Yo-Yo Ma
Yo-Yo Ma
Yo-Yo Mais a Chinese-American cellist. Born in Paris, he spent his schooling years in New York City and was a child prodigy, performing from the age of five. He graduated from the Juilliard School and Harvard University and has enjoyed a prolific career as both a soloist performing with orchestras around the world and a recording artist. His 90+ albums have received 18 Grammy Awards...
NationalityAmerican
ProfessionCellist
Date of Birth7 October 1955
CityParis, France
CountryUnited States of America
The thing that I've always been slightly frustrated with, was that the idea of a CD is kind of confined to a material possession that you can put on a shelf. And the idea of music, for me, is always about both the communication and the sharing of content. And so the interactive part is missing.
One is that you have to take time, lots of time, to let an idea grow from within. The second is that when you sign on to something, there will be issues of trust, deep trust, the way the members of a string quartet have to trust one another.
Music is powered by ideas. If you don't have clarity of ideas, you're just communicating sheer sound.
But an innovation, to grow organically from within, has to be based on an intact tradition, so our idea is to bring together musicians who represent all these traditions, in workshops, festivals, and concerts, to see how we can connect with each other in music.
It took me way beyond what I knew, into places of which I was totally scared, but as I became less frightened, I welcomed new ways of thinking and approaching something. It made me an infinitely richer person, and I think a better musician.
I'm not likely to forget where I've been and what I've done and learned. I think it's just as important to play new instruments as to play new pieces. The old ones are getting scarcer and the new ones more and more wonderful.
A composition is always more than the sum of its parts. In other words, a really good piece of music is more than itself. It's sort of like a prism, which you can see from each facet a single totality.
You know, you can have someone who's the very best at something, but if there's not that kind of chemistry, collaborating is not going to amount to anything.
Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes.
My job as a performer is to make sure that whatever happens in a performance lives in somebody else, that it's memorable... If you forget tomorrow what you heard yesterday, there's really not much point in you having been there - or me, for that matter.
I think all musicians have at one time or another experienced one physical problem or another. I have had tendinitis a couple of times, so I try to be really careful. It takes patience and persistence to overcome injury.
Our (nation's) cultural strength has always been derived from our diversity of understanding and experience.
Many of the Central Asians know Russian, and Ted Levin speaks it fluently. I speak Chinese, but Mongolian is completely different, so we had to have translators.
We may be coming to a new golden age of instrument making.