Yo-Yo Ma Quotes
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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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With every year of playing, you want to relax one more muscle. Why? Because the more tense you are, the less you can hear.
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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.
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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've been traveling all over the world for 25 years, performing, talking to people, studying their cultures and musical instruments, and I always come away with more questions in my head than can be answered.
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The role of the musician is to go from concept to full execution. Put another way, it's to go from understanding the content of something to really learning how to communicate it and make sure it's well-received and lives in somebody else.
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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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One of the things I love about music is live performance.
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I think of a piece of music as something that comes alive when it is being performed, and I feel that my role in the transmission of music is to be its best advocate at that moment.
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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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My involvement in the political arena is to make sure there's a place for culture.
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People will ask, 'Are you famous?' And I always answer, 'My mother thinks so.'
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Music has always been transnational; people pick up whatever interests them, and certainly a lot of classical music has absorbed influences from all over the world.
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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.
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Things can fall apart, or threaten to, for many reasons, and then there's got to be a leap of faith. Ultimately, when you're at the edge, you have to go forward or backward; if you go forward, you have to jump together.
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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.
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I think anybody who goes away finds you appreciate home more when you return.
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It's easy for me to care about Toronto, because Toronto is a community that cares about itself. It represents the world. It talks to itself, and because it does, it figures out that there must be a music garden as part of its existence.
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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 that peace is, in many ways, a precondition of joy.
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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.
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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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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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After reaching 50, I began to wonder what the root of life is.