Cello Quotes

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.

I want you to play me like a cello.

All I can think about is how fucked up it would be for your life to end here, now. I mean I know that your life if fucked up no matter what now, forever. And I'm not dumb enough to think that I can undo that, that anyone can. But I can't wrap my mind around the notion of you not getting old, having kids, going to Juilliard, getting to play that cello in front of a huge audience, so that they can get the chills the way I do every time I see you pick up your bow, every time I see you smile at me.

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.

Mia and I had been together for more than two years, and yes, it was a high school romance, but it was still the kind of romance where I thought we were trying to find a way to make it forever, the kind that, had we met five years later and had she not been some cello prodigy and had I not been in a band on the rise - or had our lives not been ripped apart by all this -I was pretty sure it would've been.

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.

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.

Sometimes I did feel like I came from a different tribe. I was not like my outgoing, ironic dad or my tough-chick mom. And as if to seal the deal, instead of learning to play electric guitar, I'd gone and chosen the cello.

The Violins waltzed. The Cellos and Basses provided accompaniment. The Violas mourned their fate, while the Concertmaster showed off. The Flutes did bird imitations…repeatedly, and the reed instruments had the good taste to admire my jacket. The Trumpets held a parade in honor of our great nation, while the French Horns waxed nostalgic about something or other. The Trombones had too much to drink. The Percussion beat the band, and the Tuba stayed home playing cards with his landlady, the Harp, taking sips of warm milk a blue little cup. “But the Composer is still dead.

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.

A cello on a winter night in the midst of a frozen city—that was what his voice sounded like.

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!

If God had designed the orchestra, then the cello was His greatest accomplishment.

You’d wait in the orchard for hours to watch a deer break from the shadows. You said it was like lifting a cello out of its black case.

For my first recital ever, they gave me a cello. And for this one, they gave me you.

On the evenings when my parents held parties, the drawing-room mirrors multiplied to infinity the scintillations of a crystal chandelier. Mama would take her seat at the grand piano to accompany a lady dressed in a cloud of tulle who played the violin and a cousin who performed on a cello. I would crack between my teeth the candied shell of an artificial fruit, and a burst of light would illuminate my palate with a taste of blackcurrant or pineapple: all the colours, all the lights were mine, the gauzy scarves, the diamonds, the laces; I held the whole party in my mouth.

Why is it that we understand that playing the cello will require work but we relegate writing to the magic of inspiration?

It [Bach's cello suites] is like a great diamond," said [Mischa] Maisky in a thick Russian accent, "with so many different cuts that reflect light in so many different ways.

Even now I remember those pictures, like pictures in a storybook one loved as a child. Radiant meadows, mountains vaporous in the trembling distance; leaves ankle-deep on a gusty autumn road; bonfires and fog in the valleys; cellos, dark window-panes, snow.

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

Why is it that we understand playing the cello will require work, but we attribute writing to the magic of inspiration?

Where do my tears go? Why is it that I can’t cry now when I need to? Yet I knew that later my tears would be unexpectedly triggered by the scent of lilacs, or the low hum of a cello.

Spending time with people who have dementia has made me a more patient parent, friend, daughter, sister, wife. It has made me notice and be endlessly thankful for things like the horizon of Lake Michigan, gray storm clouds, three or four well-chosen notes on a cello, and breathing. Anne Davis Basting in Forget Memory p.160

That is what is marvelous about school, she realized: when you are in school, your talents are without number, and your promise is boundless. You ace a math test: you will one day work for NASA. The choir director asks you to sing a solo at the holiday concert: you are the next Mariah Carey. You score a goal, you win a poetry contest, you act in a play. And you are everything at once: actor, astronomer, gymnast, star. But at a certain point, you begin to feel your talents dropping away, like feathers from a molting bird. Cello lessons conflict with soccer practice. There aren't enough spots on the debating team. Calculus remains elusive. Until the day you realize that you cannot think of a single thing you are wonderful at.

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.

Dreamt I stood in a china shop so crowded from floor to far-off ceiling with shelves of porcelain antiques, etc. that moving a muscle would cause several to fall and smash to bits. Exactly what happened but instead of a crashing noise, an august chord rang out, half cello, half celeste, D major (?), held for four beats. My wrist knocked a Ming vase affair off its pedestal-E flat. Whole string section, glorious, transcendant, angels wept. Deliberately now, smashed a figurine of an ox for the next note, then a milkmaid, then Saturday's Child-orgy of shrapnel filled the air, divine harmonies my head.

But the greatest difference between children and adults is that most of the children to whom I offer a turn on the cello accept it, while most adults, particularly if they have never played any other instrument, refuse it.

Jobs tended to be deeply moved by artists who displayed purity, and he became a fan. He invited Ma to play at his wedding, but he was out of the country on tour. He came by the Jobs house a few years later, sat in the living room, pulled out his 1733 Stradivarius cello, and played Bach. “This is what I would have played for your wedding,” he told them. Jobs teared up and told him, “You playing is the best argument I’ve ever heard for the existence of God, because I don’t really believe a human alone can do this.” On

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

Oh good lord, I'm in a three-way with a cello.

