
Classical instruments like the violin or the cello are boring, you say, and definitely not cool.
Beethoven's five sonatas for cello and piano represent his three major creative periods.
This doesn't mean, of course, that we can just play Yo Yo ma in the background and expect to master the cello, or put the textbook underneath the pillow and expect to ace the algebra test.
Casals's superb rendition ensured the cello suites attracted a mass following, and they became the hallmark of the virtuoso cellist's fabulous career.
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