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
I think there are so many ways to become interested in music. I believe signs of sustained interest gives a sense of the right time. Music, if thought of as a language, would perhaps indicate that as early as possible is not so bad. I do believe that a really nurturing first teacher that makes the child love something is crucial.
As a child, you respond physically, tactically. You're delighted by sound, you're delighted by recognizing something. It's like hide and seek. Is it there? Is it not there? Is it this note? Is it not this note? It's one fantastic game.
Children, in a way, are constant learners. Certainly sponge-like. Absorbing everything without careful analysis, even though, at the same time, they are certainly capable of incredible insights.
Music enhances the education of our children by helping them to make connections and broadening the depth with which they think and feel. If we are to hope for a society of culturally literate people, music must be a vital part of our children's education.
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.