Many women are singing together of this: one is in a shoe factory cursing the machine, one is at the aquarium tending a seal, one is dull at the wheel of her Ford, one is at the toll gate collecting, one is tying the cord of a calf in Arizona, one is straddling a cello in Russia, one is shifting pots on the stove in Egypt, one is painting her bedroom walls moon color, one is dying but remembering a breakfast, one is stretching on her mat in Thailand, one is wiping the ass of her child, one is staring out the window of a train in the middle of Wyoming and one is anywhere and some are everywhere and all seem to be singing, although some can not sing a note.

I could feel everything. From the tragic cellos, to the tender sounds of the piano giving awe to my touch. My body slowly swayed to the sweet feel of the air sweeping over me. I felt myself being taken away as the hearts of my fans soared with me.

What do you say to taking up our game where we left off? I was winning, you will recall.' Winning, for all love: how your ageing memory does betray you, my poor friend,' said Stephen, fetching his 'cello. They tuned, and at no great distance Killick said to his mate, 'There they are, at it again. Squeak, squeak; boom, boom. And when they do start a-playing, it's no better. You can't tell t'other from one. Never nothing a man could sing to, even as drunk as Davy's sow.' I remember them in the Lively: but it is not as chronic as a wardroom full of gents with German flutes, bellyaching night and day, like we had in Thunderer. No. Live and let live, I say.' Fuck you, William Grimshaw.

(regarding the prelude from suite two)... The key is minor, the three notes a tragic triad. The tones move closer and closer to a harrowing vision, weaving spiter-like, relentlessly gathering sound into thighter concentric circle that come to an abrupt stop. Nothing fills the empty space. A tiny prayer is uttered.

Dieter walked a little ahead of the other actors, murmuring to his favourite horse. The horse, Bernstein, was missing half his tail, because the first cello had just restrung his bow last week.

Lying there, I thought of my own culture, of the assembly of books in the library at Alexandria; of the deliberations of Darwin and Mendel in their respective gardens; of the architectural conception of the cathedral at Chartres; of Bach's cello suites, the philosophy of Schweitzer, the insights of Planck and Dirac. Have we come all this way, I wondered, only to be dismantled by our own technologies, to be betrayed by political connivance or the impersonal avarice of a corporation?

I envision a style: a style that would be beautiful, that someone will invent some day, ten years or ten centuries from now, one that would be rhythmic as verse, precise as the language of the sciences, undulant, deep-voiced as a cello, tipped with flame: a style that would pierce your idea like a dagger, and on which your thought would sail easily ahead over a smooth surface, like a skiff before a good tail wind.

Our seats were in the balcony. Nosebleeds. But you don't go to Yo-Yo Ma for the view, and the sound was incredible. That man has a way of making the cello sound like a crying woman one minute, a laughing child the next. . Listening to him, I'm always reminded of why I started playing cell in the first place --- that there is something so human and expressive about it.

I plunked down on the couch beside him. "I don't have any accomplishments of any kind. I'm stupid and boring. I don't have any hobbies. I don't play sports. I don't write poetry. I don't travel to interesting places. I don't even have a good job." "That doesn't make you stupid and boring," Morelli said. "Well, I feel stupid and boring. And I wanted to feel interesting. And somehow, someone told my mother and grandmother that I played the cello. I guess it was me...only it was like some foreign entity took possession of my body. I heard the words coming out of my mouth, but I'm sure they originated in some other brain. And it was so simple at first. One small mention. And then it took on a life of it's own. And next thing, everyone knew." "And you can't play the cello." "I'm not even sure this is a cello." Morelli went back to smiling. "And you think you're boring? No way, Cupcake." "What about the stupid part?" Morelli threw his arm around me. "Sometimes that's a tough call.

Art in order to move you has to be political or sexual - whether it is on canvas, in the drum of the cello, in the words of the poet. If it doesn't move you, what is the point? And if it does move you, what is the point? The point is to touch your senses, your soul. To carve, as a knife in the right hands, carves beauty from a block of wood.

But in my family, playing music was still more important than the type of music you played, so when after a few months it became clear that my love for the cello was no passing crush, my parents rented me one so I could practice at home. Rusty scales and triads

You know, fingers, they each have different meanings, but my interpretation of them are: promise, love, provocation, direction, and the thumb...well...GOOD LUCK!

I love him as well. It's the same kind of love. But I can't say it. I won't be able to say it.

He cupped her face and held her still, as he looked into her brown eyes; she was all flash and no bang. She talked big, but when it came down to it, she was a simple girl.

Why is it that we understand playing the cello will require work, but we attribute writing to the magic of inspiration

Some things are holy enough that they deserve to only be done well. Love, cello, forgiveness.

