Yo-Yo Ma: A Biography (Greenwood Biographies) by Jim Whiting

By Jim Whiting

A musician of infrequent artistry, the self-effacing but charismatic Yo-Yo Ma connects together with his audiences with startling effectiveness. He continues to be dedicated to the classical repertoire but has lengthy roved a long way past the Western classical tune canon. regardless of his actual star prestige and thriving solo occupation, he has usually sought out musicians open air the classical sphere and collaborated with them on interesting recordings. chiefly, he's dedicated to the ever-evolving musical odyssey of his Silk highway Ensemble, itself a part of a broader Silk street undertaking aiming to discover the deep and sundry inventive connections among East and West. Ma's legions of admirers search out his musical genius in his recordings. right here they could develop into accustomed to the lively and fascinating Ma himself and hint the trajectory of his exact and special profession.

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But I could not forget all those who had lost their lives on this wall in trying to cross over it. ”6 A NEW L IFE I N NE W YO RK 29 A century earlier, such a scene would have been regarded as an impossibility. Prior to Casals’ discovery, Bach’s religious choral compositions were virtually his only works regarded as suitable for public performance. His orchestral compositions were regarded as stiff, academic music. This perception stunned Casals. ” he said. ”7 In spite of his passion for the suites, it took Casals more than 13 years to work up enough courage to play them in public.

18. 18. Blum, Quintet, p. 13. 19. Ma, My Son, Yo-Yo, p. 130. 20. Ibid. 21. pid=1858. 22. Margaret Campbell, The Great Cellists (London: Victor Gallancz, 1988), p. 318. Chapter 6 LEARNING OF LOVE AND LOVE OF LEARNING Several months before the 1972 Marlboro festival Yo-Yo had given a performance at Mount Holyoke, a college in western Massachusetts. On that occasion he met a student named Jill Hornor, a violinist who had played in the Greater Boston Youth Symphony Orchestra.

For Yo-Yo, the playing had just begun. ’ ”9 Yo-Yo had a somewhat different memory of the encounter. “I don’t remember what he said about my cello playing,”10 he recalled. He did remember what Casals told his parents: “What are you doing with this child? ”11 For Hiao-Tsiun, such words would have been anathema. His plans for his son didn’t include playing on the street. In his opinion, it was not only a waste of time, it was potentially dangerous. Something bad could easily happen. To make sure that that it didn’t, Hiao-Tsiun laid out a rigid daily structure for his children that governed virtually every aspect of their lives.

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