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Passion is one great force that unleashes creativity, because if you're passionate about something, then you're more willing to take risks.

Yo-Yo Ma

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Yo-Yo Ma
Age: 69
Born: 1955
Born: October 7
Actor
Cellist
Composer
Music Pedagogue
Musician
Paris
France
Yo Yo Ma
YoYo Ma
Passion
Creative
Force
Unleashes
Take
Risks
Great
Passionate
Something
Creativity
Risk
Willing

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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.
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Classical music is one of the best things that ever happened to mankind. If you get introduced to it in the right way, it becomes your friend for life.
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Music is powered by ideas. If you don't have clarity of ideas, you're just communicating sheer sound.
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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.
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I learn something not because I have to, but because I really want to. That's the same view I have for performing. I'm performing because I really want to, not because I have to bring bread back home.
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As a musician I'm kind of nomadic, Waldo-like. I show up in different places, and I'm witness to unbelievable things.
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When your heart and your mind are engaged, you cannot go wrong.
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You must have a reason to be in the places to which you go, and you must do only things that you really care about.
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I really would like to be involved in things and to understand things, and in some ways you've got to be careful what you wish for because I feel very, very blessed to have such an interesting life and to be able to have little snapshots of lives of people from many different parts of the world.
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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.
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When people ask me how they should approach performance, I always tell them the professional musician should aspire to the state of the beginner.
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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.
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Nobody else can make the sound you make.
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We may be coming to a new golden age of instrument making.
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As you begin to realize that every different type of music, everybody's individual music, has its own rhythm, life, language and heritage, you realize how life changes, and you learn how to be more open and adaptive to what is around us.
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A Senegalese poet said 'In the end we will conserve only what we love. We love only what we understand, and we will understand only what we are taught.' We must learn about other cultures in order to understand, in order to love, and in order to preserve our common world heritage.
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Sharing is a much better way to communicate than proving.
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I think the purpose of a piece of music is significant when it actually lives in somebody else. A composer puts down a code, and a performer can activate the code in somebody else. Once it lives in somebody else, it can live in others as well.
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When we enlarge our view of the world, we deepen our understanding of our own lives.
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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.
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