I close my eyes, letting the calm wash over me, and putting my bow against the cello's strings, I play.

After a few minutes, the lull of the piano joins in, and we play together. It’s the most magical thing I’ve ever experienced

For my first recital ever, they gave me a cello. And for this one, they gave me you.” Every hair on my body stands on end,

Verdi was a genius. Sometimes in his operas, the strings in the orchestra, particularly the cellos, play in such a way that it is as if you are hearing the very heartbeat of Verdi.

Playing the cello did feel nicely neolithic, or at least a civilized way to process the primitive.

Cello music swelled out from the house, rising higher and higher until it lifted off the earth, sailing toward Venus.

The music, all violins and cellos, swells in the room, then recedes, like the water out in the Gulf before a big storm.

I couldn’t play cello and I sucked at math. The world was as it should be.

I don’t want to know how a thirty-year-old became rich and famous; I want to hear how an eighty-year-old spent her life in obscurity, kept making art, and lived a happy life. I want to know how Bill Cunningham jumped on his bicycle every day and rode around New York taking photos in his eighties. I want to know how Joan Rivers was able to tell jokes up until the very end. I want to know how in his nineties, Pablo Casals still got up every morning and practiced his cello.

As the drummer, I know that drums fully support the band. Their rhythm keeps things within the pulse and contributes to the overall energy of each performance. I am a very balanced person and I realize that through my personal level of balance, I also outwardly balance Stjepan and Luka.

Something without the cello,” she muttered. “If I have to do it, you have to do it,” Sarah said with a smirk. Iris glared at her with all the fury of a misunderstood artist. “You don’t understand.” “Oh, believe me, I do,” Sarah said with great feeling. “I played last year, if you recall. I’ve had an entire year to understand.

He is playing a bass part upon his cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

You can't rush art." I crumpled another lost attempt and tossed it behind me. "Besides, patience is a virtue." "It's a virtue until it's a waste of time," he pointed out. The cello unleashed a few notes that sounded strangely bright for such an instrument, and Hal nodded in its direction. "See; even a musical instrument agrees with me.

Most of our fan experiences include many touching moments. There are even fans who have told us that our music saved their lives and that is very powerful to hear and to realize, that our music can make such a profound difference.

The Australian sculptor who made leather sandals said that Beethoven’s duet for viola and cello sounded to him like two bulky women rummaging under a bed. Behind him a girl said, —Of course I like music, but not just to listen to.

Their musical ability and performance seems to derive from the past collective experience and presents itself in the individual unconscious today. Through it we tap into something eternal and it is apparent even in how they approach their playing. Perhaps we relate to it because, of any other instrument, the cello has a range that matches the human voice.

Even now I remember those pictures, like pictures in a storybook one loved as a child. Radiant meadows, mountains vaporous in the trembling distance; leaves ankle-deep on a gusty autumn road; bonfires and fogs in the valleys; cellos, dark windowpanes, snow.

APPROACH Rain is falling. Winter approaches. I drive towards it. In the slow rain. In the semi-darkness. Cello music is playing in the car. The deep sad sound of the cello. It almost swamps me. Routine endeavours to swamp me. The everyday paying of bills. But I paint men walking in a city of icebergs and crystal. Some of the icebergs are red. I paint a woman swimming in green wavy water. Surrounded by desert mesas. Bright orange in the sunlight. With darker orange for shadows. I paint two people. With purple and pink and yellow and blue circles overlapping the boundaries of their bodies. Dancing. Life is not ordinary. When I see you tonight I will press my lips to your eyelids. Each one in turn. I will rub my fingertips over the skin on the back of your hands and around your wrists. I will sigh. I will growl. I will whinny. I will gallop into your smile. One sharp foot after the other.

He welcomes the chance to do fatherly things with the little girl, and those ten morning minutes with dear little four-year-old Ruby, with her deep soulful eyes, and the wondrous things she sees with them, and her deep soulful voice, and the precious though not entirely memorable things she says with it, and the smell of baby shampoo and breakfast cereal filling the car, that little shimmering capsule of time is like listening to cello music in the morning, or watching birds in a flutter of industry building a nest, it simply reminds you that even if God is dead, or never existed in the first place, there is, nevertheless, something tender at the center of creation, some meaning, some purpose and poetry.

While the concept of the muse is noteworthy, the development of the muse has changed substantially in today's online world. The tables have practically turned as the artist who is responsible for creating music in today's world is now being the muse to others. They have been responsible for the creation of "fan art," a style of performance where people create new forms of media based off of existing creations. It was originally that the muse was what prompted the artist to create something new. Today it has changed to where the artist is the muse to others in society.

