Korean cellist Cho Hang-Oh is one of Singapore's most active cellists. He has made appearances alongside notable ensembles like the T’ang Quartet and Re:Sound Collective, also holding guest principal positions in notable symphony orchestras like the Sun Symphony Orchestra. But what many people don't know about Hang-Oh is that he was a late starter to the cello.
Only starting at the age of 12, he got accepted into Singapore's Yong Siew Toh Conservatory of Music 5 years later. His phenomenal progress within a short span of time speaks true to the grit of hardwork and perseverance.
Today, we interview the aspiring cellist making an impact on Singapore's cello scene.
(Korean Cellist Cho Hang-Oh)
WK: At what age did you pick up the cello?
Hang-Oh: I actually began the cello quite late at the age of 11, almost turning 12. In the classical world, that’s considered a very late start for someone dreaming of a professional career. I remember feeling constantly behind my peers, struggling to catch up to the high standard in Korea, and wondering if I could ever make it. But that challenge became my motivation. I was incredibly fortunate to meet a teacher whose guidance changed my life. She believed in me long before I believed in myself, and her pedagogy gave me both the discipline and the confidence to grow. I practised endlessly, and slowly but surely, the gap began to close. When I entered the Yong Siew Toh Conservatory of Music at 17, it felt like a turning point under Prof. Qin Li Wei - a reminder that passion and hard work can rewrite the story, no matter when you begin. Starting late taught me resilience, gratitude, and the belief that if you dedicate yourself fully, the path will be laid before you!
WK: Why did you choose the cello?
Hang-Oh: Actually, my parents suggested that I play the violin as a hobby before playing cello and I always refused to even touch the violin! Then, they introduced me to the world of the cello. I never knew anything about the cello at all and I still disliked it for over a year. The turning point came when I listened to Yo-yo Ma’s cello albums. I was both shocked and fascinated by his cello sound because it was like a voice that was singing, speaking and even dancing all at the same time.
WK: What is the best memory you have of playing the cello?
Hang-Oh: There are many precious memories I have with the cello. But if I had to choose one, it would be a house concert I played in Germany with my quartet. It was held in an ordinary living room — nothing grand, no big stage, no spotlights — just music and people sitting only a few steps away from us. What made it unforgettable was the closeness. I could literally feel the audience’s breathing, their energy, their anticipation. Every phrase felt like a conversation. We weren’t performing for them; we were breathing and experiencing the music together. That sense of connection — when the boundary between the performer and listener disappears — is one of the most incredible feelings I’ve ever had as a musician.
(Hang-Oh as soloist)
WK: Can you give us one of your best career highlights?
Hang-Oh: It’s quite difficult to choose just one highlight, because each stage of my journey has meant something different. But if I have to pick one that is especially meaningful, I would choose the debut of my own string quartet at the Konzerthaus Berlin in 2020. I founded the quartet back in 2016 in Germany, and we worked extremely hard together — growing as an ensemble, winning competitions in Europe and Asia, including the Mendelssohn Competition. So that performance in Berlin felt like the moment when all those years finally came to fruition. I still remember the hall was filled with many distinguished musicians — masters from the Berlin Philharmonic, professors from the Hanns Eisler School — and they came up afterwards with warm comments and thoughtful feedback. For me, it was not only a career highlight, but a moment that affirmed our artistic direction and the years of dedication behind it.
WK: Who are your greatest musical inspirations?
Hang-Oh: For me, my greatest musical inspirations are not limited to cellists. I’m inspired by truly great musicians of any instrument — from woodwind players to jazz artists — anyone who has a deep, honest voice in their music. But above all, I draw the most inspiration from the composers themselves. I constantly study, research, and try to understand the world they lived in: their character, their language, their emotions, and even the hidden messages in their scores. I strongly believe that as performers, our role is to take the music out of the ‘museum’ and bring it back to life. We become the actors on stage who interpret their messages for today’s audience. That responsibility — to serve the composer and communicate their story — is what inspires me the most.
(Hang-Oh with Prof. Qin Li-Wei and Prof. Albert Tiu)
WK: What instruments do you use currently?
Hang-Oh: To be honest, I don’t know the exact details of my cello. It’s only the second instrument I’ve ever owned, after my very first factory-made Yamaha cello. I received this cello when I was around 13, and it cost about 3,000 EURO. It’s a workshop instrument — experimentally made — so its value hasn’t changed much over the years. And interestingly, I’m still performing on it today. Some people are surprised by that, but I’ve always believed that a strong foundation matters far more than an expensive instrument. I’ve seen many young musicians produce beautiful, powerful sounds simply because they have solid basics — how they hold the bow, how they use natural gravity, how they let the body stay relaxed and allow the instrument to resonate. A good instrument can help, of course, but it cannot replace craftsmanship in technique. In my case, this cello has grown with me since I was 13, and it continues to remind me that sound ultimately comes from the musician, not the price tag or instrument.
WK: Did you ever imagine playing the cello would take you to so many places and give you the current life you have?
Hang-Oh: Never. I truly never imagined the cello would take me to so many places or give me the life I have today. When I first started playing, I was just a kid struggling to catch up — not someone who expected to travel across Europe, Australia, or even Hanoi with everything provided. Each country I visited had its own colours, its own atmosphere, its own way of breathing. I was constantly amazed by how music opened doors — to different cultures, different people, and different perspectives. Sometimes I look back and realise that the cello didn’t just bring me to new cities; it completely shaped who I am. It has given me experiences I never dreamed of, and I’m still grateful and a little bit surprised every time it takes me somewhere new
(Hang Oh as Guest Principal Cellist)
WK: If you didn't choose the cello, what profession would you have chosen?
Hang-Oh: That’s a very interesting question, because it actually makes me reflect on the other lives I might have lived. Before I started the cello at 11, I dreamed of becoming a pilot. I was fascinated by airplanes and the idea of travelling through the sky. But these days, when I imagine ‘what if I had never chosen the cello,’ I think I would have become a fine-dining chef. I find fine-dining cuisine incredibly artistic — it’s not only about taste, but also about visual presentation, concepts, and storytelling. In many ways, it feels similar to music: you craft an experience, you play with textures and emotions, and you try to leave a lasting impression. So if I weren’t a cellist, I would probably be in a kitchen somewhere, creating dishes the same way I approach music — with imagination, precision, and a bit of soul.
WK: What are your hobbies outside playing the cello?
Hang-Oh: Outside of cello, I really enjoy activities that balance my life as a musician. I love working out to keep my body and mind strong, reading about personal development and business, and exploring cafés or quiet spaces where I can think and plan. I also enjoy teaching and building educational projects—it keeps me inspired and connected to the next generation.
WK: Where do you see yourself contributing towards Singapore's musical scene?
Hang-Oh: I see myself contributing to Singapore’s musical scene in two main ways — performance and education. On the performance side, Singapore is where I took my first serious steps as a musician, so I hope to give back by collaborating with local ensembles, chamber groups, and festivals. I want to bring the experience I’ve gained overseas — in Germany, Spain, and across Asia — and share that musical perspective with audiences here. At the same time, I’m very passionate about education. I believe Singapore has incredible young talent, and I want to help nurture the next generation by sharing not only technique, but also the artistic mindset and discipline I learned from my mentors. Whether through masterclasses, workshops, or structured online programs, I want to build accessible paths for young players to grow. Ultimately, Singapore shaped me as a musician, so contributing to its musical community feels like returning home to where my journey truly began.