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With every year of playing, you want to relax one more muscle. Why? Because the more tense you are, the less you can hear.
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
Hear
Year
Less
Every
Muscle
Years
Tense
Muscles
Relax
Playing
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The tango is really a combination of many cultures, though it eventually became the national music of Argentina.
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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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Sound is ephemeral, fleeting, but some sort of a physical manifestation can help you hold on to it longer in time. I'm sure of this I've always thought the sound that you make is just the tip of the iceberg, like the person that you see physically is just the tip of the iceberg as well.
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I don't always have a five-year plan. One thing you must do in life is keep your learning curve as high as possible.
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Sharing is a much better way to communicate than proving.
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The worst thing you can do is say to yourself, I want to be just like somebody else. You have to absorb knowledge from someone else, but ultimately you have to find your own voice.
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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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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.
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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.
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Good things happen when you meet strangers.
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I have yet to find something that beats the power of being in love, or the power of music at its most magical.
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One of the marks of a great teacher lies not only in an ability to impart knowledge but also in knowing when to encourage a student to go off on his own.
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There are limits to how much sound a cello can make. That's part of the framing of acoustical instruments. Finding what those limits might be, and then trying to suggest perhaps even the illusion of going beyond is part of that kind of effort.
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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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Music is powered by ideas. If you don't have clarity of ideas, you're just communicating sheer sound.
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Once something is memorable, it's living and you're using it. That to me is the foundation of a creative society.
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I think anybody who goes away finds you appreciate home more when you return.
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People will ask, 'Are you famous?' And I always answer, 'My mother thinks so.'
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There's a part of me that's always charging ahead. I'm the curious kid, always going to the edge.
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The tradition of classical music and the opera is such that it used to be the place where social intercourse could take place between all parts of society: politicians, industrialists, artists, citizens, etc. That tradition, I think, still exists, but it's much, much more diluted.
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