Cinta tak menafikan dan menghapuskan batas dan jarak di antara kalian. Batas dan jarak itu tetap ada. Namun batas itu tidak membelenggu dan jarak itu tidak memisahkan kalian. Elaborasinya serupa orkestra yang tercipta dari gabungan berbagai alat musik. Ada instrumen gesek; biola, viola, cello dan kontra bass. Alat musik tiup; flute, oboe, clarinet, dan bassoon. Alat musik petik; gitar, harpa, ukulele, kecapi. Alat musik perkusi; drum, piano, marimba, timpani. Namun demikian, gabungan dari semua instrumen yang berbeda beda itu bisa membentuk sebuah orkes simfoni yang indah, karena mereka tidak bermain sendiri sendiri. Mereka menyelaraskan bunyi dan nada dalam sebuah kesatuan harmoni yang padu, merdu, indah dan menyentuh hati.

As I sit here on a snowy morning watching the flakes gently fall outside my window, I look at the 300-year-old building across the street and the beautifully carved angels on its facade. There was a time people would create, just to give something beautiful to the world which we are so blessed to live in and a time when people understood the work of all of the arts.

The other lingering sadness I have, of course, is for Lily. I hate the idea that she will never play her cello in the orchestra at Oberlin, that she will never walk down the aisle of a church with her mother at her side, that she will never sit by a fire with Asher as the two of them grow old together.

It was like looking into a dream. An imagination of what seduction in its purest form would look like. This woman was so intense, so deep and utterly sensual, the music flowed right out of her onto the cello and the process moved her so much, she couldn’t contain it. It was passion and it pulled him in.

Whether you are five years old and irresistibly drawn to the piano in your home, or you are an adult who suddenly falls in love with music and decides to take lessons, the knowledge that you belong in the world of music is deep and indestructible. It is part of your basic nature, as much as the color of your eyes or the sound of your voice. Even your choice of instrument might feel choiceless; you hear a piano or a cello and somehow know that that is the instrument you must play.

My gaze returns to earth and when it does, it’s her eyes I see. Not the way I used to see them—around every corner, behind my own closed lids at the start of each day. Not in the way I used to imagine them in the eyes of every other girl I laid on top of. No, this time it really is her eyes. A photo of her, dressed in black, a cello leaning against one shoulder like a tired child. Her hair is up in one of those buns that seem to be a requisite for classical musicians. She used to wear it up like that for recitals and chamber music concerts, but with little pieces hanging down, to soften the severity of the look. There are no tendrils in this photo. I peer closer at the sign. YOUNG CONCERT SERIES PRESENTS MIA HALL.

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

Oh well,' said Jack: and then, 'Did you ever meet Bach?' 'Which Bach?' 'London Bach.' 'Not I.' 'I did. He wrote some pieces for my uncle Fisher, and his young man copied them out fair. But they were lost years and years ago, so last time I was in town I went to see whether I could find the originals: the young man has set up on his own, having inherited his master's music-library. We searched through the papers — such a disorder you would hardly credit, and I had always supposed publishers were as neat as bees — we searched for hours, and no uncle's pieces did we find. But the whole point is this: Bach had a father.' 'Heavens, Jack, what things you tell me. Yet upon recollection I seem to have known other men in much the same case.' 'And this father, this old Bach, you understand me, had written piles and piles of musical scores in the pantry.' 'A whimsical place to compose in, perhaps; but then birds sing in trees, do they not? Why not antediluvian Germans in a pantry?' 'I mean the piles were kept in the pantry. Mice and blackbeetles and cook-maids had played Old Harry with some cantatas and a vast great passion according to St Mark, in High Dutch; but lower down all was well, and I brought away several pieces, 'cello for you, fiddle for me, and some for both together. It is strange stuff, fugues and suites of the last age, crabbed and knotted sometimes and not at all in the modern taste, but I do assure you, Stephen, there is meat in it. I have tried this partita in C a good many times, and the argument goes so deep, so close and deep, that I scarcely follow it yet, let alone make it sing. How I should love to hear it played really well — to hear Viotti dashing away.

There’s no working radio tower in the country. It’s all static,” she said, without looking to him. “I know. But 102.3 plays the best. Not too tinny. Full and robust. If a cello were to perform static, it would sound like this.” She shook her head and turned the dial. “I prefer 93.9,” she said. She still hadn’t looked at him. “It’s too thin and monotone. There’s no variation. It just sounds like static.” “And that’s why I like it,” she said. “It sounds like static is supposed to sound.

I am also practicing cello to wean myself from power and accomplishment, to place myself back in the posture of a learner, cultivator, and creator. To become a bit like a child. To detoxify from the too-ready recognition and privilege that accompany even the most modest forms of success, to become available again for something surprising and new. Just as children flourish by growing into adults, so adults flourish by cultivating childlikeness, avoiding the spiritual hardening of the arteries that comes with competence and experience.

