The cello is like a beautiful woman who has not grown older, but younger with time, more slender, more supple, more graceful.
The love of one's country is a splendid thing. But why should love stop at the border? There is a brotherhood among all men. This must be recognized if life is to remain. We must learn the love of man.
As you read a book word by word and page by page, you participate in its creation, just as a cellist playing a Bach suite participates, note by note, in the creation, the coming-to-be, the existence, of the music. And, as you read and re-read, the book of course participates in the creation of you, your thoughts and feelings, the size and temper of your soul.
The child must know that he is a miracle, that since the beginning of the world there hasn't been, and until the end of the world there will not be, another child like him.
Freddie [Highmore] is great in the movie [August Rush]. It comes out this Fall and I play a young cellist, a prodigy, who is touring and doing concerts. She's very young and has a one-night fling with an Irish rocker, played Jonathan Rhys Meyers, who is also a really talented musician.
What most interests me is human connection, whether it's on the street, in community, through music, storytelling, and shared experience. People tell me to be a rock cellist, make money, and give up on the activism so I can make more money.
My whole family is in the arts some way or the other. My father was a cellist in a symphony outside Chicago that was a side-job, he was a scientist. My mother was a dancer in New York. She was next-door neighbors with Dorothy Loudon and they moved to New York together. Mom was a dancer in New York for several years before she got married. My sister was a classical pianist. And my brother was a partier. So it all just seemed to work.
When I was done with high school, I knew that music was really important to me and I knew I didn't want to be a cellist, but I wasn't really sure if I wanted to be a composer, or think about - I was just interested in the ideas behind music, I was interested in mathematics.
For twelve years I studied and worked at them every day, and I was nearly 25 before I had the courage to play one of them in public. Before I did, no violinist or cellist had ever played a Suite in its entirety.
I knew I could never match my father as a violinist, and there were already four generations of outstanding cellists in the family.
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.
I was always jealous of my violinist friends and cellist friends who traveled with their instruments.
Pablo Casals is a great musician in all he does: a cellist without equal, and extraordinary conductor and composer with something to say. I have been profoundly impressed by all I have heard of his work, but he is a musician of this stature because he is also a great man.
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