10 questions for Matthias Bartolomey

Matthias Bartolomey has a vision for the cello that defies tradition. Inspired as much by Radiohead as by Bach, Matthias combines the depth of classical music with the raw sound of progressive rock, reshaping how we experience the cello. His approach is as bold as it is thoughtful, transforming his instrument into something that can just as easily produce grungy riffs as it can ethereal melodies.

Matthias will bring this sound to 24chambers in collaboration with the Cello Biennale, taking audiences on a ride through centuries of music. The evening will feature everything from his original compositions to Bach, played across two cellos—one crafted nearly 300 years ago and the other a modern replica. Ahead of this performance, Matthias talked to us about rebellious cello playing, Schubert’s lasting influence, and why the world of music doesn’t fit neatly into genres.

1. You come from a musical family steeped in classical tradition. Did you have a ‘rebel phase’ growing up?
Definitely! I grew up surrounded by classical music, but the ’90s brought alternative and progressive rock that I couldn’t ignore. Bands like Nirvana, Pearl Jam, Radiohead, and Deftones all influenced me. I loved this music and started to wonder if I could bring some of that energy into my cello playing. Could the cello be a rock instrument? Could it play heavy riffs and create sounds beyond the classical tradition? Hearing Apocalyptica’s first album, where they played Metallica covers was a revelation—suddenly, the cello had a new voice, a new world to explore. That sparked the idea that there’s a place for this kind of sound. It made me realize that redefining the cello could be a real, serious path

I realized I didn’t need to abandon the cello to play rock. Instead, I could redefine it as an instrument capable of intense riffs and distortion, as well as tender melodies. That idea really drove me, and for the past 15 years, I’ve been exploring that path seriously—both solo and with my duo.

2. What is the concept behind your new album SOLO?
The album explores a journey across 300 years of music. I play on two cellos: one is from 1727, and the other is a replica made in 2021. I switch between them, exploring Bach and my own compositions. It’s exciting because I’m literally connecting the past and the present with two versions of the same instrument.

3. For anyone who is newly solo, do you have a “breakup song” recommendation?
There are so many! Nearly every song is about love in some way, isn’t it? But right now, I’m totally obsessed with Brahms symphonies, which I’ve been listening to on repeat for the last two weeks and I can’t really think of any other music… But if I had to pick a real tear-jerker, I’d probably go with one of Schubert’s piano pieces, that always gets me.

4. How do you start composing a piece, and is there a method to your creative process?
It’s very intuitive. Often, a melody or an idea comes when I’m warming up, and I’ll think, “Wow, I like that!” I’ll quickly record it, even if it’s just seven seconds. Sometimes months later, I’ll go through these snippets and think, “There’s something here.” Writing music is a lot about trial and error—you try twenty things that don’t work, but eventually, one does, and that becomes the song. That makes composing both painful and fascinating because it’s largely about failure—you go through layers of ideas that don’t work before something good finally emerges. I’m a bit of a perfectionist, so I have very high expectations for myself and that can be something that stands between me and my creativity. But in the end this drive for quality is also what leads me to something meaningful.

5. If you could live in any historical musical period, which one would you choose and why?
That’s an easy one for me: I’d pick the years between 1820 and 1850. That era was such a high point for chamber music and string quartets. You still had the influence of Beethoven, but you were moving into Schubert, Schumann, and early Brahms. There was a humanism and an artistry to chamber music then, and I think we’re losing the appreciation for that a little in today’s culture. I would have loved to experience it when it was all happening.

6. You bridge the worlds of classical and popular music. What do you think these genres can learn from each other?
A lot, actually. People often treat classical music and popular music as opposites, but they’re not. At their core, they’re very similar. Take a Schubert song and a Radiohead song: they’re structured very similarly, even if they sound different. For me, music isn’t about putting things in separate boxes—it’s all connected, and I think we should embrace that.

7. As a teacher, do you see younger musicians approaching music differently?
Yes, definitely. Many of my students are interested in finding their own voice within the classical world. I try to support them on that journey and encourage them to keep going, even when it’s difficult. Teaching is a two-way street; I’ve learned so much from it, and it’s helped me grow as a musician.

8. What’s the most recent time the cello surprised you?
The cello surprises me often, I hear someone play and think “Wow, okay, I didn’t know that it was possible to play a note this beautifully”. But some of the most inspiring moments are when I see one of my students break through something they’ve been struggling with. Watching them overcome an obstacle and suddenly their sound changes—it’s a beautiful surprise every time.

9. What makes a concert magical?
Two things make a concert magical. First, when I can fully let myself go into the music, which doesn’t happen every night. There are nights when you’re tired, distracted, or dealing with something else on stage. But on the magical nights, I’m completely immersed. The second part is the audience. When you have an audience that’s fully engaged, there’s this unspoken connection. It’s an energy, a vibration in the room. When both come together, that’s when something truly special happens.

10. If you could pair any classical composer and rock musician for a collaboration, who would you choose?
That’s a hard one! Part of me hesitates, as it would be strange to pair someone like Paul McCartney with Mozart and expect them to get each other.
– But if you had to choose? Who are your favorite musicians?
Schubert has been my favorite composer since I was young, and my connection to his music keeps evolving as I grow. Listening to Schubert now connects me not only with his genius but also with a younger version of myself. And as for rock, Radiohead, without question. They’re at the top of my list and have been for years. So a Schubert and Radiohead collaboration it is!

Matthias Bartolomey will play at our concertseries 24chambers: where the music is classic, the crowd is small and the drinks are free! By sending us a request for an invite you will have a chance to join us. We will inform you about the location and guest list availability via text message.