We must search in our way of life, I think, for substantially more here than economic expansion and continued good hunting. We need to look for a set of relationships similar to the ones Fields admired among the Eskimos. We grasp what is beautiful in a flight of snow geese rising against an overcast sky as easily as we grasp the beauty in a cello suite; and intuit, I believe, that if we allow these things to be destroyed or degraded for economic or frivolous reasons we will become deeply and strangely impoverished. ~~Crossing Open Ground

In a valley shaded with rhododendrons, close to the snow line, where a stream milky with meltwater splashed and where doves and linnets flew among the immense pines, lay a cave, half, hidden by the crag above and the stiff heavy leaves that clustered below. The woods were full of sound: the stream between the rocks, the wind among the needles of the pine branches, the chitter of insects and the cries of small arboreal mammals, as well as the birdsong; and from time to time a stronger gust of wind would make one of the branches of a cedar or a fir move against another and groan like a cello. It was a place of brilliant sunlight, never undappled. Shafts of lemon-gold brilliance lanced down to the forest floor between bars and pools of brown-green shade; and the light was never still, never constant, because drifting mist would often float among the treetops, filtering all the sunlight to a pearly sheen and brushing every pine cone with moisture that glistened when the mist lifted. Sometimes the wetness in the clouds condensed into tiny drops half mist and half rain, which floated downward rather than fell, making a soft rustling patter among the millions of needles. There was a narrow path beside the stream, which led from a village-little more than a cluster of herdsmen's dwellings - at the foot of the valley to a half-ruined shrine near the glacier at its head, a place where faded silken flags streamed out in the Perpetual winds from the high mountains, and offerings of barley cakes and dried tea were placed by pious villagers. An odd effect of the light, the ice, and the vapor enveloped the head of the valley in perpetual rainbows.

He waits until dark. Marie-Laure sits in the mouth of the wardrobe, the false back open, and listens to her uncle switch on the microphone and the transmitter in the attic. His mild voice speaks numbers into the garret. Then music plays, soft and low, full of cellos tonight . . .

The world of technology has made it easier for people to get in touch with their modern muses regardless of the genres that they are trying to utilize and even if they create a new genre based on a mixing of others. The potential for modern-day muses is as vast as individual creativity.

This was a great idea; he needed to go into tonight knowing that this was the last time he would ever be with Barry. He needed to savour it and enjoy it, to lock it tight in his memories, so that he would never forget how it felt to be with him. This would be his final goodbye. ~ A Case of the Ex

Consider yourself and the cello. As you play the music moves out to the listener, and also enters the core of your own being, for somehow you are tuned to the cello. Well, I am persuaded that this is because you are a chord. I am a chord. Our DNA dictates our physicality-made up of billions of little notes-on a basic level. Add to that our geography, background et cetera, and you have your original score. Life is the layering of chords, but the underlying one that we are will never change. This brings us to string theory and love. Our personal chord resonates with the personal ones of others, and sometimes we encounter another person who is completely harmonious with us. It is a dominant, overwhelming attraction on the DNA level. However, such a person can appear to be our opposite-and that's where this 'opposites attract' notion comes from-because they have tuned their chord in a different way. In reality, we are attracted to the person we have chosen not to become, an alternative adjustment to a chord that is nearly the same as our own. The clashing portions of the chords sounding together advance the richness of it. So when you make love you aren't expressing emotions or showing affection, you are merging melodies. You are players in the same symphony.

One significant development with regards to these muses of modern-day art is that the gender roles that were used in the past are no longer valid. The days where the women were the ones who solely inspired the men are no longer as both men and women alike are able to make efforts to create music and other forms of art.

Learning how to play an instrument has always been near the top of my to-do list, but what are the chances now? There's little downtime with a column and a two-year-old, and after reading Goldilocks and the three Bears and going through half a bottle of wine with dinner on an average evening, imagining a day when I join Nathaniel on the Elgar Cello Concerto is not a vision but a hallucination. I'm at the point where the things on your to-do list get transferred to a should-have-done list, and one reason I write a column is for the privilege of vicariously sampling other worlds, dropping in with my passport, my notebook and my curiosity.

This is one of those California moments, and these two women now have their own dose of surrealism to share with their friends: the mostly naked, mountaintop cello player and his even more naked, duck holding friend. Everyone here grooves on those stories, where the line between locals and tourists blur, and for a moment we're all Californians because we share the same love.

Anyways, the guys try to be cool. They just lie there and groove, but after a while they start hearing - you won't believe this - they hear chamber music. They hear violins and cellos. They hear this terrific mama-san soprano. Then after a while they hear gook opera and and a glee club and the Haiphong Boys Choir and a barbershop quartet and and all kinds of wierd chanting and Buddha-Buddha stuff. All the whole time, in the background, there's stil that cocktail party going on. All these different voices. Not human voices, though. Because it's the mountains. Follow me? The rock, it's TALKING. And the fog, too, and the grass and the goddamn mongooses. Everything talks. The trees talk politics, the monnkeys talk religion. The whole country. Vietnam. The place talks. It talks. Understand? Nam - it truly TALKS.

