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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 are so excited to be touring and showing audiences the versatility of the cello.

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.

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.

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.

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

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

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.

It is my aim, my destination in life to make the cello as beloved an instrument as the violin and piano.

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.