There is a time somewhere in each of our lives, certainly before we reach the age of thirty, when our youth achieves a kind of perfection. A glorious time when we are perfectly balanced between youth and maturity, between optimism and worldliness, between idealism and inertia. It is a brief period, lasting only a year or perhaps a few of them, when it is clear that we have finally become all we are ever going to be.

You Can Fly But Your Body Can't My first seat was in first class between Penny and Belinda. Before I poured Rémy Martin down my throat and had to come see what the folks back here think of things. 316 'Cool out, you know, I didn't mean it, I don't really hate you,' I hear someone say. While, over the intercom, the pilot jabbers. He's explaining that some dysfunction, once we're on the ground, can be easily fixed with a pin. I don't know, at that point, how much any of us will care. Maybe I'm drunk, but seems like they could give the plane to the Arabs once we've all made our connecting flights. 317 The beer nuts just served to me in a cello packet are the most delicious food I've ever tasted in my life. Back at Dallas-Fort Worth I put an Otis Redding CD into my player and I doubt I'll ever have a reason to take it out. Through the window, trigonometry, under a silky pink sky.

He had pursued his strikingly beautiful, spirited, fashionable wife for years and years before marrying her in mid-Channel aboard a man-of-war: for so many years indeed that he had become a confirmed bachelor at last, too old a dog to give up his tricks of smoking tobacco in bed, playing his 'cello at odd untimely moments, dissecting anything that interested him, even in the drawing-room; too old to be taught to shave regularly, to change his linen, or to wash when he did not feel the need - an impossible husband. He was not house-trained; and although he made earnest attempts at the beginning of their marriage he soon perceived that in time the strain must damage their relationship, all the more so since Diana was as intransigent as himself and far more apt to fly into a passion about such things as a pancreas in the drawer of the bedside table or orange marmalade ground into the Aubusson.

Regardless of the age of the people in the audience, they are clapping, screaming with joy and enjoying each and every note. I used to think classical music was boring. But that was because I never really gave it a chance. When I first saw 2CELLOS' cover of Smooth Criminal, I was mesmerized by their talent and instantly intrigued. With just two instruments, they created a sound so powerful and incredible, a sound I had never known could come from a cello.

I quietly walk to my room, and keeping the door open, I pick up my cello settling it between my knees. The tips of my left hand press down on the fingerboard, while my right hand saws the bow across the strings. The notes hit the air and I shut my eyes, urging them to find their target. I want them to surround my mom and her dad, but I also want the notes to glue them together, reattach their bond. I know it can happen, and so when my calluses become useless, I keep playing. When my arm protests with fatigue, I keep playing. I keep playing because I believe.

There was still some time before the train opened its doors for boarding, yet passengers were hurriedly buying boxed dinners, snacks, cans of beer, and magazines at the kiosk. Some had white iPod headphones in their ears, already off in their own little worlds. Others palmed smartphones, thumbing out texts, some talking so loudly into their phones that their voices rose above the blaring PA announcements. Tsukuru spotted a young couple, seated close together on a bench, happily sharing secrets. A pair of sleepy-looking five- or six-year-old twin boys, with their mother and father dragging them along by their hands, were whisked past where Tsukuru sat. The boys clutched small game devices. Two young foreign men hefted heavy-looking backpacks, while a young woman was lugging a cello case. A woman with a stunning profile passed by. Everyone was boarding a night train, heading to a far-off destination. Tsukuru envied them. At least they had a place they needed to go to. Tsukuru Tazaki had no place he needed to go. He realized that he had never actually been to Matsumoto, or Kofu. Or Shiojiri. Not even to the much closer town of Hachioji. He had watched countless express trains for Matsumoto depart from this platform, but it had never occurred to him that there was a possibility he could board one. Until now he had never thought of it. Why is that? he wondered. Tsukuru imagined himself boarding this train and heading for Matsumoto. It wasn’t exactly impossible. And it didn’t seem like such a terrible idea. He’d suddenly gotten it into his head, after all, to take off for Finland, so why not Matsumoto? What sort of town was it? he wondered. What kind of lives did people lead there? But he shook his head and erased these thoughts. Tomorrow morning it would be impossible to get back to Tokyo in time for work. He knew that much without consulting the timetable. And he was meeting Sara tomorrow night. It was a very important day for him. He couldn’t just take off for Matsumoto on a whim. He drank the rest of his now-lukewarm coffee and tossed the paper cup into a nearby garbage bin. Tsukuru Tazaki had nowhere he had to go. This was like a running theme of his life. He had no place he had to go to, no place to come back to. He never did, and he didn’t now.

All this drinking and dancing and flirting,” Mr. Kent said with a sigh, balancing a glass on the railing for me. “Dreadful business, isn’t it?” “Yes, I don’t understand it,” I mumbled, accepting the champagne as if it could magically transport me away. No, still here. What on earth was he getting at? Was he toying with me? “That’s just it. Perspective is a curious thing. One day, you see everything from one angle and you think you know what’s important,” he continued, looking out at the dancers. Then he turned to me, smiling wryly. “Then another day, from another angle, you see what’s really important, and everything else just . . . melts away.” “I see,” I said without meeting his eyes, hoping he’d be dissuaded. He wasn’t. His hand slid across the railing and caught mine. “I have never seen you here before. Are you one of Mrs. Shine’s girls?” he asked. Seen you here before? Downstairs, the tempo of the violins and cellos quickened. As my blood boiled, I could barely hear my own thoughts, and the response left my lips compulsively. “No.” “Excellent, then might I ask, who is your—” “I’m sorry, I can’t help you,” I interrupted, hurrying away past the bar and the horrible paintings toward the stairs. “Please, wait!” he called from behind, chasing after me. “What is your name?” “Evelyn Wyndham,” I said, giving him a false name. Dammit. Champagne and Mr. Kent did not mix well. “M-miss Wyndham!” he exclaimed. For a moment, it was rather strange to see the confident man look so confused, but he quickly regained himself with a smile. “I . . . I was just having a bit of fun. I knew it was you.” “Oh, was that before or after you propositioned me?” “That is a question with no right answer, but keep in mind what I was saying about perspective earlier—

Surely an instrument is neither male nor female—they’re just things that make sound—strings and bows, brass and wood, mallets and cymbals and drumskins and little metal triangles. And yet all you have to do is look around at these musicians to see the way that even sound is gendered. In the middle of the orchestra is the brass section—tubas, trombones, trumpets, French horn, every last one of them played by boys. It’s not all that different in the woodwinds—where the boys play bassoons and clarinets, but all the flutes are played by girls. The strings are even more ridiculous—the deeper the instrument, the more likely it is to be played by a boy. So all the basses? Boys. Most of the cellos? Boys. The violas split half and half. All but one of the violins? Girls. Then there’s the harp, which I guess federal law requires be played by a girl. And the percussion and kettle drums, which are usually played by boys. How weird is this? Most of us decided to play our instruments in third grade, a bunch of little kids who made our choices without even thinking about them. But even at eight years old, we were already running the gender maze that the world had set for us, without even realizing it.

Much as Joanne disliked needlework, she was quite good at it, for she had been well taught. But hearing the remark from her governess's lips was almost more than the child could bear. And as for childish games - "Cousin Ambrose has been teaching me to play chess," she said in her curiously deep voice. "And we sometimes play cribbage and ecarte." "Still, at your age, there is so much to learn that I think we must dedicate this hour to sewing each night. And now, tell me, what is your favourite lesson?" Joanne eyed the lady for a moment. Then, "Latin and 'cello," she said sweetly. She was not disappointed. Miss Mercier's face fell. "Latin? Oh my dear, I am very sorry to hear that. Latin is essential for boys, of course; but I cannot think it necessary for a girl in your position. But you cannot have gone very far in it yet?" "We were doing the Aenid at school when I left," said Joanne briskly. "Fourth book. And Caesar, of course. I've learnt Latin for years." "My dear child, you mustn't exaggerate. That is most unladylike. I suppose you began two years ago? You cannot call two years "years" in the sense you did." "I didn't. I began Latin when I was seven. My father taught me." This was worse than Miss Mercier had expected.

Compare two commitments that will change some aspects of your life: buying a comfortable new car and joining a group that meets weekly, perhaps a poker or book club. Both experiences will be novel and exciting at the start. The crucial difference is that you will eventually pay little attention to the car as you drive it, but you will always attend to the social interaction to which you committed yourself. By WYSIATI (it's an acronym explained at the beginning of the book to explain how we only take into account minimal information of the type that we can most readily access e.g. how we're feeling right at this moment to answer how we feel about our lives in general) you are likely to exaggerate the long-term benefits of the car, but you are not likely to make the same mistake for a social gathering or for inherently attention-demanding activities such as playing tennis or learning to play the cello. The focusing illusion (your focus on something makes it feel more important than it actually is at that moment in time when you're focussing on it) creates a bias in favour of goods and experiences that are initially exciting, even if they will eventually lose their appeal. Time is neglected, causing experiences that will retain their attention value in the long term to be appreciated less than they deserve to be.

One thing that has surprised Julie about going through the process of watching herself die is how vivid her world has become. Everything that she used to take for granted produces a sense of revelation, as if she were a child again. Tastes- the sweetness of a strawberry, it’s juice dripping onto her chin; a buttery pastry melting in her mouth. Smells - flowers on a front lawn, a colleague‘s perfume, seaweed washed up on the shore, Matt’s sweaty body in bed at night. Sounds – the strings on a cello, the screech of a car, her nephew’s laughter. Experiences - dancing at a birthday party, people-watching at Starbucks, buying a cute dress, opening the mail. All of this, no matter how mundane, delights her to no end. She’s become hyper-present. When people delude themselves into believing they have all the time in the world, she noticed, they get lazy. She hadn’t expected to experience this pleasure in her grief, to find it invigorating, in a way. But even as she’s dying, she’s realized, life goes on - even as the cancer invades her body, she still checks Twitter. At first she thought, why would I waste even ten minutes of the time I have left checking Twitter? And then she thought, why wouldn’t I? I like Twitter! She also tries not to dwell on what she’s losing. “I can breathe fine now, “Julie says, “but it’ll get harder, and I’ll grieve for that. Until then, I breathe.

Ethics has three levels, the good for self, the good for others, and the good for the transcendent purpose of a life.1 The good for self is the prudence by which you self-cultivate, learning to play the cello, say, or practicing centering prayer. Self-denial is not automatically virtuous. (How many self-denying mothers does it take to change a lightbulb? None: I’ll just sit here in the dark.) The good for a transcendent purpose is the faith, hope, and love to pursue an answer to the question “So what?” The family, science, art, the football club, God give the answers that humans seek. The middle level is attention to the good for others. The late first-century BCE Jewish sage Hillel of Babylon put it negatively yet reflexively: “Do not do unto others what you would not want done unto yourself.” It’s masculine, a guy-liberalism, a gospel of justice, roughly the so-called Non-Aggression Axiom as articulated by libertarians since the word “libertarian” was redirected in the 1950s to a (then) right-wing liberalism. Matt Kibbe puts it well in the title of his 2014 best seller, Don’t Hurt People and Don’t Take Their Stuff: A Libertarian Manifesto.2 On the other hand, the early first-century CE Jewish sage Jesus of Nazareth put it positively: “Do unto others as you would have them do unto you.” It’s gal-liberalism, a gospel of love, placing upon us an ethical responsibility to do more than pass by on the other side. Be a good Samaritan. Be nice. In

Walking along the tables, my spirits sank even lower. Almost all the better fiddles, the ones made by professionals, were antiqued copies. Even the winning violin was a fake. I walked to the end of the room, where the cellos were lined up. They, too, were all antiqued, except for mine. With its orange-red varnish and crisp, unworn edges, it stood out like a Girl Scout at the Adult Film Awards. What had happened? Gone was any originality, any sense of style. The fluorescent lighting cast a harsh, cold glare, making the sad attempts at artificial aging look even more lifeless. I felt sick at heart. Thirty years ago, when the school opened, we had viewed copying with a visceral contempt—the great Babylonian captivity of violin making. We were the young Americans, the first of a new school of making in the New World, and we saw it as our mission to restore our craft to its former glory, when the idea of copying didn’t even exist.

Melinda Pratt rides city bus number twelve to her cello lesson, wearing her mother's jean jacket and only one sock. Hallo, world, says Minna. Minna often addresses the world, sometimes silently, sometimes out loud. Bus number twelve is her favorite place for watching, inside and out. The bus passes cars and bicycles and people walking dogs. It passes store windows, and every so often Minna sees her face reflection, two dark eyes in a face as pale as a winter dawn. There are fourteen people on the bus today. Minna stands up to count them. She likes to count people, telephone poles, hats, umbrellas, and, lately, earrings. One girl, sitting directly in front of Minna, has seven earrings, five in one ear. She has wisps of dyed green hair that lie like forsythia buds against her neck. There are, Minna knows, a king, a past president of the United States, and a beauty queen on the bus. Minna can tell by looking. The king yawns and scratches his ear with his little finger. Scratches, not picks. The beauty queen sleeps, her mouth open, her hair the color of tomatoes not yet ripe. The past preside of the United States reads Teen Love and Body Builder's Annual. Next to Minna, leaning against the seat, is her cello in its zippered canvas case. Next to her cello is her younger brother, McGrew, who is humming. McGrew always hums. Sometimes he hums sentences, though most often it comes out like singing. McGrew's teachers do not enjoy McGrew answering questions in hums or song. Neither does the school principal, Mr. Ripley. McGrew spends lots of time sitting on the bench outside Mr. Ripley's office, humming. Today McGrew is humming the newspaper. First the headlines, then the sports section, then the comics. McGrew only laughs at the headlines. Minna smiles at her brother. He is small and stocky and compact like a suitcase. Minna loves him. McGrew always tells the truth, even when he shouldn't. He is kind. And he lends Minna money from the coffee jar he keeps beneath his mattress. Minna looks out the bus window and thinks about her life. Her one life. She likes artichokes and blue fingernail polish and Mozart played too fast. She loves baseball, and the month of March because no one else much likes March, and every shade of brown she has ever seen. But this is only one life. Someday, she knows, she will have another life. A better one. McGrew knows this, too. McGrew is ten years old. He knows nearly everything. He knows, for instance, that his older sister, Minna Pratt, age eleven, is sitting patiently next to her cello waiting to be a woman.